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Two barn quilts on the U.S. 23 Country Music Highway Museum in Paintsville, Kentucky on the U.S. 23 Quilt Trail.. A quilt trail is a series of barn quilts (painted wood or metal hung or freestanding quilt squares) installed along a route emphasizing significant architecture and/or aesthetic landscapes.
In Stitched from the Soul (1990), Gladys-Marie Fry asserted that quilts were used to communicate safe houses and other information about the Underground Railroad, which was a network through the United States and into Canada of "conductors", meeting places, and safe houses for the passage of African Americans out of slavery.
Patchwork quilts are made with patterns, many of which are common designs in North America. Anvil [1] Basket [1] Bear Paw [1] Brick Work [2] Churn Dash [1] Corn and Beans [1] Dogwood and Sunflower [1] Double Wedding Ring [1] Dove in the Window [1] Dresden Plate [1] Drunkard's Path [1] Eight-Pointed Star [1] Four Patch [2] Hen and Chickens [1 ...
Barn quilts are a type of folk art found in the United States (particularly the South and Midwest) and Canada. They take the patterns of traditional quilt squares, and recreate them either directly on the side of a barn or on a piece of wood or aluminum which is then attached to the side of a barn. [ 27 ]
Barn decorating reached its peak in the early 20th century, at which time there were many artists who specialized in barn decorating. [4] Drawing from a large repertoire of designs, barn painters combined many elements in their decorations. The geometric patterns of quilts can be seen in the patterns of many
Whole-cloth quilt, 18th century, Netherlands.Textile made in India. In Europe, quilting appears to have been introduced by Crusaders in the 12th century (Colby 1971) in the form of the aketon or gambeson, a quilted garment worn under armour which later developed into the doublet, which remained an essential part of fashionable men's clothing for 300 years until the early 1600s.
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In Quilts As Text(iles): The Semiotics of Quilting, Elsley compares the format of her book with the form of a Log Cabin. Instead of alternating light and dark strips, she alternates readings of textiles in literature with discussions of contemporary quilt groups, which combine to form a larger vision of quilts as texts.
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