GENERAL DESCRIPTION
Navajo weaving, performed by women with upright looms, is the most distinguished of modern southwestern textile traditions. During the 19th century, the wearing blanket of the Classic period (1800–1864/8 CE) evolved into the rug that encouraged the survival of the tradition into the 20th century. Synthetic aniline dyes simplified the process of achieving color and expanded the range of hues, and machine‑spun yarn from Germantown, Pennsylvania, offered consistent diameter and commercial colors. Use of the new yarn in bolder, more complex geometric compositions produced “eye‑dazzlers,” textiles with an intense interaction of color. Whether this textile was intended as a blanket or a rug is uncertain. It is larger than most wearing blankets, and the addition of fringe and tassels is unusual, yet it seems too thin to have functioned as a rug. This is a quintessential Transitional period textile—one that might be best described as having been woven as a work of art.
Excerpt from
Bonnie Pitman, ed., "Eye-Dazzler Blanket (2008.40)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 56.
NOTES
Navajo, c. 1880-1900 (noted on TMS), updated by KJones on 12/31/13
Cultures
Navajo: AAT: 300017740
Southwestern North American styles (Pre-Columbian): AAT: 300016920
Geography
Arizona (state): TGN: 7006451
Southwest (general region): TGN: 4010660
Process/materials
textiles (visual works): AAT: 300014063
textile materials: AAT: 300231565
weaving: AAT: 300053642
embroidering: AAT: 300053653
warp: AAT: 300227930
weft: AAT: 300227934
cotton (fiber): AAT: 300183670
wool (textile): AAT: 300243430
wool (hair material): AAT: 300014074
aniline dye (synthetic dye): AAT: 300013094
Germantown (neighborhood): TGN: 7014057
Germantown commercial wool yarn (textile materials): DMA
looms (textile tools): AAT: 300247546
Historical periods
Individuals
Subject terms
textile art (visual works): AAT: 300386843
folk art (traditional art): AAT: 300056487
blankets (poncho / manga / q'uul (kul) / coverings): AAT: 300197367
trade blankets: AAT: 300197382
eye-dazzler blanket (Navajo wearing blankets): DMA
black (color): AAT: 300130920
red (color): AAAT: 300126225
brown (color): AAT: 300127490
yellow (color): AAT: 300127794
green (color): AAT: 300128438
white (color): AAT: 300129784
geometric motifs: AAT: 300009764
zigzags (geometric patterns): AAT: 300165028
linear forms: AAT: 300234452
trade (function): AAT: 300061886
RELATED OBJECTS
PROVENANCE
Until 2008: Private collection, United States [1]
From 2008: Dallas Museum of Art, Textile Purchase Fund, purchased from Shango Galleries, Dallas (John A. Buxton) [2]
[1] The main source for this provenance is Invoice from John A. Buxton (dated September 25, 2008, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[2] The main source for this provenance is Committee on Collections Agenda (dated September 24, 2008, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
TEACHING IDEAS
RULES
Apply to objects where number equals 2008.40
Category
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General Description
Navajo weaving, performed by women with upright looms, is the most distinguished of modern southwestern textile traditions. During the 19th century, the wearing blanket of the Classic period (1800–1864/8 CE) evolved into the rug that encouraged the survival of the tradition into the 20th century. Synthetic aniline dyes simplified the process of achieving color and expanded the range of hues, and machine‑spun yarn from Germantown, Pennsylvania, offered consistent diameter and commercial colors. Use of the new yarn in bolder, more complex geometric compositions produced “eye‑dazzlers,” textiles with an intense interaction of color. Whether this textile was intended as a blanket or a rug is uncertain. It is larger than most wearing blankets, and the addition of fringe and tassels is unusual, yet it seems too thin to have functioned as a rug. This is a quintessential Transitional period textile—one that might be best described as having been woven as a work of art.
Excerpt from
Bonnie Pitman, ed., "Eye-Dazzler Blanket (2008.40)," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 56.
Fun Facts
Archival Resources
Web Resources
Notes
Navajo, c. 1880-1900 (noted on TMS), updated by KJones on 12/31/13
Cultures
Navajo: AAT: 300017740
Southwestern North American styles (Pre-Columbian): AAT: 300016920
Geography
Arizona (state): TGN: 7006451
Southwest (general region): TGN: 4010660
Process/materials
textiles (visual works): AAT: 300014063
textile materials: AAT: 300231565
weaving: AAT: 300053642
embroidering: AAT: 300053653
warp: AAT: 300227930
weft: AAT: 300227934
cotton (fiber): AAT: 300183670
wool (textile): AAT: 300243430
wool (hair material): AAT: 300014074
aniline dye (synthetic dye): AAT: 300013094
Germantown (neighborhood): TGN: 7014057
Germantown commercial wool yarn (textile materials): DMA
looms (textile tools): AAT: 300247546
Historical periods
Individuals
Subject terms
textile art (visual works): AAT: 300386843
folk art (traditional art): AAT: 300056487
blankets (poncho / manga / q'uul (kul) / coverings): AAT: 300197367
trade blankets: AAT: 300197382
eye-dazzler blanket (Navajo wearing blankets): DMA
black (color): AAT: 300130920
red (color): AAAT: 300126225
brown (color): AAT: 300127490
yellow (color): AAT: 300127794
green (color): AAT: 300128438
white (color): AAT: 300129784
geometric motifs: AAT: 300009764
zigzags (geometric patterns): AAT: 300165028
linear forms: AAT: 300234452
trade (function): AAT: 300061886
RELATED OBJECTS
PROVENANCE
Until 2008: Private collection, United States [1]
From 2008: Dallas Museum of Art, Textile Purchase Fund, purchased from Shango Galleries, Dallas (John A. Buxton) [2]
[1] The main source for this provenance is Invoice from John A. Buxton (dated September 25, 2008, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
[2] The main source for this provenance is Committee on Collections Agenda (dated September 24, 2008, copy in Dallas Museum of Art Collections Records Object File, Confidential). Exceptions and other supporting documents are noted.
AUDIO ASSETS
VIDEO ASSETS
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2008.40
source file
object_notes_3_a-0759.xml.nores