Encyclopedia of American Folk Art

By Gerard C.Wertkin; Lee Kogan | Go to book overview

Richter, Paula Bradstreet. Painted with Thread: The Art of American Embroidery. Salem, Mass., 2000.
Ring, Betty. Girlhood Embroidery: American Samplers and Pictorial Needlework, 1650-1850. New York, 1993.
Swan, Susan Burrows. Plain and Fancy: American Women and Their Needlework, 1650-1850. Austin, Tex., 1995.



founded in 1977 as the American Museum of Quilts and Textiles by the Santa Clara Quilt Association, is recognized today as the first and oldest museum in the United States to focus specifically on the art of the quilt. The museum was a program of the Santa Clara Quilt Association until 1986, when it was incorporated as a nonprofit public-benefit museum and began to be administered under the direction of a community-based board of trustees. In 1998 the board voted to change the name of the museum so that it could compete more effectively for local public monies. It now receives funding from public sources such as the city of San José and the California Arts Council as well as from various foundations and private individuals.

A founding precept of the museum was that "textile art transcends cultural, ethnic, and age boundaries and encompasses traditional as well as contemporary forms." The museum's mission today is to promote the art, craft, and history of quilts and textiles; and its exhibits and programs are designed to give the public an expanded appreciation of quilts and textiles as art and to provide a better understanding of quilts and textiles as objects of material culture that not only reflect the lives of their makers and cultural traditions but also serve as important historical documents.

The museum collection comprises some 350 objects, gathered through donation and purchase. Included are 220 nineteenth- and twentieth-century quilts and 130 recently acquired ethnic textiles such as Japanese kimono, Mexican huipils, Indonesian batiks, Bedouin tunics, and embroidered East Indian garments. The East Indian pieces were assembled by the quilt artist Yvonne Porcella, who had used them as inspiration for the art she created in the 1980s. The museum's exhibitions are drawn from its own collection as well as from contemporary and historical quilts and textiles from around the world. The museum also maintains a reference library on quilt and textile history that is open to researchers and others with interests in this subject. It also has an active public programming component, offering workshops and lectures by experts for adults, and primary school educational programs that supplement the California school system's second-grade mathematics and language arts curriculum and fifth-grade history curriculum.

See also Quilts.



created polychromed wood bas-reliefs depicting Cuban-Americans in El Barrio de Gato, Cayo Hueso, an enclave in Key West, Florida, where he was born. At age twelve, Sanchez observed street life from his shoe shine stand next to his father's coffee shop. Over the years, he had many jobs, including one as custodian at the Art and Historical Society, and was exposed to local artists and artists sent to Key West by the Works Progress Administration during the depression.

Sanchez first made kites and carved fish and mermaids from driftwood. His polychromed carvings began as pencil sketches on grocery bags, transferred to wood with carbon paper. He used wood chisels, a mallet, broken glass and a razor blade to sharpen outlines, inexpensive paintbrushes, oil paint, and castor oil as a thinner. His detailed horizontal scenes, frontal and flattened with no spatial perspective, often took months to complete. In the 1990s he made dyptychs reflecting cultural changes: cigar makers-the Gato brothers-working at home, then a cigar factory; a dairyman selling milk from a cow on the street, then the modern truck of Magnolia's dairy; a fish peddler, Tomasita, with a cart and then a shop.

Sanchez's carvings are at the Tampa Museum of Art, Fort Lauderdale Museum of Art, and Fenimore Art Museum (Cooperstown, New York). In 1995, the state Folklife Festival commissioned Sanchez to carve the symbol for Florida's sesquicentennial.

See also Sculpture, Folk.

Frank, Nance. Mario Sanchez Before and After. Key West, Fla., 1997.
Proby, Katherine Hall. Mario Sanchez: Painter of Key West Memories. Key West, Fla., 1981.
Rosenak, Chuck, and Jan Rosenak. Museum of American Folk Art Encyclopedia of American Folk Art and Artists. New York, 1990.
Rothermel, Barbara. "'I Paint What I Remember': The Art of Mario Sanchez." Folk Art, vol. 21 (fall 1996): 42-48.



are drawings in charcoal or pastel, coated with marble dust to give a sandpaper-like appearance with sparkle and texture. Sandpaper paintings were most popular and most widely produced and marketed during the mid-nineteenth cen


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Encyclopedia of American Folk Art
Table of contents

Table of contents

  • Title Page iii
  • Contents v
  • List of Entries vii
  • Introduction xxvii
  • A 1
  • B 35
  • Bibliography 75
  • C 79
  • Bibliography 107
  • Bibliography 111
  • D 113
  • Bibliography 144
  • E 145
  • Bibliography 153
  • F 161
  • Bibliography 166
  • Bibliography 171
  • G 189
  • Bibliography 203
  • Bibliography 210
  • H 217
  • Bibliography 225
  • Bibliography 235
  • I 247
  • Bibliography 249
  • J 251
  • K 269
  • Bibliography 273
  • L 279
  • M 293
  • Bibliography 309
  • Bibliography 311
  • N 337
  • O 349
  • P 355
  • Bibliography 388
  • Q 411
  • R 421
  • Bibliography 433
  • S 447
  • Bibliography 450
  • Bibliography 472
  • Bibliography 484
  • Bibliography 490
  • Bibliography 494
  • Bibliography 496
  • T 509
  • U 527
  • V 529
  • W 539
  • Bibliography 540
  • Bibliography 546
  • Bibliography 556
  • Y 561
  • Index 569


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