Reading visual art: 178 Knitting, past and pastime

Knitting, and its close relative crochet, form strands of wool or yarn into loops that assemble the fibres into fabric. Although machines have long been used to make knitted garments commercially, until the nineteenth century most woollen clothing was still knitted (or crocheted) by hand. Today what’s viewed as a traditional craft almost exclusively for women was, in the past, a popular if not essential activity for many men too, as it was the only way that they could have socks, warm gloves and other garments to wear.

In this article and tomorrow’s sequel, I show a selection of depictions of both knitting and crocheting; tomorrow’s paintings focus on their association with poverty, while this article shows some of their other readings.

By the late nineteenth century, when Thomas Eakins painted some of his few watercolours, knitting by hand was in decline, and seen as a sign of the past.

Thomas Eakins (1844–1916), Seventy Years Ago (1877), watercolour and gouache on cream wove paper with graphite border, 39.8 × 27.4 cm, Princeton University Art Museum, Princeton, NJ. Wikimedia Commons.

Eakins’ Seventy Years Ago, from 1877 explores the early Federal period in Philadelphia, prompted by increased interest in that era resulting from the national centennial the previous year. His subject is knitting in the round on three needles, forming a tubular section of garment, perhaps a sock or sleeve. A spinning wheel at the left edge shows her to an accomplished fibrecrafter.

William Dyce (1806–1864), Welsh Landscape with Two Women Knitting (1860), oil on board, 36 x 58 cm, National Museum of Wales, Cardiff, Wales. Wikimedia Commons.

In the autumn of 1860, William Dyce stayed in the Conwy Valley in Wales for six weeks, where he sketched and painted avidly. After his return to London, he painted this Welsh Landscape with Two Women Knitting, showing the rough and rugged scenery above the valley, a rock outcrop filling much of the left half of the painting.

In its centre is an old woman, and to the right a young one, each dressed in traditional clothes, and knitting. The younger wears a formal ensemble that had recently been revived and designated ‘Welsh national costume’, as might be worn for Eisteddfods and other special occasions. They’re both knitting stockings from scavenged scraps of wool, an activity that might have been common earlier in the century and performed indoors at home. It had largely disappeared by 1860, and is conspicuously incongruous for such an outdoor location. Dyce’s painting remains enigmatic.

Depending on the pattern being knitted, the knitter may require periods of intense concentration, making it a sign of detachment from or disinterest in surrounding activities.

Thomas Eakins (1844–1916), William Rush Carving His Allegorical Figure of the Schuylkill River (1876-77), oil on canvas mounted on Masonite, 51.2 x 66.4 cm, Philadelphia Museum of Art, Philadelphia, PA. Wikimedia Commons.

William Rush Carving His Allegorical Figure of the Schuylkill River (1876-77) is the first of three paintings by Thomas Eakins showing this wood sculptor carving his Water Nymph and Bittern for a fountain in Philadelphia’s waterworks, in 1808. The water nymph is an allegory of the Schuylkill River, at that time the city’s primary source of water.

Rush had been a founder of the Pennsylvania Academy of the Fine Arts, and an enthusiast for the use of nude models in art, as was Eakins. This painting was at least in part an attempt to promote the practice of working from nude models. Seated at the right of the model is a chaperone, who is clearly more interested in her knitting. The model’s complicated clothing is hung and scattered in the light, as if to emphasise her total nudity (apart from a hair-band!). Unfortunately, those scattered garments didn’t go down well, and were deemed scandalous at the time.

Laurits Andersen Ring (1854–1933), Housewife’s Evening Party (1905), oil on canvas, 72.5 x 87.5 cm, Statsministeriet, Copenhagen, Denmark. Wikimedia Commons.

LA Ring’s Housewife’s Evening Party from 1905 shows a very different sort of party from those being painted at the time in cities like Paris. This housewife sits crocheting her way through the height of the party, as her husband and a friend discuss a book by the light of the kerosene lantern.

Through the ages, knitting and crochet have been peaceful and productive pastimes for many.

François-Joseph Navez (1787–1869), Women Spinning in Fondi (1845), oil on canvas, 148 x 187 cm, Neue Pinakothek, Munich, Germany. Wikimedia Commons.

Fibrecraft may have declined in popularity in the cities of the nineteenth century, but it remained commonplace in the provinces and country. François-Joseph Navez here shows a group of Women Spinning in Fondi in 1845, a town roughly midway between Rome and Naples. Two of the women are actively spinning, one has dropped her distaff to gaze pensively at her young baby, and the woman in red in the centre is probably knitting.

Hans Thoma (1839–1924), A Peaceful Sunday (1876), oil on canvas, 79.5 × 107 cm, Hamburger Kunsthalle, Hamburg, Germany. Wikimedia Commons.

In Hans Thoma’s A Peaceful Sunday from 1876, an elderly couple are sat at a plain wooden table, in their urban apartment. She works at her knitting or crochet, while he reads. You can almost hear the soft, measured tick of the clock that’s out of sight, slowly passing their remaining years.

Gustave Caillebotte (1848–1894), Mademoiselle Boissière Knitting (1877), oil on canvas, 65.1 x 80 cm, Museum of Fine Arts, Houston, TX. Wikimedia Commons.

Gustave Caillebotte’s portrait of Mademoiselle Boissière Knitting (1877) is one of the first in which he might be said to be painting in Impressionist style. This elderly spinster is working intently.

Anna Ancher (1859-1935), Sunshine in the Blue Room, Helga Ancher Crocheting in her Grandmother’s Room (1891), oil on canvas, 65.2 x 58.8 cm, Skagens Museum, Denmark. Wikimedia Commons.

Anna Ancher’s skills as a colourist and impressionist brighten her Sunshine in the Blue Room, Helga Ancher Crocheting in her Grandmother’s Room, from 1891, as she progressed from realism and became increasingly painterly in her brushstrokes.

Anders Zorn (1860–1920), Girl from Dalecarlia Knitting. ‘Cabbage Margit’ (1901), oil on canvas, 72 x 57 cm, Nationalmuseum, Stockholm, Sweden. Wikimedia Commons.

In the summer of 1901 Anders Zorn painted this Girl from Dalecarlia Knitting. ‘Cabbage Margit’ (1901) in his town of Mora, deep in the Swedish countryside. She too is knitting in the round.

Laurits Andersen Ring (1854–1933), The Sick Man (1902), oil on canvas, 52.7 x 45.7 cm, Den Hirschsprungske Samling, Copenhagen, Denmark. Wikimedia Commons.

The Sick Man, painted by LA Ring in 1902, stares grimly, wide-eyed and straight ahead, as if already looking death in the face. Meanwhile his wife sits knitting peacefully, already swathed in black apart from her apron.