Luba Krejci(Slovakia, 1925-2005) "Dreaming dreamers"
"Dreaming dreamers"
Signed Luba verso. Hand-knotted linen thread, 68 x 46 cm. Including frame 83.5 x 63 cm.
Provenance:
Acquired directly from the artist in the 1960s.
Thence by descent to the current owner.
More Information:
Luba Krejčí was a Czech textile artist whose innovative approach to traditional textile techniques made her a distinctive figure in the Fibre Art movement of the 1960s, alongside artists such as Sheila Hicks and Magdalena Abakanowicz. Her diverse practice encompassed lace, embroidery, printed textiles, tapestries, wickerwork and woven figures.
Krejčí’s most significant contribution to textile art was the development of nitak, a unique technique that reinterpreted traditional needle and bobbin lace. Meaning “little threaded one”, nitak enabled her to draw with thread, creating intricate, poetic compositions of interlaced human and animal figures. Rather than following preparatory drawings, she allowed her designs to evolve organically on a framework of foundation threads, manipulating yarns of varying weights and thicknesses to create expressive, web-like structures.
Both her traditional lacework and her experimental nitak constructions are represented in museum collections worldwide, including the Art Institute of Chicago, which holds three related works, as well as the Stedelijk Museum in Amsterdam and the Museum of Decorative Arts in Prague.
"Dreaming dreamers"
Signed Luba verso. Hand-knotted linen thread, 68 x 46 cm. Including frame 83.5 x 63 cm.
Provenance:
Acquired directly from the artist in the 1960s.
Thence by descent to the current owner.
More Information:
Luba Krejčí was a Czech textile artist whose innovative approach to traditional textile techniques made her a distinctive figure in the Fibre Art movement of the 1960s, alongside artists such as Sheila Hicks and Magdalena Abakanowicz. Her diverse practice encompassed lace, embroidery, printed textiles, tapestries, wickerwork and woven figures.
Krejčí’s most significant contribution to textile art was the development of nitak, a unique technique that reinterpreted traditional needle and bobbin lace. Meaning “little threaded one”, nitak enabled her to draw with thread, creating intricate, poetic compositions of interlaced human and animal figures. Rather than following preparatory drawings, she allowed her designs to evolve organically on a framework of foundation threads, manipulating yarns of varying weights and thicknesses to create expressive, web-like structures.
Both her traditional lacework and her experimental nitak constructions are represented in museum collections worldwide, including the Art Institute of Chicago, which holds three related works, as well as the Stedelijk Museum in Amsterdam and the Museum of Decorative Arts in Prague.
