‘Anything but drab’ opens today at Fruitlands Museum in their historic Shaker Office Building.
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Just as nineteenth century Shakers used contemporary paint manuals and pigments, chrome yellow and Prussian blue, they consulted contemporary dye books: Elijah Bemis’ The Dyer’s Companion (New Haven, CT 1815) and Molony’s Masterpiece on wool, silk and cotton dyeing (Lowell, MA 1837).
Dye recipes fill the pages of a mid-19th century Sister’s book from the Harvard Shaker Community. More colors than one can imagine. Dye books speak of possibilities, tantalizing tints of deep dark indigo, rosy reds of madder, geranium scarlet cochineal, dove grey drab and London brown. Dyeing is science, measuring, mixing and timing. Dyeing is days of preparation: grinding, heating, boiling, dipping and dipping, rinsing and more rinsing and finally drying. Color comes at times fast and at others relentlessly slow, and only revealed when the cloth is completely dry.
Painted in layers of watercolors and inks, crisscrossed like a warp and weft or striated light lines streaming into a room, Honeycutt’s accordion book anything but drab sits on a Prussian blue Shaker work table, recalls a bolt of dyed cloth or an unfolded Shaker map and speaks to the root of accordion, accord. Each fold builds on another, joined in unity and harmony, an accordance. Around the room, Shaker umbrella swifts, reels to wind yarn into balls, constructed by Brethren and used by Sisters, further demonstrate the duality, the equality, the accordance.
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Across from the Shaker Office building on Fruitlands grounds sits the Seasonal Gallery with the exhibition "a good many hands" Shaker Communities Woven through Word, Image and Object curated by Senior Curator Christie Jackson.
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Fruitlands Museum, 102 Prospect Hill Road, Harvard, MA, 01451
Thursday - Sunday, 10am-4pm.
