Fig. 44. Fig. 45. Lenore Tawney. Morning Dove, 1962. Linen, feathers, 53 15/16 × 16 9/16 in. Lenore Tawney. Untitled, 1961. Rayon, wool, 63 × 22 ⼀洀 in. (137 × 42 cm). Cooper Hewitt, Smithsonian Design Museum, New York, (160 × 56.8 cm). Lenore G. Tawney Foundation, New York (1961.04) Gift of Lenore Tawney (1964-66-3) drafting in Bogotá. She enrolled in September 1954 for a As Telas Amaral expanded in the early 1960s, De one-year fabric design and weaving program. Because she Amaral began to produce individual tapestries that earned was studying under textile designer Marianne Strengell, her a prominent place within the 昀椀ber arts movement.41 her introduction to the loom was conditioned by a cur- She started with knotting to the warp, creating pictorial riculum heavily oriented toward industry and upholstery, tapestries she called mechudos, and replicating ancient drapery, and rug design. At Cranbrook, De Amaral was techniques such as slits, wrapped warp, and interlacing more interested in experimenting freely with 昀椀ber, but in pieces with contrasting color combinations reminiscent 42 upon returning to Bogotá she established the workshop of Klee’s Bauhaus teachings. With a geometric compo- Telas Amaral for the production of functional weavings. sition of vibrant colors, Geometric Play of Colors (Juego Begun in 1956 as a one-loom operation, the workshop geométrico de colores, 1962; 昀椀g. 46) acknowledges the within a decade had expanded to a twelve-loom opera- grid as the essential principle of weaving, and its expres- tion that employed local artisans and provided services sive alternation of 昀椀gures inside rectangles suggests the 40 to architects, interior designers, and the fashion industry. modular units found in Wari and Inca tunics (see 昀椀gs. 11, 12). 41