70 Sentences With "craftswoman" | Random Sentence Generator

But the distinction between craftswoman and artist was not one she dwelt on.

Self-trained, Bly was not a master craftswoman: Her writing could flirt both with tedium and turgidity.

The petite craftswoman has burn marks from working with electricity and drills — not the typical look for a Saudi millennial.

As she worked, a group of tourists began to gather around to snap photos of what appeared to be a seasoned local craftswoman at work.

I was really branching out, and then I wanted to do nothing but theater to see if I'm an actor for the celebrity, or if I really am a craftswoman.

From there, the last craftswoman still occupied making jewelry on the bridge where goldsmiths have plied their trade for five centuries has maybe the most enthralling of Florentine vistas all to herself.

While it's possible that the director and cinematographer Chris Moukarbel is good at withholding unflattering material, Gaga comes off well, and credibly so: intelligent, an accomplished craftswoman, a well-mannered collaborator and boss.

Howard showcases the disparate pieces in dialogue, juxtaposing hand-blocked wallpaper by the octogenarian British craftswoman Marthe Armitage with Hole and Smashing Pumpkins posters from the decade she spent as an art director for Geffen Records.

She sources much of her paper from the British craftswoman Jemma Lewis, who creates her combinations of rich greens and maroons or pale violets, peony pinks and sky blues in her studio — a cottage in the English countryside.

Even if you're not familiar with her portraits, The B-Side presents a behind-the-scenes look at the work of a unique craftswoman, who got to know these legendary people very well at a time when they were at their creative zeniths.

Among them, works marked by a certain psychological intensity will be hard to miss, including the ink-on-paper drawings at Hirschl & Adler Modern by Maine-based Jeanne Brousseau (born 1943), a livestock farmer and craftswoman whose stringy human figures and menacing snakes, crabs, alligators, and birds allude to the painful, long-suppressed memories of an adult survivor of childhood sexual abuse.

Fanny Harlfinger-Zakucka (1873-1954) was an Austrian painter, graphic artist and craftswoman.

For a girl, the selection of scissors or needles presumes that she will grow up to be a great craftswoman.

Other notable video works include the American Dream series of miniature sculptures, completed with craftswoman Carolyn Potter. These feature scale-model dwellings incorporating working video.

Florence Vere O'Brien (3 July 1854 – 8 July 1936) was a British diarist, philanthropist, and craftswoman. She set up The Limerick Lace School and Clare Embroidery.

Hilda Petrini thereby opened her own clock factory by use of her mother's license. She was a successful and recommended craftswoman and took apprentices of both genders.

Sarah Alice Haldeman (June 5, 1853 - March 19, 1915) was an American craftswoman, banker and philanthropist. She was the sister of social activist Jane Addams and mother of Marcet Haldeman-Julius.

Winifred Gill 1891–1981, artist, social reformer and craftswoman. Her extensive correspondence is an important source of information about the Omega Workshop, 1913–1919, set up by Roger Fry of the Bloomsbury Group.

Florence Koehler (1861 – 1944) was an American craftswoman, designer and jeweler. She was one of the best-known jewelers of the Arts and Crafts movement that flourished in the late 19th and early 20th centuries.

Mary Galway Houston (27 July 1871 – 24 April 1962) was an Irish craftswoman, teacher, and author. She was known for her leather work and repoussé metalwork. She was known for her writings on the history of costume and costume design.

That year, Tompkins transferred to the University of Washington, Seattle to study with Ruth Pennington, another influential Pacific Northwest craftswoman. He received his B.A. in Art Education in 1956 and his M.F.A. in Design (metal, jewelry, and sculpture) from Central Washington in 1958.

Akaike, p. 43 Craftswoman making banana leaf bun in Tavehua, Oaxaca. Both precious and non-precious metals are worked in the state. Many gold and silver jewelry items are made with filigree (fine metal thread) which is weaved and wrapped into shapes.

The mother, Annunziata, was employed as help-cook at Ansaldo too, following her husband. Later she helped him in his new activity. When the war was breaking out, Maddalena was about 20 years old, working as craftswoman at a small shoes factory.

Craftswoman making banana leaf bun in Tavehua, Oaxaca. Not all crafts are internationally known or collected. One such is the weaving of baskets. This craft is mostly practiced in very small communities in the Central Valleys region, where reeds grow abundantly along riverbanks.

The History of the Association Black Psychologists, pg. 69 He married Ava L. Kemp in 1948, at the age of 18. They had eight children, 17 grandchildren, and 13 great grandchildren. His eight college-educated children include four psychologists, a nurse, a journalist, a teacher, and a leather craftswoman.

Eva McKee (28 July 1890 – 1955) was an Irish craftswoman and designer, known for her involvement with the Irish Decorative Art Association. She was known for producing objects decorated with Celtic designs in a variety of media including leatherwork, jewellery, painted wood, embroidery, ceramics, repoussé metalwork, and block prints.

Established in 1909, Purcell & Elmslie has been described as one of the most prolific of the Prairie School. After adding George Grant Elmslie as partner in 1909, the firm dissolved in 1921. However, Parker left in 1919 to start her own office. In addition to architecture, Parker was a craftswoman.

Her mother, Catherine Mike Lewis, was mixed-race; of Mississauga Ojibwe and African-American descent. She was an excellent weaver and craftswoman. Two different African- American men are mentioned in different sources as being her father. The first is Samuel Lewis, who was Afro-Haitian and worked as a valet (gentleman's servant).

Gertrude Jekyll ( ; 29 November 1843 – 8 December 1932) was a British horticulturist, garden designer, craftswoman, photographer, writer and artist. She created over 400 gardens in the United Kingdom, Europe and the United States, and wrote over 1,000 articles for magazines such as Country Life and William Robinson's The Garden.Bisgrove, Richard. The Gardens of Gertrude Jekyll.

The district included the Borough of Verdun, along with the neighbourhoods of Saint-Henri, Little Burgundy, and Pointe-Saint-Charles and the eastern part of Côte-Saint-Paul, in the Southwest borough. It was named for Jeanne Le Ber, a religious recluse and craftswoman who lived in Pointe-Saint-Charles in the 18th century.

The Thornton- Smith Company was headquartered at The Thornton-Smith Building, an award- winning Neoclassical building on Toronto's Yonge Street. Agar Adamson was made nominal head of the franchise. The W & E Thornton-Smith Company decorated several theaters and churches in Toronto. Mabel was accomplished as an artist and craftswoman, and as an art collector.

Anna Taskomakare (circa 1480 - died after 1528), was a Swedish merchant craftswoman and estate owner. She belonged to the most successful burghers in Stockholm in the 1520s. The name 'Anna Taskomakare' means "Anna the Bagmaker". She belongs to the very first women merchants in Sweden of whom there are any significant amount of information.

She returned to upstate New York and died in New Jersey at 98 years of age. A retrospective exhibition, Zulma Steele: Artist/Craftswoman, was held in 2020 at the Kleinert/James Center for the Arts of the Woodstock Byrdcliffe Guild. The catalogue and accompanying essays constitute the most comprehensive scholarship on Steele's work to date.

Ahsan is a craftswoman and a visual- artist, which she demonstrated in art-house movie productions like Enechhi Shurjer Hashi. She was chosen as a brand ambassador for USAID (US Agency for International Development) to help women and children. In 2019, Ahsan was chosen as the brand ambassador of Bangamata U-19 Women's International Gold Cup.

Reviewing Snyder's book, The New York Times describes the author as "nimble-fingered craftswoman". However, Jane Langton calls Snyder's style of writing "sober" and states that there are many loose ends in the book that a reader could build "a bird's nest out of them."JANE LANGTON. in the New York Times Book Review. March 31, 1974, p.8.

Hannah Eliza Jane Brenkley (née Hopkins, 7 March 1882 – 25 February 1973) was a New Zealand artist and craftswoman. She created artworks through carving, needlework, and painting. Items of her work are in the permanent collections of the National Library of New Zealand, the Museum of New Zealand Te Papa Tongarewa and the Museum Theatre Gallery Hawke's Bay.

One was Rayta bint Abdullah, a craftswoman who supported Abdullah and their child through her handcrafts. The other was Zaynab bint Abdullah from the Thaqif tribe with whom he had several daughters. He specified in his will that none of his daughters should be married off without their own knowledge. He also had a son named Abdul Rahman.

Barron and Larcher were featured in a show of "Handmade Textiles and Pots" at Heal's Mansard Gallery in London.Hazel Clark, "Printed Textiles: Artist Craftswomen 1919-1939" Ars Textrina 10(1988): 53-70. Artist Paul Nash said of Barron in 1926, "She is a true designer and a true craftswoman."Paul Nash, "Modern English Textiles" Artwork (January-March 1926), reprinted in Andrew Causey, ed.

Agnes Edwards (c.1873-1928) also known as Queen Aggie was an aboriginal Australian craftswoman who made hand-crafted goods to earn her livelihood in New South Wales and Victoria. Gathering items along the riverbanks, she fashioned them into decorative ornaments or useful items and sold them in and around Swan Hill. Widely known she was honored by several local ceremonies.

Although by all accounts Martha was an excellent student she declined to attend college after her high school graduation, instead choosing to become a full-time apprentice to her father, who was a respected furniture decorator. Working under her father she quickly mastered the restoration and decoration of antique furniture and started to gain her own reputation as an adept craftswoman.

She has been recognized as an authentic Mexican craftswoman since 2010 by the government of Mexico City, her work has been exhibited in various museums and cultural events and has won the 3rd place at the VI Bienal Internacional de Arte Textil Contemporáneo WTA (2012) and the 1st place in the toys category at the Gran Premio de Arte Popular of FONART (2006) among other distinctions.

She left the school in 1925 as a qualified craftswoman. In 1923, while at the Kunstgewerbeschule, she went on a class excursion to nearby Weimar to visit the very first Bauhaus exhibition, held at the Haus am Horn. She was very enthusiastic about the exhibition and it later inspired her to apply, in 1925, to the study at the school. She was matriculant number 83.

Actor and poet ABM Sohel Rashid, is the eldest out of 5 children of Father Martyr intellectual ABM Abdur Rahim and mother, craftswoman Mrs. Jharna Rahim. He was born on December 27, 1971 at Azimpur Maternity Hospital in the capital city, Paternal residence is in reputed Mollabari family of Ghatiyara village on the bank of Titas River of Basudev union at Brahmanbaria district. He completed his Hons, Masters in Management.

Kate Muriel Mason Eadie (4 May 1880 - 8 November 1945) was an English jeweller and craftswoman in Birmingham, working in the Arts and Crafts style. In September 1940, she married the Birmingham Pre-Raphaelite painter Sidney Meteyard, whom she met when she studied at Birmingham School of Art, having modelled for many of his pictures, including Jasmine. They worked together on stained glass. A well as jewellery, she made larger items such as fire screens.

Auður Sveinsdóttir Laxness (July 20, 1918 – October 29, 2012) was an Icelandic writer and craftswoman, credited with influencing the design and popularity of the Icelandic Lopapeysa sweater during the mid-20th century. Her husband was Icelandic Nobel Literature laureate Halldór Laxness, and Auður worked as his secretary and writing collaborator for many years. In 2002, Auður received the Grand Cross of the Order of the Falcon for her contributions to Icelandic culture.

Both book dedications declare that the written content is the work of Elizabeth. Although no written record definitively affirms the tradition that Elizabeth also worked these embroideries, experts affirm that both covers are the handiwork of the same craftswoman. They use similar heavy grades of silk and silver thread, with thematically similar motifs and similar stitching. Elizabeth is known to have made and embroidered a shirt for her brother Edward when she was six years old.

Victorian craftswoman Therese Haynes was so enamoured of Archer that late in his life, she made a horseshoe ornament from his tail hair. She coiled the hair to create a horseshoe-shaped plaque, placed it in a silver setting and mounted it on red satin. Preserving relics from celebrities – a category that in Australia has often included horses – was a strong Victorian-era pastime. Today this piece of memorabilia can be found at the Australian Racing Museum in Melbourne.

Indonesian batik craftswoman blowing a canting to avoid the wax clogging the pipe Canting (, IPA:, sometimes spelled with old Dutch orthography tjanting) is a pen-like tool used to apply liquid hot wax () in the batik-making process, more precisely batik tulis (lit. "written batik"). Traditional canting consists of copper wax-container with small pipe spout and bamboo handle. Traditional canting is made of copper, bronze, zinc or iron material, however modern version might use teflon.

Neelamani Devi is an Indian craftswoman and master potter from Manipur. Her creations have been the theme of two documentary films; Mittee aur Manab by renowned filmmaker, Mani Kaul, and Nilamani: Master Potter of Manipur, by Aribam Syam Sharma. The TV Series, Mahabharata also featured her works on one of the episodes. The Government of India awarded her the fourth highest civilian honour of the Padma Shri, in 2007, for her contributions to the art of pottery making.

Reviewing the album for AllMusic, Andy Kellman wrote that Carey's [themes of] "flirtatious enticement, celebration, reminiscence, perseverance, rejection" were "highly energized". MusicOMH gave it a score of all five stars and stated: "[Carey] is vulnerable and tentative, yet honest and hopeful about embarking on a new journey". Spencer Kornhaber from The Atlantic stated that the album "shores up the idea of Carey the wit, the craftswoman, and the game player". The album also appeared on several year-end lists.

One daughter died in infancy. The eldest daughter, Jane Martha, married William Edward Forster, and when William Delafield Arnold died in 1859 leaving four orphans, the Forsters adopted them as their own, adding their name to the children's surname. One of these was Hugh Oakeley Arnold-Forster, a Liberal Unionist MP, who eventually became a member of Balfour's cabinet. Another of the children was Florence Vere O'Brien, a diarist, philanthropist, and craftswoman who lived in Ireland.

Aileen Mary Stace (1895-1977) was a notable New Zealand craftswoman, spinner and spinning teacher. She was born in Stoney Creek, Manawatu/Horowhenua, New Zealand, in 1895. She founded and organised the Eastbourne Spinners and Weavers, taught people to spin and designed patterns for jerseys to be produced from the wool the group produced. In the 1968 Queen's Birthday Honours, Stave was awarded the British Empire Medal, for services to the community of Eastbourne, particularly in the encouragement of wool handcrafts.

Una, as Mrs Una Deerbon, showed her own pots in 1931 at the annual exhibition of the New South Wales Society of Arts and Crafts.Actually 1932 according to In 1933 she showed over 200 pieces of pottery at Anthony Hordern's gallery. The Sydney Morning Herald found that > The variety both of the forms and of the surface decorations is remarkable. > It is only to be expected that the quality of the work done by so > adventurous a craftswoman should be uneven.

Women who managed to remain in the ale trade were usually married, widowed, or had unusual access to money and capital for a craftswoman. The rest of the women engaged in the ale trade, particularly occasional or part-time brewsters, lost the ease of market entry and economic stability they formerly had as ale brewers. These women either found other trades or methods for self-support (marriage, prostitution, etc.), or remained in the ale trade as tipplers and tapsters employed by male brewers.

Maja Dunfjeld (2014) Maja Hilma Dunfjeld (born 20 March 1947) is a South Sami researcher and duodji craftswoman who lives in Harran in central Norway. A graduate of the University of Tromsø, since 1980 she has provided consultative services on duodji art and has lectured at the Duodji Institute, part of the Nordic Sámi Institute. Dunfjeld was born and raised in Namdalen in Nord- Trøndelag. Specializing in duodji, she earned a doctorate in history of art from the University of Tromsø.

A batik craftswoman brush painting with wax in Kandy, Sri Lanka Over the past century, batik making in Sri Lanka has become firmly established. The Sri Lankan batik industry is a small scale industry which can employ individual design talent and mainly deals with foreign customers for profit. It is now the most visible of the island's crafts with galleries and factories, large and small, having sprung up in many tourist areas. Rows of small stalls selling batiks can be found all along Hikkaduwa's Galle Road strip.

Jimmy's wife, Nuuniwa Imundura Donegan, was also a craftswoman. During the mid- to late-1990s, she was a member of the Tjanpi Desert Weavers, a project of women producing artistic objects made mainly from grass ('). Their life-sized Tjanpi Grass Toyota, a truck made mostly of desert grasses, won the National Aboriginal & Torres Strait Islander Art Award in 2005. Other examples of her work are now held in the National Gallery of Victoria, the National Gallery of Australia, and the National Museum of Australia.

Sarah Lavalley at Golden Lake schoolhouse, Sept 1956 Sarah (née Aird) Lavalley (1895-1991) was a nurse, craftswoman, and community leader from Golden Lake Reserve. In addition to her social work, she is known for supporting cultural exchange between the Indigenous community that she was a part of and non- Indigenous people, as well as supporting cultural continuity through her teaching throughout her life. Lavalley was also known as a skilled maker using traditional patterns and stitching techniques, making wearable crafts like moccasins and mittens for instance.

A window by Theodora Salusbury in the apse of Honiley church Theodora Salusbury (1875–1956) was an artist and craftswoman in the Arts & Crafts style. After training with some of the best artists in the field, she worked as a stained glass artist at her studios in Cornwall and London. Salusbury's windows would be leaded up by Lowndes & Drury. Dating mostly from between the two World Wars, the windows were destined for nearly thirty churches in England and Wales, several of them in Leicestershire, Salusbury's home county.

When her son Toby Eady read the book, he was so amazed at how much he did not know about his mother that he did not speak to anyone for a week. Late in life Wesley ordered her own coffin from a local craftswoman and asked it be finished in red Chinese lacquer. She kept it as a coffee table for some time in her sitting room. She suggested that she be photographed sitting up in it for a feature in the magazine Country Living, but the idea was politely declined.

Edith Ella Baldwin (1848, Worcester, Massachusetts – 1920) was an American painter of portraits and miniatures, a craftswoman, and writer. She studied in Paris at Académie Julian, under William-Adolphe Bouguereau and Tony Robert- Fleury; at the Angelo Colarossi studios under Gustave-Claude-Etienne Courtois, also under Julius Rolshoven and Henry Mosler. At the Salon of the Champ de Mars, she exhibited a portrait in pastel, in 1901; at exhibitions of the Society of American Artists in 1898 and 1899, she exhibited miniatures; also pictures in oils at Worcester, 1903. A collection of her writings are held by Duke University.

Anne Harvey of The Independent wrote of Farjeon, "She was recognised throughout her working life as an exceptional craftswoman, with a sharp, true eye for fine detail and accuracy and an enviable gift for draughtsmanship." She noted the designer's works "were so precise that they could be sent to a theatre abroad, and recreated for another production." Along with a collection of her costume and set designs and notebooks relating to her work in Nicolas Stuart Gray productions contained in the University of Bristol, the Harvard Depository of the Harvard Library holds some of Farjeon's personal papers and objects connected to her.

To coincide with the 2005 merger, Katsuyama residents were given a book commemorating the last 50 years of Katsuyama's existence as a town and a special purple cloth with the town logo imprinted on it. Local to Katsuyama is the , the only Okayama waterfall on the list of Japan's Top 100 Waterfalls and home to Japanese macaque monkeys. Recently, Katsuyama has also become known for its noren adorning the shops and houses along a 1km stretch of the Katsuyama Historical Preservation District, wherein the Edo Period landscape of the town remains. The noren are all made by one craftswoman, Yoko Kano, who has her own workshop along the street.

110 In the early months of 1944, as the invasion of France by allies was anticipated, the tempo of activity by the resistance increased and Cormeau's work as a wireless operator became more demanding. She now transmitted several times a day and she stayed for lengthy periods in one place, the hilltop village of Castelnau-sur-l'Auvignon, the headquarters of George Starr. The official historian of SOE, M.R.D. Foot described Cormeau's work: > [She was] a perfectly unobtrusive and secure craftswoman...She broke one of > the strictest rules of wireless security--i.e. always keep on the move--with > success: she transmitted for six consecutive months from the same house.

A craftswoman lacquering at Artisans Angkor Artisans Angkor is a semi-public company whose story started in 1992 with an educational project called "Les Chantiers-Ecoles de Formation Professionnelle" (CEFP) implemented by the Cambodian Ministry of Education. This project aimed at rebuilding the country after the war period by training young people in the building sector, such as masonry, plumbing, tiling, painting, etc. Hence, "Les Chantiers-Ecoles de Formation Professionnelle" developed an educational methodology to provide those skills to underprivileged young Cambodians with little education. In the mid-1990s, this training was extended to traditional Khmer craftsmanship, as this essential part of the Khmer cultural heritage had almost disappeared.

Pibiones fabric Sardinian craftswoman The pibiones or grain weaving technique is most commonly found in the central and eastern areas of Sardinia, Italy. This is a particular type of stitched relief, where the pattern is formed from the countless grains incorporated into the cloth during weaving. These are made by twisting the weft yarn around a needle which is arranged in a horizontal position on the loom; after the thread is beat into place, the needle is then pulled away, leaving behind a raised effect (grains). Pibiones are used to decorate traditional Sardinian linen bedcovers, historically woven by young Sardinian girls to be included in their dowry (corredo).

When the Senate was dissolved in 1936, it was presented to the Royal Irish Academy. Newland Smith reviewed the casket, described Cranwill was a "designer and craftswoman who understands the national Irish style and can interpret it, create anew within it, and add to the old and delightful forms a personality and expression quite new". Cranwill's other works include an episcopal ring for John Dignan (1924), a tabernacle door for St. Michael's Church, Ballinasloe (1926), and a hymnal board for Holy Trinity church, Killiney (1932). In collaboration with Neville Wilkinson, she produced a miniature reproduction of the Cross of Cong and the Ardagh Chalice for Titania's Palace.

An accomplished artist and craftswoman, Knowlton was appointed to the Currier Gallery of Art Board of Trusttes and tasked with researching art museum buildings in order to guide the design of the Currier's new building, designed by Edward L. Tilton in 1927. Knowlton was named first director of the Currier Gallery of Art [now called the Currier Museum of Art], serving until 1946, and was one of the first women museum administrators in the United States. Maude Briggs Knowlton was an instructor at the Manchester Institute of Arts and Sciences (now the New Hampshire Institute of Art), and also later a director of its fine arts department. In 1930 she established the institute's educational program.

She was the first woman graduated to master craftswoman, becoming the first woman to join the Hungarian Handbag Guild in Budapest. She avoided Nazi persecution when she escaped the Holocaust of World War II to the safety of a house set aside for Swiss citizens, when her father, a Hungarian Jew who managed the grain department of a bank, was able to obtain a Swiss schutzpass, a document that gave the bearer safe passage. This pass is on view at the Holocaust Museum in Washington DC. The flat where Leiber survived the war housed 26 people. In December 1944, those living in the apartment were taken to one of the Hungarian Nazi-run ghettos.

The organization has a producer group base of over 700 artisan groups, collectively comprising over 1 lakh craftspeople. Under the aegis of Dastkar, Tyabji has worked with Self-Employed Women's Association of India (SEWA), a similar non-governmental organization founded by renowned Gandhian, Ela Bhatt, URMUL, Sandur Kushal Kala Kendra, Rangsutra, SASHA, Berozgar Mahila Kalyan Samiti, and many others. Other major DASTKAR projects are in Kashmir for the social reestablishment of the victims of terrorism, in Ranthambore, for the rehabilitation of the people who were evacuated for the National Park and in Bellary for the revival of the dying art of Lambani embroidery. She is associated with the artisans across the country such as Banjara Needle Crafts and Rabari mirror work craftswoman of Kutch and Maharashtra, Chikan craft workers of Lucknow, gond, Phad, mata in pacheri and madhubani painters, Kasuti embroidery artisans of Karnataka, handloom weavers in Bihar and Karnataka, and the leather, textile and terracotta artisans in Rajasthan.