Textile, Intaglio

Intaglio, designed by Yarlekovic for Associated American Artists in 1955, captures the mid-century American fascination with non-Western cultures. An upbeat review of the newly released Signature Fabrics by M. Lowenstein & Sons in Women’s Wear Daily singled out “the gay hearted completely modern mood designs of Yarlekovic…” and acknowledged the group’s international themes: “In looking over this highly imaginative collection it is significant to note how these artists draw inspiration not only from other countries and national events but everyday living.” [1]
Yarlekovic’s Intaglio, with its rudimentary renderings of Africana figures and foliage, takes its name from a group of printmaking techniques favored by Albrecht Dürer and Francisco de Goya in which a design is cut, scratched, or etched into a surface, often made of metal. Printing ink is rubbed into the incised lines, then the surface of the plate is wiped clean. With the help of a roller press, a sheet of wet paper is embossed into the incisions or grooves, where it comes into contact with the ink.
The museum currently holds three examples of Yarklekovic’s textile designs for Associated American Artists: Top-O-World, 1955 (2016-35-61); Carousel, 1954 (2016-35-33); and Unicorns, 1954 (2016-35-55). Intaglio is included in the collection of the Museum at the Fashion Institute of Technology.

Textile, Intaglio; Designed by Emma Yarlekovic (American, b. 1924); Produced by Associated American Artists (United States); cotton; H x W: 457.2 × 88.9 cm (15 ft. × 35 in.); Gift of Elena Phipps; 2017-68-1