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Although
Ahlmann herself worked only with wool and cotton (never synthetics), she developed a reputation for being able to cross easily between the techniques of hand weaving and the demands of industrial textile production. She later created designs for other textile manufacturers, such as C. Olesen
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designs. This collaboration marked a shift in her production towards industrially produced designs as the scale of production exceeded what was possible with hand-woven textiles. She continued to work with
Morgensen, and her palette of muted colors and grays became brighter, complementing the oak
61:(Kugleseng). By 1938 she had begun to exhibit her textiles, and she became known for a strongly geometric style featuring stripes and checks, initially in earth tones. Drawing on both traditional Danish folk patterns and
22:(April 13, 1894 – January 15, 1979) was a Danish weaver and textile designer who was one of the founders of modern Danish textile art and influential in the development of the style known as
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ideas, her work in this decade with fabrics designed to complement furniture helped to shape the style now known as
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Ahlemann's designs are considered timeless, and her stature in the field was recognized in 1948 with the
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From Folk Art to Modern Design in
Ceramics: Ethnographic Adventures in Denmark and Mexico 1975-1978
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She opened her own workshop in 1934, and during that decade worked with furniture designer
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to create fabrics for his new line of mass-produced beechwood furniture inspired by
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158:"Lis Ahlmann (1894 - 1979), Danish Weaver Extraordinaire"
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81:that was his preferred material after the war.
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20:Mathilde Elisabeth "Lis" Ahlmann
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278:Danish women textile artists
253:20th-century Danish artisans
94:Royal Swedish Academy of Art
16:Danish designer (1894–1979)
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268:Danish women designers
243:Danish textile artists
194:Campbell, Gordon, ed.
273:Danish women artisans
263:Artists from Aarhus
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30:Biography
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