Feature: Barbara Nuss

By Janet Esch

Some of you have known Barbara Nuss before she became a member of BAS - you own her paintings. Her wonderful work in quilting is a reflection of her knowledge and sense of color and value that has led to her success as a painter. Her book, 14 Formulas for Painting Fabulous Landscapes , published by North Light Books in 2003 illustrates her skill as a teacher and artist.

Again my enjoyment of this interview repays all the pain of making or missing deadlines. It was such a privilege, driving down a country road in the winter light, to talk to Barbara Nuss in her studio in Lisbon, MD, about her quilts. I could have sat all day soaking in the beauty of her country house and paintings noting the touches that make her home a place that is clearly a haven for an artist.

Like many of us, it was her Grandmother who introduced her to quilts: She made quilt tops, all "Grandmother's Flower Garden" (and, like others today, in the 1940's her grandmother sent her tops to Pennsylvania to be quilted by the Amish). "Some things just don't change," Barbara told me. Her grandmother also taught Barbara to sew, and by 12 years old she was making her own clothes on her own Featherweight. And later, she taught dress-making for the Singer Company. Barbara began her studies at Syracuse University in Home Economics, as a clothing major; but after the experience of teaching the other students in one of her classes and not learning anything new herself, she moved to the art department and received her degree in Fine Arts.

She followed the route of many quilters: X-stitching, crochet, knitting, "but it was not really satisfying until I discovered the quilting." Twenty years ago she made a first quilt: appliqué of teddy bears for her step granddaughter. "Even before that I saw the Whig Rose pattern and made pillows. And then I made an appliqu´d quilt." But not until 9 years ago did Barbara join Four County Quilters. And she says much of her work is "because of them." Barbara and Terry Feehand created the guild's last raffle quilt that was shown in the January 2005 issue of Society Sampler.

Barbara wanted to do more with her quilting. She was "bemoaning" her desire for excellence" in the Howard County Library one day and began talking to another patron who suggested that she try Baltimore Appliqué Society. She is very happy to be a member. "I can't get too involved, but I do what I can" which is a great deal; she doesn't run for office, edit a newsletter or chair a major museum show, but "I contribute in my own way"; she creates spectacular pieces that she generously donates for fund raisers, and for the quilt party she has told Polly, "I'll do whatever she needs me to do."

"An early quilt, quilted in blocks first and then put together in the lap quilting style of Georgia Bonsteele."

"Birds in the Air," 1991, is a scrap quilt that is machined pieced.

The quilt covers an antique cupboard. Above hangs a wonderful water color which Barbara painted in 3 hours, a paint out, with the Baltimore Water Color Society, the only water color that she has hanging in her house. She says that painting water color from life (outside) is "stressful" a word that I notice Barbara uses often, but seems antithetical in this serene and quiet place. Barbara teaches outdoor oil painting workshops and has rather reluctantly taught water color to friends who have demanded it of her. She has, however, included instructions for landscape water color painting in her book.

In 2001, Fruit Bowl - "Something I'll never do again. The stippling and gathers in the pineapple tried my patience."

Barbara decided she needed something more challenging and chose a Mimi Dietrich Baltimore Album design, but she changed most of the patterns to make them her own. Note the shape of the lyre and the center top wreath with the bow. This quilt went to the Nashua, NH, show, "A Quilter's Gathering," with Jan Carlson. I asked Barbara about how she plans colors and design. Rose is a favorite color. She also ties blocks together by using one flower that is always the same color in numerous blocks, in this case a blue flower and a yellow daisy. She also used pansies in several blocks.

Her Double Wedding Ring quilt which she did on her own - Barbara usually does not take classes - took her five years. All of the many different colors for the small pieces that she bought for the quilt were not from her quilt stash which did not exist at the time. This quilt hung at an AQS show.

Note the detailed quilting.

Barbara made two Mary Mannakee quilts, "copying" one block. "Of course, it is," as she says, "inspired or copied, we are going to do our own," - she and her muse. "I picked elements and embellished baskets. I went hog wild with the border." She donated one quilt to BAS for an earlier auction and the other will go to the March Little Quilt Party. I pause and have a sudden greedy desire to attend the party and win this quilt.

Note the unusual border-Barbara's original design.

Her current project is a tribute to her country home with the oak tree motif that uses Thimble Berries fabric. "I like the medallion quilt with the variety of piece and appliqué. I started it two or three years ago, but the raffle quilt got in the way. We are a baseball family; my grandfather played for University of Illinois and then for a Denver team. I like to watch the game on television and work on my quilt." The appliqué is her original pattern and the log cabin, flying geese, Ohio Star, and block squares offer the opportunity for a variety of blues, greens, golds, and shades of rose and brown - an artist's palate.

Barbara has learned to do machine quilting from Lorraine Carter. She eliminates the bulk by cutting the batting in 3 strips and then sewing on the curve to match the batting roll. "The fabric rolls up into a little ball." Barbara is planning a machine-quilted 75" square quilt for her son with many colors: mystery blocks she calls them.

Of any guidelines for color she says, "It is not on a level I can really articulate. If it is in nature I let it. For quilting the value scale is the most important." Barbara uses a black to white scale with holes punched in each block to lay on fabric to estimate value. For contrast, pieces must be at least two values apart. "The yellows and reds fool you." She says that for painting and quilting one should keep warm and cool colors separate. "Some people believe that a cool yellow is a contradiction, but there is a warm and cool shade for every color."

I left this beautiful artist with many lessons in my head. Her quiet, but strong affect is clear: she primarily works alone, is very social and comfortable with people and is very generous in donating her spectacular quilts to BAS.

And I - I will go to an art store and buy a value scale; make holes in the blocks and see how many of my colors don't work. Oy!