Aubusson tapestry woven by the Goubely workshop.
Complete with signed label, n°6/6.
« I became interested in the art of tapestry particularly because I was excited by the numbered cartoon technique consisting of the fabrication of a mental coloured image using a code…. Tapestry is an essential exercise. As I practised it, it is perhaps the desire to interrogate, down to the finest detail, a work which exists in two dimensions.” (quoted in the exhibition catalogue, Prassinos, rétrospective de l’oeuvre peint et dessiné, Puyricard, 1983).
So much for the artist’s manifesto. Prassinos designed his first cartoons in 1951 (most of which, around 150, would be woven in the Goubely workshop); then he joined the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie). After several cartoons taking birds as their theme, Prassinos, like several other artists, despite being close to Lurçat, (Matégot, Wogensky…) turned resolutely towards abstraction, in a very personal style where sinuous shapes entwine in contrasting colours (often following a scheme of black-red-brown-beige).
The association of tapestry and the theatre is a natural one for Prassinos : « Large scale tapestry, in that it is designed for a specific place and with an architectural function can be assimilated with the theatre. It is not a vain gesture that some of my large tapestries bear the names of Shakespearean tragedies.” This text dates from 1967 and is taken from “Le petit traité du carton de tapisserie”, since 1961 when he designed « Romeo and Juliet” references to Shakespeare were numerous in his work be they the names of characters or plays.
Exhibition catalogue Mario Prassinos, tapisseries monumentales, Abbaye de Montmajour, Arles, 1974
Exhibition catalogue Mario Prassinos, Tapisseries , Aubusson, Musée départemental de le Tapisserie, 1984
Exhibition catalogue Prassinos, Tapisseries, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1988