Tapestry woven in the Fino workshop, Portalegre.
With label signed by the artist's widow.
1962.
Lurçat’s artistic production was immense : it is however his role as the renovator of the art of tapestry design which ensures his lasting renown. As early as 1917, he started producing works on canvas, then in the 20’s and 30’s, he worked with Marie Cuttoli. His first collaboration with the Gobelins workshop dates back to 1937, at the same time he discovered the tapestry of the Apocalypse which was essential in his decision to devote himself to tapestry design. He first tackled the technical aspects with François Tabard, then on his installation at Aubusson during the war, he established his technique : broad point, a simplified palette, outlined cartoons with colours indicated by pre-ordained numbers. A huge production then follows (over 1000 cartoons) amplified by his desire to include his painter friends, the creation of the A.P.C.T. (Association des Peintres-Cartonniers de Tapiisserie) and the collaboration with the art gallery La Demeure and Denise Majorel, and then by his role as a tireless advocate for the medium around the world.
His tapestries reveal a pictorial world which is specifically decorative, with a very personal symbolic iconography : cosmogony (the sun, the planets, the zodiac, the four elements…) stylised vegetation, fauna (rams, cocks, butterflies, chimera …) standing out against a background without perspective (voluntarily different from painting) and, in his more ambitious work, designed as an invitation to share in a poetic (he sometimes weaves quotations into his tapestries) and philosophical (the grand themes are broached from the wartime period onwards) vision whose climax is the “Chant du Monde” (Song of the World) (Jean Lurçat Museum , ancien hôpital Saint Jean, Angers) which remained unfinished at his death.
The total or partial re-use of cartoons is a characteristic of Lurçat’s working method : thus Eve is a replica in reverse of « La Poésie » (poetry), the antepenultimate panel of the « Chant du monde » series. Here the human face (? figure?) which had long been absent in the artist’s work, reappears. Was it his intention to create a biblical figure, an incarnation of woman, a poetic evocation, a sign of the zodiac (Virgo?)? The given title is Eve, probably out of respect for the artists widow’s wishes.
Bibliography :
Tapisseries de Jean Lurçat 1939-1957, Pierre Vorms Editeur, 1957
Exhibition Catalogue Lurçat, 10 ans après, Musée d'Art moderne de la ville de Paris, 1976
Exhibition catalogue Les domaines de Jean Lurçat, Angers, Musée Jean Lurçat et de la tapisserie contemporaine, 1986
Symposium Jean Lurçat et la renaissance de la tapisserie in Aubusson, Aubusson, Musée départemental de la tapisserie 1992
Exhibition Catalogue Dialogues avec Lurçat, Musées de Basse-Normandie, 1992
Exhibition catalogue Jean Lurçat, Donation Simone Lurçat, Académie des Beaux-Arts, 2004
Jean Lurçat, le chant du monde Angers 2007
Gérard Denizeau, Jean Lurçat, Liénart, 2013
Exhibition Catalogue Jean Lurçat au seul bruit du soleil, Paris, galerie des Gobelins, 2016
