125 cm

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  • Les Musiciennes 2 (the musicians 2; detail)

     
     
    Tapestry woven by the Fino workshop, Portalegre. With label. 1953-1964.
             
  • Les 3 Grâces (the 3 Graces)

       
    Aubusson tapestry woven by the Four workshop. N°3/6. Woven circa 2000, after a 1962 gouache.
              Braque is another 20th century artist who produced, however modestly, works in tapestry form. It was originally at the request of Marie Cuttoli in 1933, that he submitted works for reproduction as tapestries (Nature morte au guéridon [Still life on an occasional table], conserved at the Musée des Beaux Arts in Grenoble). In the 1950’s and 60’s it was Pierre Baudouin, in association with the weavers of Aubusson and the Nationale Manufactures, who would be asked to transcribe to cartoon format some of the artist’s productions. At the same time, shortly before his death in 1963, Braque made a last series of images in gouache, taking as their theme metamorphoses, which were destined for reproduction in various different media. Tapestry would be one of these.     “The three graces”, 1962, is one which would appear in sculpture, or as jewelry. In it we observe the lyrical and synthetic style to be found in the artist’s last works (obviously the decor of the ceiling in the Henri II room at the Louvre, les Oiseaux [the birds] 1953 comes to mind).
  • Composition

       
    Aubusson tapestry woven by the Pinton workshop. With label. Circa 1965.  
      Little is known about the artist, but she created a number of cartoons, which would be woven in the 60’s by Tabard and Pinton.
  • Fleurs et feuilles (flowers and leaves)

       
    Aubusson tapestry woven by the Braquenié workshop. With label. Circa 1960.
       
    Multi-talented artist (poet, lyricist, painter and even antiques dealer,…) Saint-Martin, who assisted Lurçat at the beginning of the 1950’s, started designing his own cartoons in 1956 and they were woven in the Braquenié workshop. His is a dream-like, stylised and dramatised world : here, symbols of order and discipline (the still life composition, the wrought iron balustrade...) contrast with the unsettling, unfettered profusion of the branches on each side.  

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