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    Etienne POIRIER

    Sérénade à la lune (moon serenade)

       
    Aubusson tapestry woven by the Braquenié workshop. N°IV/VI. 1952.
       
    Initiated into the art of tapestry design by Jean Picart le Doux, Poirier produced his first cartoon in 1951 : he was to produce twenty-odd cartoons during the 1950's, which led him to be considered as one of the great hopes for the new Tapestry movement. However from the 60's onwards, he returned to painting.   ‘Sérénade à la lune’ was originally a large-scale cartoon (190 x 285 cm) commissioned by Jacques Adnet in 1952. Our tapestry uses the left-hand side of the composition, reduced in height and inverted, without the moon. This fragmentation met the needs of a clientele eager for small formats.     Bibliography : J. Cassou, M. Damain, R. Moutard-Uldry, la tapisserie française et les peintres cartonniers, Tel, 1957, ill. p.182  
     
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    Raymond POULET

    Marché aux chameaux (camel market)

       
    Aubusson tapestry produced by Jean Laurent. 1980.
        In a similar vein to Toffoli, Raymond Poulet criss-crossed the world and his travels provided the themes that inspired his work ; the oriental inspiration has few precursors among the world of the peintre-cartonniers other than Bezombes.
     
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    Jean PICART LE DOUX

    Amazonie (Amazonia)

        Aubusson tapestry woven by the Hamot workshop. With signed label. 1962.         Jean Picart le Doux is one of the foremost figures in the renaissance of the art of tapestry. His earliest contributions to the field date back to 1943 when he designed cartoons for the passenger ship “la Marseillaise”. A close associate of Lurçat, whose theories he would adopt (limited palette, numbered cartoons...), he was a founding member of the A.P.C.T. (Association des Peintres-cartonniers de Tapisserie), and soon after, a teacher at the Ecole Nationale Supérieure des Arts Décoratifs. The state gave him several commissions most of them at the Aubusson workshop, and some at the Gobelins : the most spectacular of these being for the University of Caen, the Theatre in Le Mans, the passenger ship France or the Prefecture of the Creuse département ... In as much as Picart le Doux’s aesthetic is close to that of Lurçat, so also is his inspiration and his subject matter, although in a register which is more decorative than symbolic, where he brings together heavenly bodies (the sun, the moon, the stars...), the elements, nature (wheat, vines, fish, birds...), man, literary quotation ...   Since « Orénoque » dating from 1956 (Bruzeau n°72), South America recurrs regularly in the work of Picart le Doux. Here “la huppe”, a vertical cartoon (Bruzeau n°97) is enlarged horizontally by the addition of the river peopled with turtles, fish ...in a highly effective decorative ensemble.   Bibliography : Marthe Belle-Jouffray, Jean Picart le Doux, Publications filmées d’art et d’histoire, 1966, ill. n°5 Maurice Bruzeau, Jean Picart le Doux, Murs de soleil, Editions Cercle d’art, 1972, ill. n°129 Exhibition Catalogue, Jean Picart le Doux, tapisseries, Musée de Saint-Denis, 1976 Exhibition Catalogue Jean Picart le Doux, Musée de la Poste, 1980, n°14  ill.  
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    Edmond DUBRUNFAUT

    Double amitié (double friendship)

       
    Aubusson tapestry woven in the Four workshop. With signed label, n°EA1. 1972.
          Edmond Dubrunfaut can be considered as the great 20th century renovator of the Belgian tapestry tradition. He founded a weavers’ workshop in Tournai as early as 1942, then, in 1947, created the Centre de Rénovation de la Tapisserie de Tournai. He produced for various Belgian workshops (Chaudoir, de Wit,...) numerous cartoons destined notably to adorn Belgian embassies throughout the world. Moreover, Dubrunfaut was a teacher of monumental art forms at the Academie des Beaux-Arts de Mons from 1947 to 1978 and then, in 1979, contributed to the creation of the Fondation de la tapisserie, des arts du tissu et des arts muraux de Tournai, a veritable heritage centre for the art of the tapestry in Wallonie. His style, characterised by figuration, strong colour contrasts, draws direct inspiration from nature and animal life (as with Perrot, for example, this artist has a net predilection for birdlife).   A classic subject, but the title refers to an anthropomorphisation of relations between animals, expressing the artist's social (utopian ?) concerns.     Bibliography : Exhibition catalogue Dubrunfaut et la renaissance de la tapisserie, tableaux, dessins, peintures, Musée des Beaux-Arts de Mons, 1982-1983, n°239.
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    Marc PETIT

    Escorte (escort)

     
    Aubusson tapestry woven in the Picaud workshop for the Verrière gallery. With signed label, n°EA. Circa 1970.
     
    Marc Petit met Jean Lurçat in 1954, went to Aubusson in 1955, exhibited his work for the first time at La Demeure in 1956, became a member of the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie) in 1958. After this lightning start to his career, he produced hundreds of cartoons, in a style all his own, where long-legged waders and acrobats wend in and out of dreamscapes.   Again, economy of means, with broad flat tints and a narrow chromatic range, for a singular theme: a heavenly body  at the bottom of the sea, ‘escorted’ by worrying fish, a singular dawn (a leitmotif for the artist) of life.
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    Raymond POULET

    Paysage au flamboyant (landscape with flamboyant)

       
    Aubusson tapestry woven by the Jean Laurent workshop. N°6/6. Circa 1990.
        In a similar vein to Toffoli, Raymond Poulet criss-crossed the world and his travels provided the themes that inspired his work.
     
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    Jean-Michel LARTIGAUD

    Matin d'été (summer morning)

       
    Aubusson tapestry woven in the Laurent workshop. With signed label, n°2/6. 1983.
       
      A former student at the ENAD in Aubusson, Lartigaud created his first tapestry cartoon in 1968. He went on to design hundreds more, most of them woven by the Four Workshop. Although his cartoons are mainly abstract, there is also a bucolic side to his work, that Fumeron would not have disowned.
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    Jean-Luc LABORIE

    Composition

       
    Tapestry woven by the artist. With signed label, and preparatory drawing. Circa 1980.
       
     
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    Sam SZAFRAN

    Composition au chou (composition with cabbage)

     
    Tapestry woven By Lilette Keller. Circa 1963.
      Sam Szafran, best known as the painter (or rather, the water-colour and pastel artist) of philodendrons and staircases, was also, previously, in the early 1960’s, a painter of cabbages ; here is how he explained it : “I remember being taken by my grandfather to the synagogue in the rue Pavée. We walked through the Marais district. It was summer. The streets were filled with the abominable smell of cooking cabbage, because it was the cheapest, most wholesome vegetable”. From this period date his beginnings as a pastel artist, and his encounter with Lilette Keller who would become his wife, weaver and assistant to Jean Lurçat.   It is thus at the meeting point of these elements and of the person who embodies them, that our tapestry has its origin, one of the very few made by the artist and his wife in an exemplary collaboration (in a similar way to  Marthe Hennebert weaving for Lurçat) : a wonderfully realistic cabbage, rendered by very subtle shading, is caught up in a maelstrom of greenery (a thematic tapestry colour if ever there was one), which in some ways announces the opaque and dense philodendron pictures to come.     Bibliography : Exhibition Catalogue Sam Szafran, obsessions d'un peintre, Paris, Musée de l'Orangerie, 2022-2023, p.175
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    Michel DEGAND

    Eveil du jour (Awakening of the day)

     
    Aubusson tapestry woven in the Pinton workshop. With label, n°1/1. Circa 1980.
         

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