Les zèbres (zebras)
Aubusson tapestry woven by the Pinton workshop.
With label, n°3/6.
1959.
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Vasarely’s range was so large and the means he employed to express himself so varied that his role in the renaissance of the tapestry could be viewed as an event on its periphary. However, the originator of optic-kinetic art, whose enthusiasm for over-arching syntheses and all-englobing theories was well known and who was aware of the importance of architecture, saw in this particular discipline a means of expression which was conditioned by space, reproduceable (in very limited series, contrary to many of the media he employed) and could also become public and monumental artforms. To this end, his technical choices (enlargements, photographic cartoons, the absence of shading, use of plain colours), and his preferred outreach (exhibitions in Denise René’s gallery) are a clear sign of his desire to reinvent the medium : Vasarely, associated early on with the Tabard workshop from 1951, was thus able to design a hundred or so cartoons which reflect the changing styles of his aesthetic. The theme of the zebra, popular with Vasarely from the 1930’s onwards (who often returned to motifs he had used previously) would provide inspiration for various cartoons from the end of the 1950’s in association with Tabard (“Zèbres”, “Zebra”), then with Pinton (“Les zèbres” [The Zebras)], our tapestry, which is an exact replica of the ‘Zèbres’ cartoon, with modified dimensions and a plum-coloured background instead of black), and finally with Jean Laurent (“Le zèbre”). It focuses the permanence of Vasarely’s inspiration where the use of animal motifs is a pretext for exploring his graphic fascination with the use of black and white (as can be seen in “Gordium” and “Méandre” two abstract cartoons treated as positive-negative versions one of the other) : an interesting permanence of Nature in an art form that has become resolutely informal. Bibliography : Cat. Tapisseries d’Aubusson, galerie Denise René, 1974 Cat. Expo. Aubusson, la voie abstraite, Musée départemental de la Tapisserie, Aubusson, 1993 Hélène Say, l’atelier de tapisserie Tabard à Aubusson, répertoire numérique détaillé des archives écrites, 1996, ill. p.44 R. Guinot, la tapisserie d’Aubusson et de Felletin, Lucien Souny, 2009, ill. p.119 Cat. Expo. Vasarely, le partage des formes, Musée National d’Art Moderne, Paris, 2019
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Les Musiciennes 2 (the musicians 2; detail)
Tapestry woven by the Fino workshop, Portalegre. With label. 1953-1964. -
Le périscope (the periscope)
“First of all I like wool, its warmth...In tapestry, I can use both colour and graphic design” wrote the artist in “Sculpture”, Paris, 1968. Better known as a sculptor, Gilioli would design his first cartoon in 1949, before winning in 1957 the Tapestry Prize at the Biennial in Sao Paulo ; in all he designed around a hundred tapestries, woven by the Pinton and Picaud workshops. From the end of the 1960’s onwards Gilioli’s cartoons are exclusively geometrical, use two or three colours and evolve in parallel with the forms employed in other media. Our tapestry reproduces, on a smaller scale, the mosaic designed a few years earlier by the artist for the building “Le Périscope,” a project by Novarina in the 13th arrondissement of Paris. Bibliography : Exhibition catalogue Gilioli, Paris, Galerie la Demeure, 1971 Exhibition catalogue Des sculpteurs et la Tapisserie, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1995 Exhibition catalogue Gilioli Tapisseries, Paris, Fondation Dina Vierny, 1997Aubusson tapestry woven in the Pinton workshop. With signed label, n°1/6. 1971. -
La crique (the cove)
As a young painter moving towards abstraction in the late 40s, Longobardi was commissioned to paint large-scale murals in France and abroad (the presidency of the Republic of Abidjan, the rectorate of the Poitiers Academy, etc.), as well as numerous tapestry cartoons, in particular for the Manufactures Nationales, with sometimes very modern subjects (‘l'autostrade’, ‘l'aéroport’, etc.). Longobardi, along with Singier and Springer, was one of the very first abstract artists to receive public commissions at the time. Although his work was abstract, his aesthetic evolved over time, from sharp forms to a more lyrical style full of movement, until the appeasement of the 1960s. The high point of his meteoric official career came when he was commissioned to create ‘la crique’ for the starboard private dining room of the liner ‘France’. After this, the artist became much rarer. Our tapestry bears witness to a marine inspiration that is not so frequent on the liner "France", and which, moreover, remained on the borderline between Abstraction (his usual mode of expression) and Figuration. It was sold under number 170 in the Loudmer sale of 10.7.1983, ‘Œuvres d'art du France’. Provenance : liner "France" Bibliography : Cat. Expo. Le Mobilier National et les Manufactures Nationales des Gobelins et de Beauvais sous la IVe République, Beauvais, Galerie de la Tapisserie, 1997 Armelle Bouchet-Mazas, le paquebot France, éditions Norma, 2006, ill.p.170 Cat. Expo. Le chic ! Arts décoratifs et mobilier de 1930 à 1960, Paris, galerie des Gobelins, 2022-23Aubusson tapestry woven in the Pinton workshop. 1959. -
Grand vol bleu (great blue flight)
Aubusson tapestry woven by the Legoueix workshop. N°EA1. 1973.A member of the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie), Wogensky is one of the many artists who would follow in Lurçat’s footsteps immediately after the war. At first influenced by his predecessor, Wogensky’s subsequent work (159 cartoons according to the 1989 exhibition catalogue) would evolve during the 1960’s towards a, not completely self-avowed, lyrical abstraction, from cosmic-astronomical themes expressed in decomposed, moving, birdlike shapes to cartoons both more refined and less dense. Although always claiming to be a painter, the artist’s conception of tapestry is extremely well thought out : “the realisation of a mural cartoon.... requires the consideration of a space which is no longer ours alone, by the nature of its dimensions, its scale, it also imposes a grand gesture which transforms and accentuates our presence.” Birds emerge as a theme in Wogensky’s work at the end of the 1960’s. In reality, if the titles of his works refer to them, their representation remains allusive, closer to images of flight frozen in time than to ornithological treatises : it is movement in space that is important, hence the titles ‘vol ...’[flight]. it is the movement in space that is important, hence the titles ‘flight ...’. At this time, Wogensky was interested in the material effects obtained by weavers through the use of different stitch sizes; The ‘grand vol bleu’, the high point of this thematic and formal orientation, is presented in majesty in the catalogue of the 1973 exhibition at La Demeure gallery. Bibliography : Cat. Expo. Robert Wogensky, 20 tapisseries récentes, galerie La Demeure, 1973, ill. n°1 (and a detail on front and back cover) Exhibition catalogue Robert Wogensky, Aubusson, Musée départemental de la tapisserie, 1989, illustrated on front cover Exhibition catalogue Robert Wogensky, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1989, ill. p.31 Gérard Denizeau, Denise Majorel, une vie pour la tapisserie, Aubusson, Musée départemental de la tapisserie, 1989, ill. p.70 -
Les 2 compagnons (the 2 partners)
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 Tapisserie) 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. Our cartoon is a reversal of the ‘Man’ cartoon (a copy of which is kept at the Musée d'Art Moderne de Paris), with a few changes. The point is the same: integrated with Nature, in the foliage, surrounded by animals (an owl snuggled up to his breast, the blue dog-companion...), Man is the pivot around which all Creation revolves. 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, 2016Aubusson tapestry woven by the Tabard workshop. With label. Circa 1945. -
Matégot, originally a decorator, then creator of artefacts and furniture (an activity he abandoned in 1959) met François Tabard in 1945 and gave him his first cartoons, first of all figurative then rapidly of abstract design in the 1950’s. He became a member of the A.P.C.T. (Association des Peintres Cartonniers de Tapisserie) in 1949, participated in many international exhibitions (Matégot, like Lurçat before him, was an untiring advocate of the art of tapestry) fulfilled numerous public commissions, sometimes of monumental proportions (“Rouen” 85m2 for the Préfecture of the Seine Maritime département, and also tapestries for Orly Airport, for the Maison de la Radio, for the IMF...) and designed no fewer than 629 cartoons up until the 1970’s. In 1990 the Matégot foundation for contemporary tapestry was inaugurated in Bethesda, U.S.A. Matégot is an artist, like Wogensky, Tourlière or Prassinos, who turns wool textiles resolutely towards the abstract: at first lyrical, geometric in the 70’s, exploiting various technical aspects of the loom : colour graduations, shading, irregularities... While Matégot's interest in aeronautics was very strong at the time (his tapestry for Orly in particular dates from 1959, ‘Cap Canaveral’ from 1958...), his liking for the treatment of great myths is echoed here: Icarus (there was also ‘Vulcan’, ‘Daedalus’...), serves as a transition, in an identical treatment (to be compared with ‘Orly’), to evoke the same conquest of the Air... Bibliography : Waldemar Georges, Mathieu Matégot, Prisme des Arts special issue, 1957 Exhibition catalogue, Matégot, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1990-1991, ill. p.31 Patrick Favardin, Mathieu Matégot, Editions Norma, 2014
Icare (Icarus)
Aubusson tapestry woven by the Tabard workshop. N°1/6. 1960. -
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. -
Composition
Tapestry, probably Aubusson woven. Circa 1970 If Lanskoy’s work starts to evolve towards the abstract from the beginning of the 1940’s, his first cartoons date from the 1950’s : thus they are all abstract. Originally working with Picaud’s workshop at Aubusson, he would go on to collaborate with Maurice Chassagne (on whose productions there never appears any indication of the workshop nor certificate of authenticity), but his work was also woven by the Manufactures Nationales, and “Consolation” would be hung in the ocean liner “France”, undeniable proof of official recognition for this artist. A major protagonist of lyrical abstraction whose work was championed by the major art galleries of the period (Jeanne Bucher, Louis Carré), Lanskoy whose luxuriant painting style employed a festival of colours (pinks, mauves and oranges are frequent) avoided his characterestic layering of paint when he produced work for weaving. In the same more contained more vein, the forms employed tend to be less exuberant. -
Treilles (trellis)
Aubusson tapestry woven in the Pinton workshop for Leleu. With label. 1964.With a taste for the large-scale, influenced by Untersteller at the Ecole des Beaux Arts, Hilaire undertook numerous mural paintings. In the same vein, beginning in 1949, along with a number of other artists stimulated by Lurçat, (he would join the latter at the A.P.C.T. Association des Peintres-Cartonniers de Tapisserie) he designed a number of cartoons some of which were woven at Beauvais or at Les Gobelins. This tapestry hung in the dining-room of the villa Médy Roc, at the Cap d’Antibes, for which the Leleu studio designed furnishings and fittings starting in 1957 : their philosophy, inspired by Jacques Adnet’s theories of the interweaving of architecture, furniture and tapestry design , which should all be unified by a single view, was to lean into the idea of a tradition of good taste “à la française”, as interpreted by the best designers and artists of the period. With this in mind, another work, also by Hilaire, “Jardin à la française” was already in place in the dining-room before this tapestry, where a traditional trellis shelters birds of more exotic plumage, was installed in the same area in 1964. Both works appear in the film “Les seins de glace”, directed by Lautner featuring Delon, Brasseur and Mireille Darc, which was filmed on location in the villa. Provenance : villa Médy Roc, Cap d’Antibes Bibliography : Exhibition catalogue Hilaire, œuvre tissé, galerie Verrière, 1970 Exhibition catalogue, du trait à la lumière, Musée Départemental Georges de la Tour at Vic-sur-Seille, 2010.
