Sables rouis (retted sands)
Tapestry woven in the Brachet workshop.
With signed label, n°EA1.
1987.
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Jacques Brachet was an important protagonist of the « New Tapestry » movement ; woven by Pierre Daquin, exhibited by the « La Demeure » gallery in the 1970’s, his innovative and experimental approach to the medium, from the 1950’s onwards, was recognised by the Centre International d’études pédagogiques in Sèvres, by the scenography of “La Tapisserie en France, 1945 – 1985, la tradition vivante” at the Ecole Nationale Supérieure des Beaux-Arts, and by his inclusion in various promotional events right up to the present day. The specific techniques of his tapestry designs (as opposed to painting) : innovative use of shape and texture, themes taken from the natural world etc. took shape in the 1970s. The title refers to a beach on the île d'Yeu, and ultimately, the treatment can appear (hyper)realistic: sand, tide, foam... are translated into textile; even the cut-outs in the tapestry (frequent in the artist's work) refer to those of a shoreline. Bibliography : Exhibition catalogue Jacques Brachet, mémoires océanes, Angers, Musée Jean Lurçat et de la tapisserie contemporaine, 1996, cat. n°31, ill. p.17
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Waistcoat l'enfant aux mirages (child with mirages)
Aubusson tapestry woven by the Legoueix workshop. 1997.Provenance : Sautour-Gaillard workshopA pupil of Wogensky at the Ecole Nationale Supérieure des Arts Appliqués, Sautour-Gaillard had his first cartoon woven in 1971 by the Legoueix workshop (a collaboration which was to last), and from then on he designed many very large-scale projects of which the most spectacular was “Pour un certain idéal” a series of 17 tapestries dealing with the theme of Olympianism (property of the Musée de l’Olympisme in Lausanne). If at first close to lyrical abstraction, the artist produced in the 1990’s cartoons superimposing different decorative motifs, textures and figures whose unity originated in the woven texture itself. The 2 waistcoats from the exhibition « Archéologies » which was held at the Inard gallery in 1997, are evidence of the wish expressed at the period by people from Aubusson, which was going through difficult times, to widen their activity : Sautour-Gaillard, who was himself an enthusiastic collector of fabrics, reveals here the same inspiration as in his contemporary woven collages. Bibliography : D. Cavelier, Jean-René Sautour-Gaillard, la déchirure, Lelivredart, 2013, ill. p.6, (worn by the artist) 296
