-
La flamme (the flame)
Portalegre tapestry woven by the Fino workshop. Complete with certificate of origin signed by the artist, n°2/6. Circa 1965. 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... An abstract cartoon characteristic of the artist’s production in the mid-1960’s : the evocation of the flame, stylised and in an agressive violet hue, refers directly to Matégot’s interest in industry and all things technical but also to the interplay of woven transparencies of which he made himself a master. Bibliography : Exhibition catalogue, Matégot, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1990-1991 -
Les comédiens (The actors)
Aubusson tapestry woven in the Legoueix workshop. N°4/6. 1959. Lurçat approached Saint-Saëns, originally a painter of murals, in 1940. And during the war the latter produced the first of his allegorical masterpieces, tapestries reflecting indignation, combat, resistance : “les Vierges folles (the foolish virgins), “Thésée et le Minotaure” (Theseus and the Minotaur). At the end of the war, as a natural development he joined up with Lurçat, whose convictions he shared (concerning a simplified palette, outlined cartoons with colours indicated by pre-ordained numbers, and the specific nature of tapestry design...) at the A.P.C.T. (Association des Peintres-cartonniers de Tapisserie). His universe, where the human figure, stretched, elongated, ooccupies an important place (particularly when compared to his companions Lurçat or Picart le Doux), pivots around traditional themes : woman, the Commedia dell’arte, Greek mythology... refined by the brilliance of the colours and the simplification of the layout. His work would evolve later, in the 1960’s, towards cartoons of a more lyrical design, almost abstract where elemental and cosmic forces would dominate. Themes of music, drama and more specifically the Commedia dell’Arte (« la Comédie Italienne », a cartoon dating from 1947) are omnipresent in Saint-Saëns’s production : here he presents the figures of Lelio and Isabelle, strikingly drawn, slightly humorous figures, presented here in their traditional costumes. Bibliography : Exhibition catalogue Saint-Saëns, galerie La Demeure, 1970 Exhibition catalogue Saint-Saëns, the tapestries, Aubusson, Musée départemental de la Tapisserie, 1987 Exhibition catalogue Marc Saint-Saëns, tapestries, 1935-1979, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine 1997-1998 -
La harpe des mers (Harp of the ocean)
Tapestry woven in the Berthaut workshop. Complete with certificate of origin signed by the artist. 1954. 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 insipiration 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 ... « La harpe des mers » (Harp of the ocean) (Bruzeau n° 60) just as its companion piece « La harpe des forêts” (Harp of the forest), identical in size, is one of a set of cartoons by Picart le Doux dealing with the theme of the lyre and the harp : the geometrical rigour and graphic power of the parallel strings were a particular inspiration to the artist. Here, music and nature are closely associated (cf “l’arbre-lyre” the tree lyre from 1953) and Orphée Orpheus (a cartoon from 1952) is the single figure which encapsulates this assimilation. Bibliography : Maurice Bruzeau, Jean Picart le Doux, Murs de soleil, Editions Cercle d’art, 1972 Exhibition catalogue Jean Picart le Doux, Musée de la Poste, 1980 -
Nymphes et chasseurs (Nymphs and hunters)
Aubusson tapestry woven in the Pinton workshop for the Compagnie des Arts Français. 1941. The place occupied by André Planson in the history of tapestry-making is a direct result of the role that was alotted to him by Jacques Adnet in the synthesis of art and design advocated by the Compagnie des Arts Français of which he was the director. As early as 1941, Adnet approached several painters (Brianchon, Vera,... and Planson) to design tapestry cartoons in the context of furniture and interior design : “our intention was to demonstrate that contemporary tapestries have much to contribute to the integrated design of a room” (L. Chéronnet, Jacques Adnet, Art et Industrie 1948). The Compagnie des Arts Français organised throughout the 1940’s tapestry exhibitions on its premises. These ambitious decorative aspirations, which were important in encouraging the renewal of the art of the tapestry, remain however somewhat irrelevant to the preoccupations of Lurçat and his followers. The gracious and joyful attributes (compare with the contemporary creations of Lurçat or Gromaire) of the Compagnie are plainly evident in this cartoon dating from 1941 which brings right up to date the traditional tapestry themes of the hunting scene and bucolic pleasures in a voluntarily innovative style which is highly decorative. Although certain technical innovations typical of the Lurçat doctrine are already assimilated (limited palette, irregular stitch size) it is to be noted that this decorative intention is still influenced by techniques associated with painting (the use of perspective, and shading for flesh colours...) -
Rambouillet
Aubusson tapestry woven in the Pinton workshop. Complete with certificate of origin signed by the artist, n° 1 of 6. Circa 1970. Perrot began his career as a cartoon designer at the end of the war, making almost 500 cartoons including numerous commissions from the state, most of which were woven at Aubusson. His style which is particularly rich and decorative is eminently recognisable : a crowd of butterflies or birds, most often, stands out against a background of vegetation, reminiscent of the millefleurs tapestries (which would also inspire Dom Robert). René Perrot is essentially an animal artist who habitually uses stylisation. His decorative style is counterweighted here by the extreme realism with which the stag is represented, rare in post-war tapestry. The title of the cartoon is a throw-back to the grand French hunting tradition which he abundantly illustrated, for example in “Sologne”, which was donated to the Musée de la Chasse in Gien by the Mobilier National. -
Combat devant Florence (Combat before Florence)
Aubusson tapestry woven by the Goubely-Gatien workshop. With partially erased certificate of origin. 1966. An enthusiastic mural artist as early as 1937 (he participated in the Exposition Internationale), Lagrange designed his first cartoons in 1945, and became one of the founding members of the A.P.C.T. His early cartoons were expressionist (like Matégot and Tourlière), then his work evolved towards a stylisation (dating from his collaboration with Pierre Baudouin) which would bring him in the 1970’s to a highly refined style using very pure colours. As well as his important rôle in the tapestry renaissance movement of the period (and the state commissions that went with it), Lagrange would become a teacher at the Ecole Nationale des Beaux-Arts, a regular collaborator with Jacques Tati, a designer of monumental elements incorporated in various architectural projects and a recognised painter close to Estève and Lapicque. In the 1960’s, the artist made various large-scale works based on the mediaeval theme of battles and tournaments, in a geometrical and stylised vision, of which the most noted example is the “Hommage to Paulo Uccello” (280 x 680 cm, of which a copy is kept at the Faculty of Science in Besançon). Here, in a style that is still figurative, Lagrange illustrates a battle scene against the city of Florence in the background with its highly recognisable monuments (the Duomo, the bell tower of the Palazzo Vecchio..) The frieze-like scene, inspired by Uccello’s paintings, shows spears, horses and knights intermingled. Of note : the marled beige and brown background against which these elements stand out is specific to Lagrange and was only rarely used by his co-designers. Bibliography : Cat. Exh. Lagrange tapisseries, Galerie La demeure, 1968, n°4 (reproduit) Cat. Exh. Tapisseries d'Aubusson, Galerie d'Art Municipale, Luxembourg, n°4 in the catalogue (not illustrated) Robert Guinot, Jacques Lagrange, les couleurs de la vie, Lucien Souny editeur, 2005, n°40, illustrated (dimensions given 226 x 268 cm) J.J. et B. Wattel, Jacques Lagrange et ses toiles : peintures, tapisseries, cinéma, Editions Louvre Victoire, 2020 -
Automne-Hiver (Autumn-Winter)
Aubusson tapestry woven by the Pinton workshop. Complete with certificate of origin n° 6 of 6. Circa 1975. 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 insipiration 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 ... The theme of the seasons is a classic in the history of tapestry which was enthusiastically ressuscitated by the 20th century cartoon artists, of whom Lurçat was foremost (cf his Seasons wall hanging commissioned by the state in 1939). For Picart le Doux the inspiration is two-fold : Nature obviously but also Music ; “l’Hiver” (Winter) an allegorical treatment of the theme and one of the best-known works of this artist dates from 1950, but it is the “Hommage à Vivaldi” (Homage to Vivaldi) from 1963, with its 4 seasons represented in symbolic fashion by coloured suns, featuring symbols from the zodiac and fronds of vegetation that is the source of this cartoon where the motifs are reworked in a horizontal format. Bibliography : Maurice Bruzeau, Jean Picart le Doux, Murs de soleil, Editions Cercle d'art, 1972 -
Papillons (Butterflies)
Aubusson tapestry woven by the Pinton frères workshop. With original certificate Lurçat’s artistic production was immense : it is however his role as the renovator of the art of tapestry design which ensured 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, drawn and numbered cartons. A huge production then follows (over 1000 cartons) 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 assumed role promotion the medium around the world (le Monde ?) His tapestries reveal a pictorial world which is specifically decorative, with a very personal symbolic iconography, cosmogonical (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. His journey to Brazil in 1954 was a decisive source of inspiration for Lurçat : the flora and fauna (particularly the butterflies, a recurrent theme) of the Amazon appear repeatedly : “What interests me with the butterfly, ... is the extraordinary inventiveness of the interlacing forms, the sparkling colours, the total freedom of their coloration...” (Claude Faux, Lurçat à haute voix, 1962, p. 151). Butterflies on a yellow background are a motif which recurs in several cartons : “Paon de nuit”, “Copacabana”, “Papillons Marcenac”... Bibliography : Exhibition Cat. Jean Lurçat, Tapisseries nouvelles, Maison de la pensée Française, 1956 Exhibition Cat.. Les domaines de Jean Lurçat, Angers, Musée Jean Lurçat et de la tapisserie contemporaine, 1986 Symposium Jean Lurçat et la renaissance de la tapisserie à Aubusson, Aubusson, Musée départemental de la Tapisserie, 1992 Exhibition Cat. Jean Lurçat, Donation Simone Lurçat, Académie des Beaux-Arts, 2004 Jean Lurçat, le chant du Monde, Angers, 2007 -
Concert champêtre (Outdoor concert)
Aubusson tapestry woven in the Picaud workshop for the Verriere Gallery of Lyons. Complete with its certificate signed by the artist ; n° 1 of 4. Circa 1970 « It is thus easy to understand that, having based my painting on my love of tapestry, it was relatively easy for me, and particularly tempting, to produce tapestries which were faithful to my painting” writes the artist in the exhibition catalogue for the 1970 show at the Galerie Verrière. It is not until 1961 that he started making designs (over 50) both for woven tapestries (at Aubusson, but also for the Mobilier National with, on occasion, the collaboration of Pierre Baudoin), but also those employing needlepoint. The artist’s very audacious palette is immediately recognisable in these cartons, with their use of primary colours or, as here, revolving around a very vivid pink with a rather dislocated storyline between the concert in the foreground and the hunting scene in the distance. Bibliography : Exhibition catalogue, Expo Lapicque, Lyons, Galerie Verrière 1970 -
Le Chalut (the trawler)
Aubusson tapestry woven by the Berthaut workshop. Complete with certificate of origin signed by the artist. 1952. 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 insipiration 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 ... « One of the best-known of Picart le Doux’s tapestries : it is highly organised and the generous curves of the trawl net underline the choice of a large and simple graphic.” Is how Maurice Bruzeau describes this tapestry (n° 37 in his book) in the commentary he devotes to it. “The trawler” is typical of the marine themes which are omnipresent in this artist’s work, particularly at this period : “Dieu Marin (marine god), “La Sirène” (the mermaid), “le Dauphin” (the dolphin), “Fruits de mer” (shellfish), “Etoiles de mer” (starfish), in a range of muted colours revolving around kaki and silver grey. Here the treatment of the theme is more documentary (apart from the presence of a trident) : the subject is fishing, as it appears to Picart le Doux. Bibliography : Léon Moussinac, Jean Picart le Doux, Editions Cercle d’art,1964 (ill. Pl.10) Marthe Belle-Jouffray, Jean Picart le Doux, Publications filmées d’art et d’histoire, 1966, ill. n°4 Exhibition catalogue, Hommage à Jean Picart le Doux, Centre artistique et littéraire de Rochechouart, 1968 (ill.) Maurice Bruzeau, Jean Picart le Doux, Murs du soleil, Editions Cercle d’art 1972 Exhibition catalogue Jean Picart le Doux, Paris, Musée de la Poste, 1980 (ill.) Exhibition Catalogue Picart le Doux, château d'Olonne, 1992 (ill.) -
Remous (swell)
Aubusson tapestry woven in the Tabard workshop. Circa 1960. 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... Remous can be seen as representative of Matégot’s production around 1960 : lyrical, playing with transparency, using all the technical expertise of the weavers (colour shading and grading…) Its evocative title is a reminder of the artist’s interest for aquatic subjects (cf “Régates”) treated in an abstract-metaphorical way. Bibliography : Exhibition Cat. Les tapisseries de Mathieu Matégot, galerie La Demeure, 1962 (ill.) Exhibition catalogue, Matégot, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1990-1991 -
Ombres et lumières (light and shadow)
Aubusson tapestry woven in the Pinton workshop. Complete with certificate of origin signed by the artist. Circa 1965. 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... This tapestry reveals Matégot’s preoccupation with the interplay of light and shadow which is often revealed in the titles of his works (cf. “Lumière d’été”, auctioned Millon-Robert 7.11.90, n° 31, reproduced on the cover of the catalogue, “Piège de lumière” preserved at the Musée Jean Lurçat et de la Tapisserie Contemporaine and reproduced p 47 of the exhibition catalogue). Here the cartoon uses an abrupt contrast, like a ray of light, between two opaque (with faults however) and black (but shaded) blocks. In fact all of Matégot’s works reveal the interplay of transparency and superposition, as if light (albeit fatal to the colours he uses) was trying to force its way through the wool. Origin : contents of the Pinton workshop Bibliography : Exhibition catalogue, Matégot, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1990-1991
