Aubusson tapestry woven by the Goubely workshop.
With signed label, n°1/4.
« I became interested in the art of tapestry particularly because I was excited by the numbered cartoon technique consisting of the fabrication of a mental coloured image using a code…. Tapestry is an essential exercise. As I practised it, it is perhaps the desire to interrogate, down to the finest detail, a work which exists in two dimensions.” (quoted in the exhibition catalogue, Prassinos, rétrospective de l’oeuvre peint et dessiné, Puyricard, 1983).
So much for the artist’s manifesto. Prassinos designed his first cartoons in 1951 (most of which, around 150, would be woven in the Goubely workshop); then he joined the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie). After several cartoons taking birds as their theme, Prassinos, like several other artists, despite being close to Lurçat, (Matégot, Wogensky…) turned resolutely towards abstraction, in a very personal style where sinuous shapes entwine in contrasting colours (often following a scheme of black-red-brown-beige).
It can be noted here that Prassinos’s declared interest in the works of Shakespeare is not limited to the tragedies. To prove the point, and perhaps with the idea of representing the breadth of Shakespeare’s creativity, one of the elements of the triptych entitled “Hommage à Shakespeare” woven by the Gobelins Manufacture, contains a “Midsummer Night’s Dream” measuring a good 30 square metres.
Exhibition catalogue Mario Prassinos, tapisseries monumentales, Abbaye de Montmajour, Arles, 1974
Exhibition catalogue Mario Prassinos, Tapisseries , Aubusson, Musée départemental de le Tapisserie, 1984
Exhibition catalogue Prassinos, Tapisseries, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1988