Aubusson tapestry woven in the Legoueix workshop.
With label, n°3/6.
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.”
Evolving in a spare and almost abstract style (but with subtle variations in the size of stitching) this three-coloured (excepting the chinage effect from winding different colours on the same bobbin), cartoon represents the meeting point of the artist’s close interest in bird shapes (which seem to appear to the eye) and heavenly bodies (indicated in the title) : this sliding together of the two, more or less evident depending on which cartoon is being considered, is often encountered in his works from the end of the 1960’s.
Exhibition catalogue Robert Wogensky, Aubusson, Musée départemental de la tapisserie, 1989, ill. p.52
Exhibition catalogue Robert Wogensky, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1989, ill. p.29