Aubusson tapestry woven by the Legoueix workshop.
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.”
Symptomatic of the heroic period at the end of the 1940’s, which also saw the blossoming of such talents as Tourlière, Lagrange, Matégot,…, all of whom were still young, inspired by Lurçat, and at the same time trying to assert their independent styles, whilst still remaining figurative, “le veilleur” affirms in a lyrical and brightly coloured style, its proximity to daily life (viz the detail of the striped jacket), and, at the same time, a highly symbolic connotation : a figure on the look-out in uncertain times.
J. Cassou, M. Damain, R. Moutard-Uldry, la tapisserie française et les peintres cartonniers, Tel, 1957, ill. p.131
Exhibition catalogue Robert Wogensky, Aubusson, Musée départemental de la tapisserie, 1989, ill. p.15
Exhibition catalogue Robert Wogensky, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1989
Exhibition Catalogue Jean Lurçat, compagnons de route et passants considérables, Felletin, Eglise, 1992, ill. p.46