Jean Lurçat

Lurçat’s artistic production was immense : it is however his role as the renovator of the art of tapestry design which ensures 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, outlined cartoons with colours indicated by pre-ordained numbers.
A huge production then follows (over 1000 cartoons) amplified by his desire to include his painter friends, the creation of the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie) and the collaboration with the art gallery La Demeure and Denise Majorel, and then by his role as a tireless advocate for the medium around the world.
His tapestries reveal a pictorial world which is specifically decorative, with a very personal symbolic iconography : cosmogony (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.

This vertical format with a closely compartmentalized circular motif and a burgundy ground reappeared occasionally in Lurçat’s work in the second half of the 1940s (see, for example, “the owl”). Our cartoon (moreover contemporaneous with Cocteau’s film) is nonetheless characterized by the artist’s very personal reworking of a traditional tale, in which, alone, a serpent-tailed stag perhaps synthesizes both the Belle and the Beast.

Bibliography:
Exh. Cat. La tapisserie française, Musée d’Art moderne, Paris, 1946 Tapestries de Jean Lurçat 1939-1957, Pierre Vorms Editeur, 1957
Exh. Cat. Jean Lurçat, tapisseries de la fondation Rothmans, Musée de Metz, 1969
Exh. Cat. Lurçat, 10 ans après, Musée d’Art moderne de la ville de Paris, 1976
Exh. 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
Exh. Cat. Dialogues avec Lurçat, Musées de Basse-Normandie, 1992
Exh. Cat. Jean Lurçat, Donation Simone Lurçat, Académie des Beaux-Arts, 2004
Gérard Denizeau, Jean Lurçat, Liénart, 2013
Exh. Cat. Jean Lurçat, Meister der französischen Moderne, Halle, Kunsthalle, 2016
Exh. Cat. Jean Lurçat au seul bruit du soleil, Paris, galerie des Gobelins, 2016