Le dindon (the turkey)
Aubusson tapestry woven by the Pinton workshop.
With label.
Circa 1960.
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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). This tapestry is a typical example of the artist’s portraits of birds ; the turkey appears, as often in his work, associated with other birds, against a background inspired by the flower-strewn mediaeval tapestries. Another example was woven for the Ministry of Reconstruction. Bibliography : Tapisseries, dessins, peintures, gravures de René Perrot, Dessein et Tolra, 1982 Tapisserie d’Aubusson, Association du développement du pays d’Aubusson, 1983, ill.p.40 Cat. Expo. René Perrot, mon pauvre cœur est un hibou, Aubusson, Cité de la Tapisserie, 2023
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Melinjana
After having established himself at the Gobelins, Daniel Drouin moved to Venasque. He designed numerous tapestries woven on a high-warp loom. The variety of the materials used, his propensity for abstraction and the fact that the artist wove his own designs conformed to certain preoccupations of the “Nouvelle Tapisserie” movement of the time, without however escaping from the 2 dimensional nature of the artform.Tapestry woven in the atelier de la Tuilière. With label. Circa 1970. -
Kalinka
Aubusson tapestry woven in the Andraud workshop. With label, n°4/6. 1980.Established in the Creuse region of France, he started working on tapestries in 1965 with the Andraud workshop for whom he designed cartoons inspired by the local flora, in a decorative style which can be situated somewhere between that of Dom Robert and Maingonnat, a world away from his landscape paintings which were strongly influenced by the impressionists. The title of this piece, which will be evocative to lovers of folk-song, is the name (but in Russian !) of the subject illustrated : kalinka meaning guelder-rose. -
L'oeil ébloui (the dazzled eye)
Tapestry woven in the Clochard workshop. With signed label, n°1/6. Circa 1980.Originally an engraver (Prix de Rome, intaglio technique in 1942), Jean-Louis Viard designed his first tapestry cartoons in the mid 1950’s. At first his work was figurative (he was collaborating at the time with Picart Le Doux), but then he evolved along the same lines as many other painter-cartoonists of the period (Matégot, Tourlière or Prassinos,…) towards abstraction. He produced scores of cartoons working up until the 2000’s, in parallel to his work as a painter and engraver, but throughout revealing a particular interest for the use of contrasting materials and textures in the tradition of the “Nouvelle Tapisserie” of which Pierre Daquin was one of the leading lights. The inspiration for his motifs, sometimes metaphysical (“Mémoires” Memories, “Destins” Destinies,…) is wide-reaching, from astronomical infinity « ténèbres solaires » solar darkness) to the microscopic (« Mutation végétale” Plant mutation) : a profuse and varied production, regularly exhibited at his home, in various public and private exhibition spaces and, most significantly, at the Salon Comparaison of which he was the curator for the Tapestry section. -
Le soleil de Tijuana (the Tijuana sun)
Aubusson tapestry woven in the Pinton workshop. Signed certificate of origin. 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... Matégot, recognised as an avant garde designer, an admired creator of furniture and decorative objects, also produced an essentially abstract body of tapestry work. However this is not an example of pure abstraction : but rather the evocation of a place (there are also “Mindanao”, “Santa Barbara”....) of its climate, using all the technical means offered by the medium : transparency, graduations, shading... Origin : contents of the Pinton workshop Bibliography : Exhibition catalogue, Matégot, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1990-1991 -
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.)
