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    Edmond DUBRUNFAUT

    Flore des tropiques (tropical flora)

     
    Aubusson tapestry woven in the Four workshop. With label, n°EA. Circa 1975.
       
    Edmond Dubrunfaut can be considered as the great 20th century renovator of the Belgian tapestry tradition. He founded a weavers’ workshop in Tournai as early as 1942, then, in 1947, created the Centre de Rénovation de la Tapisserie de Tournai. He produced for various Belgian workshops (Chaudoir, de Wit,...) numerous cartoons destined notably to adorn Belgian embassies throughout the world. Moreover, Dubrunfaut was a teacher of monumental art forms at the Academie des Beaux-Arts de Mons from 1947 to 1978 and then, in 1979, contributed to the creation of the Fondation de la tapisserie, des arts du tissu et des arts muraux de Tournai, a veritable heritage centre for the art of the tapestry in Wallonie. His style, characterised by figuration, strong colour contrasts, draws direct inspiration from nature and animal life (as with Perrot, for example, this artist has a net predilection for birdlife).   Towards the end of his career, Dubrunfaut tended to a language of fantasy (whose sharpened forms are reminiscent of Marc Petit), and whose use of motif (humming birds and exotic vegetation) looks over its shoulder at Lurçat.
        Bibliography : Exhibition catalogue Dubrunfaut et la renaissance de la tapisserie, tableaux, dessins, peintures, Musée des Beaux-Arts de Mons, 1982-1983
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    Jean-Michel LARTIGAUD

    Composition

       
    Aubusson tapestry woven in the Four workshop. N°6/6. Circa 1980.
         
    A former student at the ENAD in Aubusson, Lartigaud created his first tapestry cartoon in 1968. He went on to design hundreds more, most of them woven by the Four Workshop, in a, more often than not, abstract style, with a few exceptions, as shown here by the presence of 2 birds.
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    Henri ILHE

    Chantelune

       
    Aubusson tapestry woven in the Tabard workshop. With signed label, n°EA II. Circa 1970.
            Henri Ilhe, who came to the design of tapestry cartoons late on in his career, still managed to produce from 1964 onwards a considerable number (more than 120, all woven by the Tabard workshop) in an urbane style, incorporating birds and butterflies sporting in and around the gnarled branches of trees and bushes.   “Chantelune” is thus, characteristic of Ilhe’s bucolic inspiration.
     
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    Richard LUCAS

    Le rouge et le noir (the red and the black)

       
    Aubusson tapestry woven in the Braquenié workshop. With label. Circa 1960.
            Lucas was a protagonist of tapestry renewal in Belgium following on from the “Forces murales” collective. He gave a certain number of cartoons to the Braquenié workshop in Malines in the years 1956 – 1957, designed in a style somewhat reminiscent of Picart le Doux.  
     
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    Gaston THIERY

    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.
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    Maurice André

    Nuit sidérale (astral night)

       
    Aubusson tapestry woven in the Pinton workshop. With label. Circa 1965.
     
     
    Maurice André settled in Aubusson for the duration of the second world war. A founding member of the group “Tapisserie de France” and a member of the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie), he developed a personal style, different from that of Lurçat, characterised by rigorous, cubist-influenced flat areas of colour, often using a limited palette ; he received large-scale public commissions for the Council of Europe in Strasbourg (“L’Europe unie dans le Travail et la Paix”) or for the French pavilion at the Brussels Exhibition in 1958 (“La Technique moderne au service de l’Homme”). Gradually (as with Wogensky and Prassinos,...) his style evolved towards more abstraction, firstly lyrical and then more and more geometric, in a way very similar to Matégot.   In the mid 1960’s André’s style becomes comparable to that of Matégot, where battage, pick and pick and shading are the norm. By its theme, its technique, its colour scheme, its format, this particular cartoon is close to « Grand nocturne » copies of which are to be found at the Musée Jean Lurçat and the musée de la tapisserie contemporaine in Angers.
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    Pierre GOFFINET

    Bouquet d'automne (autumn bouquet)

     
    Aubusson tapestry. N°EA1. Circa 1975.  
        A student at the ENAD, Goffinet was a close collaborator of Dirk Holger whose influence (as also that of Prassinos) is notable in the rare tapestries woven from cartoons of his design. On occasion, as in this case, he wove his designs himself.  
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    Dirk HOLGER

    Sonnen-Vision (Suns-Vision)

        Tapestry woven by the Münchener Gobelin Manufaktur. With signed label. 1975.      
    Holger was a student at the Ecole Nationale d’Art Décoratif d’Aubusson and worked with Lurçat before the latter’s death in 1966. He designed numerous dream-like cartoons woven by the Aubusson workshop. Now settled in the United States, he remains a tireless advocate for, and witness to, modern tapestry design, organising exhibitions and lectures on the subject.   Some of his cartoons have been woven in the two workshops active in Germany, in Nuremberg and Munich, using Aubusson techniques.
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    Roger BEZOMBES

    Poisson cardinal (cardinal fish)

       
    Tapestry woven in the Saint-Cyr workshop. With signed label, n°EA2. 1978.
     
     
    Roger Bezombes was a proponent of monumental art from the beginning. He received numerous commissions for tapestries on behalf of the state which were woven first at the Gobelins and then at Aubusson, particularly with the Hamot workshop whose dyers were able to produce for him wools to match exactly the colours used for his cartons (which he painted himself to scale). In 1952-53, he produced a monumental set (300 m2) for the pavilion of the French colonies at the Cité Universitaire de Paris. He abandoned the weaving technique at the end of the 1950’s in favour of hangings made of assembled fabrics.   These murals (one of the first of which « la Musique », 25m long, was commissioned for France’s broadcasting headquarters La Maison de la Radio) are patchworks made from assembled fragments of cloth, and sometimes other  materials, sewn, stuck or stapled together. However, as here, some of his murals were reproduced in tapestry form by the Saint Cyr workshop belonging to Pierre Daquin. In these cases the theme of the fish is omnipresent ; Bezombes however is no ichthyologist, rather a poet : it is the colour, cardinal red, which concerns him here and not the fish of the same name.
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    Louis-Marie JULLIEN

    Au coeur de l'ombre (At the heart of darkness)

     
    Aubusson tapestry woven in the Legoueix workshop. With signed label, n°1/3 (and handwritten note "tirage arrêté 1/2" [stopped edition 1/2]). 1971.
          After the traditional completion of some mural paintings in the 1930’s, he then arrived in Aubusson in 1936, became closely associated with Picart le Doux in 1947 and then joined the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie). From then on he devoted himself to tapestry with zeal and designed 167 cartoons, at first figurative following on from Picart le Doux and Saint-Saëns, then, influenced by the scientific themes that he dealt with, tending more towards abstraction. In 1981, two years before his death, he donated his studio to the Musée départemental de la tapisserie in Aubusson. This cartoon (the only one dating from 1971) is a prelude to 1972, the year of the « ombres » “shadows” : every 13th cartoon he designs that year has the word in its title; a possible reference to the contemporaneous design of stained glass windows for the temple (protestant church) in Villefavard.   Bibliography : Exhibition catalogue Hommage à Louis-Marie Jullien, Aubusson, Musée départemental de la Tapisserie, 1983, n°148 (the model is illustrated)  
     

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