Sarabande
Aubusson tapestry woven in the Pinton workshop.
With label.
1954.
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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. Already, before « Passacaille » which would be produced in 1955, Jullien here reveals his interest in dance and music, recurrent themes although rarely illustrated in such an explicit way, with the guitar and oboe playing as if by magic. Might it be that the notes of the sheet-music are suggested by the bird outlines pictured along the parchment-phylactery ? Bibliography : Exhibition catalogue Hommage à Louis-Marie Jullien, Aubusson, Musée départemental de la Tapisserie, 1983
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Haute flamme (High flame)
Aubusson tapestry woven in the Goubely workshop. N°4/4. 1966. I became interested in the art of tapestry particularly because I was excited by the numbered cartoon technique consisting of the fabrication of a mental coloured image using a code…. Tapestry is an essential exercise. As I practised it, it is perhaps the desire to interrogate, down to the finest detail, a work which exists in two dimensions.” (quoted in the exhibition catalogue, Prassinos, rétrospective de l’oeuvre peint et dessiné, Puyricard, 1983). So much for the artist’s manifesto. Prassinos designed his first cartoons in 1951 (most of which, around 150, would be woven in the Goubely workshop); then he joined the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie). After several cartoons taking birds as their theme, Prassinos, like several other artists, despite being close to Lurçat, (Matégot, Wogensky…) turned resolutely towards abstraction, in a very personal style where sinuous shapes entwine in contrasting colours (often following a scheme of black-red-brown-beige). In a way there is in this cartoon a return to the figurative. However, more probably, the artist’s characteristic formal and chromatic conceptions are here allowed retrospectively to incarnate something which is generally, and paradoxically, impossible to represent and thus become conflagration, flame, wild fires (in Greece ? the Alpilles ?) Bibliography : Exhibition catalogue Mario Prassinos, tapisseries monumentales, Abbaye de Montmajour, Arles, 1974 Mario Prassinos, œuvre tissé, La Demeure, 1974, n°72 (Ill.) Exhibition catalogue Mario Prassinos, Tapisseries , Aubusson, Musée départemental de le Tapisserie, 1984 Exhibition catalogue Prassinos, Tapisseries, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1988 -
Coucher de soleil sur l'Orient (eastern sunset)
Toffoli produced a large number of tapestries in collaboration with the Robert Four workshop from 1976 onwards, designing several hundred cartoons. In them we find post-cubist transparent effects which are characteristic of the artist, as indeed are the subjects treated. Thus Toffoli’s tapestries do not differ from his painting : travelling for inspiration, here he illustrates junks observed during trips to the far East.Aubusson tapestry woven by the Four workshop. With label, n°3/6. Circa 1990. -
Le secret (the secret)
Having established himself in the 1930's in the region around Nantes, Morin worked as an artist in advertising as well as painting and engraving, at first in a figurative style and then evolving towards abstraction from 1954 onwards. His interest in monumental art is revealed in his use of mosaic (particularly within the framework of the government 1% subsidy for art in works produced for schools of the greater Nantes area) but also in tapestry. As early as 1952 he received the first commissions for religious-themed works which would be produced by the Plasse le Caisne workshop (who also worked for Manessier, Le Moal...), before collaborating with Pierre Daquin's Atelier de Saint-Cyr, a major player in the French movement for la Nouvelle Tapisserie, and having several pieces exhibited at the Demeure gallery. From then onwards, until 1982, other designs would be produced by the workshops of the Ecole Regionale des Beaux-Arts in Angers, and later by the artist's own daughter who was herself a weaver. In his collaboration with Daquin (as in the latter's own works) the medium became one with the message, the technical mastery was absolute : the surfaces are animated and vibrant with a complexity of different textures and stitches... and Morin's poetic designs with their delicately symetrical signs, found an ideal expression.Tapestry woven by the Saint-Cyr workshop. With signed label, n°I/VI. Circa 1970. -
Métamorphoses (metamorphosis)
A disciple of Jacques Adnet, Pothier produced his first cartoons (of which « Metamorphoses » is one) for the former, woven in the Pinton workshop for the Compagnie des Arts français, before moving on to produce 5 more for the Manufactures Nationales. His work which is exuberant, dense, strongly influenced by surrealism but also references Arcimboldo (a claim he made himself), is like no other. It does however inevitably refer back, like other artists working at the same time and in the same domain, to the mille-fleurs style of the middle ages. To these diverse influences (which give a strange dreamlike quality to this cartoon) Pothier brings, in « Métamorphoses », his predilection for a limited colour palette (3 distinct hues !) and a sense of humour (the discreet signature incorporated into the body of the figure (?) on the left). This design would be reversed and enlarged in the tapestry (woven in 1961 at Les Gobelins) « Madrépores en fleurs ».Aubusson tapestry woven by the Pinton workshop, for the Compagnie des Arts Français. With illegible label. Circa 1950. -
Coquillage étoilé II (Starry seashell II)
Aubusson tapestry woven by the Picaud workshop. With label signed by the artist, n°2/6. Circa 1975. 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 inspiration 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 ... « Coquillage étoilé » (Starry seashell) dates from 1959 and thenceforth the motif reappears regularly, in « l’Eau et le Feu » (Water and Fire) (1959), « la Mer et la Terre » (Sea and Land) (1960) or « l’Homme et la Mer » (The man and the sea) (1964)… as an evocation of the sea. This cartoon places the motif at the centre whilst another tapestry, with the same name, uses a vertical format. Bibliography : Marthe Belle-Joufray, Jean Picart le Doux, Publications filmées d’art et d’histoire, 1966 Maurice Bruzeau, Jean Picart le Doux, Murs de soleil, Editions Cercle d’art, 1972 Exhibition Catalogue, Jean Picart le Doux, tapisseries, Musée de Saint-Denis, 1976 Exhibition Catalogue Jean Picart le Doux, Musée de la Poste, 1980 -
Les buveurs (the drinkers)
Lurçat approached Saint-Saëns, originally a painter of murals, in 1940. And during the war the latter produced the first of his allegorical masterpieces, tapestries reflecting indignation, combat, resistance : “les Vierges folles (the foolish virgins), “Thésée et le Minotaure” (Theseus and the Minotaur). At the end of the war, as a natural development he joined up with Lurçat, whose convictions he shared (concerning a simplified palette, outlined cartoons with colours indicated by pre-ordained numbers, and the specific nature of tapestry design...) at the A.P.C.T. (Association des Peintres-cartonniers de Tapisserie). His universe, where the human figure, stretched, elongated, ooccupies an important place (particularly when compared to his companions Lurçat or Picart le Doux), pivots around traditional themes : woman, the Commedia dell’arte, Greek mythology... refined by the brilliance of the colours and the simplification of the layout. His work would evolve later, in the 1960’s, towards cartoons of a more lyrical design, almost abstract where elemental and cosmic forces would dominate. “The original copy of Les Buveurs (The Drinkers) was commissioned by a friend of the artist.. The cartoon of Les Buveurs, of which 8 copies were produced kept recurring like a rotten apple in the correspondance between Tabard and Saint-Saëns, because of the cost of the weaving. Les Buveurs reflects a solid joie de vivre and can be seen as one more emanation of the rich theme of the vine and the Seasons ...” (Exhibition catalogue Marc Saint-Saëns, tapisseries, 1935-1979, Angers, p.26). The thematic contrast with the artist’s previous cartoons is striking : Orion, Thésée, les vierges folles, ... The lightness of touch found here will also be found in Le Braconnier (The Poacher) or Le Bouquet (The bouquet). A copy of this tapestry figured in the 1946 exhibition at the Musée National d’Art Moderne “La Tapisserie française du moyen-âge à nos jours” (n°297) Bibliography : Jean Lurçat, Tapisserie Française, Bordas, 1947, ill. pl.42 Exhibition catalogue Saint-Saëns, galerie La Demeure, 1970 Exhibition catalogue Saint-Saëns, the tapestries, Aubusson, Musée départemental de la Tapisserie, 1987 Exhibition catalogue Marc Saint-Saëns, tapestries, 1935-1979, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine 1997-1998, ill. p.26 Exhibition catalogue Tissages d’ateliers, tissages d’artistes, dix ans d’enrichissement des collections, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 2004, ill. p.85Aubusson tapestry woven by the Tabard workshop. 1944. -
Tauromachie (bullfighting)
Aubusson tapestry woven by the Rivière des Borderies workshop. 1946.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 atypical in Perrot’s production : an audaciously strident choice of colours, an unusually sober motif whose singular theme, including human figures, is treated almost choreographically ; we are close here to the vision of Saint-Saëns. Perhaps then this particular design was specially commissioned ? Bibliography : Tapisseries, dessins, peintures, gravures de René Perrot, Dessein et Tolra, 1982 -
Serpent d'étoiles (serpent of stars)
Aubusson tapestry woven by the Tabard workshop. With signed label. 1961.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.” « Serpent d’étoiles » (Serpent of stars) references the constellation Serpens (but also inevitably Giono’s novel of the same name), at a time (the 1960’s) when his out and out lyricism led him to the evocation of celestial bodies, space, the galaxies ; from “Cassiopée” in 1961, “Chant des étoiles” in 1962 (which figured at the Biennale de Lausanne), to “Galaxie” (1970) now in the collection of the French Senate. A similar tapestry figures in the the collection of the Conseil Régional du Limousin. Bibliography : Exhibition Catalogue Robert Wogensky, tapisseries, Galerie la Demeure, 1962, ill. Exhibition catalogue Robert Wogensky, Aubusson, Musée départemental de la tapisserie, 1989 Exhibition catalogue Robert Wogensky, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1989-1990, ill. p.20 Exhibition Catalogue Dialogues avec Lurçat, Musées de Basse-Normandie, 1992, ill. p.73 Gérard Denizeau, Denise Majorel, une vie pour la tapisserie, Aubusson, Musée départemental de la tapisserie, ill. p.67 -
Jeux interplanétaires (interplanetary games)
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 an abstract style occasionally studded with celestial bodies.Aubusson tapestry woven in the Four workshop. With label, n°EA. Circa 1970.
