Soleil d'hiver (Winter sun)
Aubusson tapestry woven in the Pinton workshop.
N°1/1.
Circa 1980.
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Michel Degand, is an artist who expresses himself in many different media (painting, sculpture, illustration,…) and who has in 50 creative years, conceived over a hundred tapestry cartoons, whose inspiration is perpetually evolving, sometimes dreamlike or cosmic (reminiscent of Wogensky), at other times « technological » (like Millecamps), often lyrical, with a marked interest in the material itself, and most of his work has been woven in the Pinton workshop at Felletin. The sun is a regular leitmotiv for this artist ; but in this fragmented composition he works in fragments of older tapestries (using finer stiching), as would Sautour-Gaillard in the 1990’s, making them appear to be glued into the original motif, a technique which results in thought-provoking juxtapositions.
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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… « Structure et lumière » is a self-explanatory title : at this period Matégot’s tapestries are strongly contrasted, using effects of transparency as in stained glass windows (cf. “Piège de lumière”, “Shadows and light »,…). As for « structure » it refers both to his work as an interior designer whose function is to occupy space and organise it - even within the tapestry itself, despite its apparently haphazard lyricism. Bibliography : Madeleine Jarry, la Tapisserie art du XXe siècle, Office du Livre, 1974, ill. n°115 Exhibition catalogue, Matégot, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1990-1991, ill. p.44 Patrick Favardin, Mathieu Matégot, Editions Norma, 2014, ill. p.335 pictured with the artist in front of his work at the 1990 exhibition.
Structure et lumière (structure and light)
Aubusson tapestry woven by the Pinton workshop. With signed label, n°1/6. 1964. -
L'oiseau lyre (the lyrebird)
Aubusson tapestry woven by the Pinton workshop. With label signed by the artist, n°3/6. Circa 1960. 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 ... This lyrebird motif dates from 1954 and is taken from a larger and richer design incorporating a garden « à la française ». Picart le Doux habitually recycled elements from earlier designs. 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 -
Deux lumières (two lights)
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. Lurçat here adds to his traditional scattered and busy motifs (stars, fish, butterflies…) 2 rays of sunlight (giving the work its name) which in their intersecting beams alter significantly the colours : difficult to imagine a better way to illustrate the danger of sunlight for the conservation of tapestries (another cartoon, « Coup de soleil » (previously in my possession) illustrates this theme in an even more explicit fashion, Bibliography : Tapisseries de Jean Lurçat 1939-1957, Pierre Vorms Editeur, 1957 Exhibition Catalogue Lurçat, 10 ans après, Musée d’Art moderne de la ville de Paris, 1976 Exhibition catalogue Les domaines de Jean Lurçat, Angers, Musée Jean Lurçat et de la tapisserie contemporaine, 1986 Symposium Jean Lurçat et la renaissance de la tapisserie in Aubusson, Aubusson, Musée départemental de la tapisserie 1992 Exhibition Catalogue Dialogues avec Lurçat, Musées de Basse-Normandie, 1992 Exhibition catalogue Jean Lurçat, Donation Simone Lurçat, Académie des Beaux-Arts, 2004 Jean Lurçat, le chant du monde Angers 2007 Gérard Denizeau, Jean Lurçat, Liénart, 2013 Exhibition Catalogue Jean Lurçat, Meister der französischen Moderne, Halle, Kunsthalle Exhibition Catalogue Jean Lurçat au seul bruit du soleil, Paris, galerie des Gobelins, 2016Tapestry woven in the Goubely-Gatien workshop. With signed label. Circa 1955. -
La voix du reliquaire (the voice of the reliquary)
Aubusson tapestry woven in the Legoueix workshop. With signed label, n°1/3. 1975.Sautour-Gaillard had his first cartoon woven in 1971 by the Legoueix workshop (a collaboration which was to last), and from then on he designed many very large-scale projects of which the most spectacular was “Pour un certain idéal” a series of 17 tapestries dealing with the theme of Olympianism (property of the Musée de l’Olympisme in Lausanne). If at first close to lyrical abstraction, the artist produced in the 1990’s cartoons superimposing different decorative motifs, textures and figures whose unity originated in the woven texture itself. « La voix du reliquaire » reveals a certain proximity of the artist, in his early work, to the abstract world of Soulages or Schneider. We recognise, transposed into the wool medium, the gestures,the overflows, characteristic of the artists of the “envolée lyrique”, in a severely limited range of colours. Bibliography : D. Cavelier, Jean-René Sautour-Gaillard, la déchirure, Lelivredart, 2013, ill.p.163 -
Equinoxe
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. In a sobre and carefully nuanced colour scheme, the familiar motif of the laid table here takes on a new resonance, as though crushed beneath the rays of an equinoctial sun, replacing the habitual still life motifs : game, lobsters, a mandoline. Bibliography : Tapisseries de Jean Lurçat 1939-1957, Pierre Vorms Editeur, 1957 Exhibition Catalogue Lurçat, 10 ans après, Musée d’Art moderne de la ville de Paris, 1976 Exhibition catalogue Les domaines de Jean Lurçat, Angers, Musée Jean Lurçat et de la tapisserie contemporaine, 1986 Symposium Jean Lurçat et la renaissance de la tapisserie in Aubusson, Aubusson, Musée départemental de la tapisserie 1992 Exhibition Catalogue Dialogues avec Lurçat, Musées de Basse-Normandie, 1992 Exhibition catalogue Jean Lurçat, Donation Simone Lurçat, Académie des Beaux-Arts, 2004 Jean Lurçat, le chant du monde Angers 2007 Gérard Denizeau, Jean Lurçat, Liénart, 2013 Exhibition Catalogue Jean Lurçat, Meister der französischen Moderne, Halle, Kunsthalle Exhibition Catalogue Jean Lurçat au seul bruit du soleil, Paris, galerie des Gobelins, 2016Tapestry woven in the Tabard workshop. With label. Circa 1945. -
Voyages, le 3e millénaire (Travelling, the 3rd millenium)
Carzou was most noted at the start of his career as a decorative painter (notably for the theatre), and his work for tapestry is relatively rare and only produced by Pierre de Tartas. His style is immediately recognisable in this cartoon, the busy hatching illustrating dream-like subjects : the theme here is a retake on the (only) cartoon by Carzou woven by the Manufactures Nationales, « L’invitation au voyage ». At the dawn of the 3rd millenium (and only a few months before his death), the artist, who was a regular critic of contemporary society, has a singular vision of the future of travel, envisioned as ballooning and sailing ships.Aubusson tapestry woven in the Fadat workshop. With signed certificate, n°1/1. 2000. -
Source claire (clear spring)
Aubusson tapestry woven in the Bonjour workshop. With signed label, n°3/4. 1973.It was in 1953 that Jean Picart le Doux proposed to Chaye to become his assistant and encouraged him to design tapestry cartoons : he would produce numerous bucolic cartoons, but also views of Normandy (Mont Saint Michel, Honfleur, regattas,…) whence he came.A classic cartoon in the naturalistic vein of this particular artist, who made a speciality of enclosures, hedges and riverbanks with animals.Bibliography : Simon Chaye tapisseries contemporaines, Editions Librairie des musées, 2014, ill. p.41 -
Chèvrefeuilles (Honeysuckle/Goats and leaves)
Aubusson tapestry woven in the Goubely workshop. With signed label, n°1. 1973. A Benedictine monk and an illuminator, Dom Robert met Jean Lurçat in 1941 at the Abbey of En Calcat : while he never abandoned drawing (his watercolours, painted to life, would serve him as a reservoir of ideas for his tapestries), his work as a cartoonist (he was a member of the A.P.C.T. from its inception) would take on a considerable importance (at least a hundred cartoons, all numbered) and would be highly thought of. His immediately recognisable style, absence of perspective¸motifs inspired from the natural world (in a Paradisiac style) where stylised flora and fauna combine in a festive and extrovert exuberance, where the influence of mediaeval tapestry can be clearly felt ; poetic and colourful, Dom Robert’s cartoons are the incarnation of their author’s spiritual asceticism. Inaugurated in the Spring of 2015, the musée Dom Robert opened its doors in in the monastery-school in Sorèze in the department of the Tarn. Goats and foliage in all their variety, rather than « Honeysuckle » (Chèvre means goat and feuille means leaf in French n.tr.), Dom Robert was never one to turn his back on the possibility of a pun (as in “Plein champ” meaning Open field but to the ear it can be confused with Plainchant tr.n.). It is interesting that a goat appears also in that tapestry design from 1970. Here, on a uniquely large scale for this subject, the goats are displayed against an autumnal background, a reference to “l’Automne” (Autumn) which was the last of the series The Seasons completed in 1943. A similar design is on display at the Cité Internationale de la Tapisserie in Aubusson. Bibliography : Exhibition Catalogue Dom Robert, tapisseries récentes, galerie la Demeure, 1974, ill. p.15, cartoon p.23 Multi-authored, Dom Robert, Tapisseries, Editions Julliard, 1980, ill p.70-71, detail on front cover, cartoon p.85 Multi-authored, Dom Robert, Tapisseries, Editions Siloë-Sodec, 1990, ill. P.62-67 Exhibition Catalogue, Dom Robert, œuvre tissé, Angers, Musée Jean Lurçat et de la tapisserie contemporaine, 1990 Exhibition Catalogue, Hommage à Dom Robert, Musée départemental de la tapisserie, Aubusson, 1998 Multi-authored, la clef des champs, Dom Robert, Editions Privat, 2003, ill. p.124 Multi-authored, les saisons de Dom Robert, Tapisseries, Editions Hazan, 2014, ill p.164-167 B. Ythier, Guide du visiteur, Cité Internationale de la tapisserie d’Aubusson, ill. p.65 R. Guinot, hors-série la Montagne, une Cité pour la tapisserie d’Aubusson, 2018, ill. p.82 Multi-authored, la tapisserie française, Editions du Patrimoine, 2017, ill. 312-313 -
Eléctricité (electricity)
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. « Lightning » [another title for this cartoon] … bears witness to a new departure for Saint-Saëns, already visible in the 1960’s ; an evocation of cosmic forces [or rather as in this case , physical phenomena] not so much suggested by the drawing’s precision so much as by the strident colours employed…. This tapestry was used for the poster advertising the inauguration of the Aérospatiale Cultural Centre in Toulouse in 1971 » according to Michel Heng, in the exhibition catalogue for the Saint-Saëns exhibition in Aubusson. Bibliography : Exhibition catalogue Saint-Saëns, oeuvre tissé, Aubusson, Musée départemental de la Tapisserie, 1987, ill. p.47 Exhibition catalogue Marc Saint-Saëns, tapisseries, 1935-1979, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1997-1998Aubusson tapestry woven by the Legoueix workshop. With signed label, n°1/6. 1970.
