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    René PERROT

    La loi (Law)

       
    Aubusson tapestry woven by the Rivière des Borderies workshop. With label. 1951.
            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).   Ornithological representations in all their various manifestations are extremely common in Perrot’s work : for example “la discorde” and “la méditation” designed for the Palais de Justice (High Court) in Paris which are illustrated respectively by grouse and owls. What else to illustrate “La Loi” and inspire respect in the observor than the severe glare of a majestic eagle.

    Bibliography : Tapisseries, dessins, peintures, gravures de René Perrot, Dessein et Tolra, 1982    
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    René FUMERON

    Reflets (reflections)

       
    Aubusson tapestry woven by the Pinton workshop. With label, n°6/6. Circa 1960.
       
    Fumeron designed his first cartoons (he would ultimately make over 500) in the 1940’s, in collaboration with the Pinton workshop, he was then commissioned on numerous occasions by the state before participating in the decoration of the ocean liner “France”. His work was figurative to begin with and influenced by Lurçat, then turned towards abstraction, before coming back to a style characterised by colourful figurative and realistic depictions from the 1980’s onwards.     Beneath the red sun, fish, insects , a lobster all frolic in a dream-like composition typical of the artist : numerous examples of these motifs can be found for instance in  “Avant l’homme” Before man, woven by the Gobelins  (cf Exhibition Catalogue “le Mobilier National et les Manufactures Nationales des Gobelins et de Beauvais sous la IVe République”, Beauvais 1997)
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    Jean Lurçat

    Oiseaux et grappes (birds and bunches)

     
    Tapestry woven in the Pinton workshop. With label. Circa 1950.
      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.   As always, a synthesis of motifs : vines, bunches of grapes, glasses are habitually displayed on the artist’s lain tables, whilst birds are generally paired with fish. Here the vision is not symbolic but, as suggested by the title, more an evocation of the winegrower’s adversaries.   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, 2016  
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    Jean Lurçat

    Coq (rooster )

     
    Tapestry woven in the Goubely workshop. With  faded label. Circa 1950.
        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.     The cock, in various guises, variously bedecked, playing various roles, is an absolutely central figure in Lurçat’s bestiary, a recurrent motif reappearing in an infinite number of variations : what is particular about this version is the crown of ivy and the feather-leaves both of which are a reference to the animal-vegetable syntheses so characteristic of this artist.     Bibliography : Cat. Expo. La tapisserie française, Musée d’art moderne, Paris, 1946 Tapisseries de Jean Lurçat 1939-1957, Pierre Vorms Editeur, 1957 Cat. Expo. Jean Lurçat, tapisseries de la fondation Rothmans, Musée de Metz, 1969 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, 2016  
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    Jean-Louis VIARD

    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.
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    René FUMERON

    L'Odyssée (the Odyssey)

     
    Aubusson tapestry woven in the Pinton workshop. With signed label, n°1/6. Circa 1965.
       
    Fumeron designed his first cartoons (he would ultimately make over 500) in the 1940’s, in collaboration with the Pinton workshop, he was then commissioned on numerous occasions by the state before participating in the decoration of the ocean liner “France”. His work was figurative to begin with and influenced by Lurçat, then turned towards abstraction, before coming back to a style characterised by colourful figurative and realistic depictions from the 1980’s onwards.   During the 1960’s Fumeron evolved towards abstraction as did some of his contemporaries (Matégot, Wogensky,...). His compositions of this period are sometimes inspired by literary subjects (Cf. Hamlet) which are interpreted in a kaleidoscope of colours which are immediately recognisable.
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    Jean PICART LE DOUX

    La branche  (the branch)

        Aubusson tapestry woven by the Hamot workshop. Complete with certificate of origin signed by the artist. 1961.     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 ...   A cartoon (Bruzeau n° 111) which is typical of the artist in the way it combines the animal and plant kingdoms. The realistic treatment of the bark is in strong contrast with the stylised graphic and dream-like nature of the composition.   Bibliography : Maurice Bruzeau, Jean Picart le Doux, Murs de soleil, Editions Cercle d’art, 1972 Exhibition catalogue Jean Picart le Doux, Musée de la Poste, 1980
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    Delphine BUREAU-CHIGOT

    La huppe rouge (the red hoopooe)

     
    Aubusson tapestry woven by the Picaud workshop. With signed label, n°3/6. Circa 1970.
     
    Originally from the Limousin region of France (and the daughter of the master glass-blower François Chigot), Delphine Bureau-Chigot devoted a large part of her creative energies (she was also a painter and a pastel artist) to tapestry design (something over a hundred) which were for the most part woven by the Picaud workshop, often evoking a dream-like world where animals (and notably birds) had an important place.
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    Mathieu Matégot

    Sirius

     
    Portalegre tapestry woven by the Fino workshop. With signed label, n°3/6. Circa 1965.
        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...   The lyrical treatment, alternating shadow and light, is characteristic of Matégot’s cartoons of the mid-1960’s : often dark, his tapestries of the period will reveal a shining shard of brightness  : what better than the star Sirius to illustrate this ?     Bibliography : Exhibition catalogue, Matégot, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1990-1991 Patrick Favardin, Mathieu Matégot, Editions Norma, 2014
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    François FAUREAU

    La terre de France ne ment pas (French soil doesn't lie)

     
    Aubusson tapestry. 1943.
        François Faureau is a singular figure. Born in Aubusson, he studied at the ENAD, of which at the time the director was Marius Martin who was already promoting the use of thick yarn and counted colours that Lurçat would later adopt. Thus he was a representative of the peintre-cartonniers at the stand of the ENAD at the Exposition internationale des Arts décoratifs in 1925 with his tapestry “Solitude, verdure” or the screen “Canards”, which hesitate between neo-classicism and the influence of cubism. He later founded his own workshop, but his production remained somewhat confidential, and somewhat removed from the protagonists of the “Tapestry Renaissance”.   Although the workshops in Aubusson continued their activity during the occupation (as did the Manufactures Nationales), the production of pieces directly influenced by the imposition of the values of Pétain’s government are rare, despite the fact that this typically traditional skill undoubtedly coincided with the values of what was known at the time as the National Revolution. The famous formula spoken by Maréchal Pétain on 25th June 1940 (although its author was Emmanuel Berl), which went on to become a leitmotiv in the official public discourse, exalting the countryside, society’s peasant roots and, rather more prosaically, agriculture, is illustrated here in a very literal fashion bringing together the various rural tasks, vegetation, architecture and animals... all harmoniously exposed under the protective watch of the Vichy regime.     Provenance : Collection Régine Deforges   Bibliography : Exhibition catalogue Tapisseries 1925, Aubusson, Cité de la tapisserie, 2012  

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