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    Pierre-Yves Trémois

    Couple génétique (Genetic couple)

     
    Aubusson tapestry woven by the Pinton workshop. With label. 1976.
      In this work – which is apparently the only cartoon by this artist – the deft line and clear drawing technique of Trémois are immediately recognisable. He is best known for his work as an engraver and illustrator, albeit having won the Grand Prix de Rome for his painting. Also evident, his predilection for the nude : here a loving embrace and a meditation on modern science are found in association in a surprising, and very personal, juxtaposition.
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    Jean Lurçat

    Cuivres (Copper-coloured)

     
    Aubusson tapestry woven by the Pinton workshop. With signed 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.   Copper-coloured is used to describe certain butterflies whose wings recall this brightly coloured metal. This cartoon is a re-take on  “Sphinx and Cockerel”  (but without the cockerel) in a highly decorative positive/negative contrast of yellow against a black background.   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 au seul bruit du soleil, Paris, galerie des Gobelins, 2016
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    Jean Lurçat

    Faisan feu (Pheasant Fire)

     
    Aubusson tapestry woven in the Tabard workshop. With signed label. Circa 1960.
        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.   This profile of the head of a cockerel appears in various cartoons (« Feux bleus », « la chanson de Roland »,…) : it appears, with its almond-shaped halo, as if in reserve, shining brightly against the black background. The title of this piece allows a play on words with the French “faire feu” an expression meaning to shoot.   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 au seul bruit du soleil, Paris, galerie des Gobelins, 2016
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    Maurice André

    Composition

     
    Aubusson tapestry woven in the Pinton workshop. N°1/6. Circa 1970.  
    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.   Characteristic of André’s final period, the geometric shapes and flat areas of colour are tempered by hatching, stripes and shading.
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    Marc Saint-Saëns

    Le paon (the peacock)

     
    Tapestry woven by the Baudonnet workshop. With label. 1959.  
    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 number and variety of animals used in his tapestries by Saint-Saëns is not so rich as others of his contemporaries such as Lurçat, Perrot or Dom Robert, principally known for his peacocks. Here the use, as if off the ground, of a similar motif (despite the fact that it more ressembles a cockerel than a peacock) illustrates the variety of solutions employed by the painter-cartonniers of the period.       Bibliography : 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
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    Jean BAZAINE

    Composition

        Aubusson tapestry woven in the Pinton workshop. With label, n°1/1. 1974.   Jean Bazaine, like many of his contemporaries, was a prolific mural artist particularly for large scale edifices. Although he is above all recognised as a designer of stained glass windows and mosaics, he was also making tapestry cartoons as early as the 1930’s. These pieces formed part of the renewal of religious art of which Bazaine would be one of the principal protagonists, particularly after the war.   However, Bazaine’s designs are not all destined to be displayed in a religious context. His mastery of mural art is revealed by commissions for mosaics for the UNESCO building and also for the Maison de la Radio as well as tapestries for the Manufactures Nationales or for Aubusson, for the Palais de Justice in Lille or the Hotel de Ville in Strasbourg. This is the context for a commission for this widely recognised,  indeed almost official, artist (Grand Prix National des Arts in 1964, an exhibition at the Musée National d’Art Moderne in 1965) from the Federation Française du Bâtiment for its head office, at the beginning of the 1970’s. His response would be this vast, lyrical and rythmic composition in a homogeneous colour scheme. Unfortunately, the illegibility of the certificate of origin leaves us without a title for this work whose creator did not see himself as an abstract artist.   Origin : The Head Office of the Federation Francaise du Bâtiment.
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    Marc Saint-Saëns

    Violoncelle (cello)

      Tapestry perhaps woven by the Dumontet workshop. 1947.     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.   Once more a cartoon which takes music as its theme, a leitmotiv for this artist. Amusingly, and in stark contrast to the importance Saint-Saëns gives to the human figure in his work, the title evokes the instrument rather than the instrumentalist .   Bibliography : 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
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    Jean Lurçat

    Sphinx gris (grey hawk moth)

        Aubusson tapestry woven in the  Braquenié workshop. With signed label. Circa 1955.     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 grey hawk moth (or occasionally yellow, in another cartoon), moths and butterflies are a leitmotiv in Lurçat’s work. Here the colours are less contrasted than is his wont, in a highly nuanced composition.   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 au seul bruit du soleil, Paris, galerie des Gobelins, 2016
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    Jean Lurçat

    Le basset (Basset hound)

        Aubusson tapestry woven in the Tabard worshop. Complete 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.   Something of a dog lover, Lurçat owned Afghan hounds. They can be found occasionally in his cartoons and seemingly Lurçat found it difficult not to be influenced by their aspect : his basset hound (similar in style to another cartoon entitled “le chien vert” the green dog, but without the owl) scarcely merits its name.   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 au seul bruit du soleil, Paris, galerie des Gobelins, 2016
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    Marcel GROMAIRE

    Paysage à la huppe (Landscape with hoopooe)

          Aubusson tapestry woven by the Goubely workshop. Compete with label. 1941.   Gromaire’s woven pieces are few in number : 11 cartoons, designed between 1938 and 1944, most of them in Aubusson. “His rigorous construction, his use of simplification, his penchant for grand composition and grand fundamental ideas, his knowledgeable use of colour and in sum his supreme quality as a master-craftsman, all of those things were to make of him one of the most expert tapestry artists of his time”, so wrote Jean Cassou (Exhibition catalogue, Marcel Gromaire, Paris, Musée Nationale d’art moderne, 1963). It was Guillaume Janneau, then in the chair of the Mobilier National, who contacted him in 1938, convinced that his style (simplification of shape, geometrical designs framed in black, influenced by cubism, limited colour schemes…) would have something to contribute to the resolution of the new aesthetic problems that the art of tapestry would have to confront in order to bring about its renewal (simplified palette, synthetic cartoon design...) firstly with a commission for a work on the theme of the four elements, then with a second (“les saisons”, the seasons) which would be produced at Aubusson. In 1940 Gromaire joined Lurçat and Dubrueil there. Working alone, with great  meticulosity (numerous drawings anticipate the cartoon which is painted rather than numbered as with Lurçat), in close collaboration with Suzanne Goubely, who would weave all his cartoons, he spent 4 years in Aubusson, during which time he devoted all his creative energy to tapestry. At the end of the war, he left the Creuse and produced no more cartoons, leaving to Lurçat the position of grand initiator of the tapestry renewal movement. « Paysage à la huppe » is one of 5 cartoons designed by Gromaire for the Goubely workshop, and it is absolutely emblematic of his style : inspired by local landscapes, a flattened perspective, a densely decorative style (the hoopoe seems to merge into the landscape), rigorously organised with a restricted colour scheme... This tapestry was shown at the exhibition “La tapisserie française du Moyen Age à nos jours” which was held at the Museum of Modern Art in 1946.     Bibliography : Le Point, Aubusson et la renaissance de la Tapisserie, mars 1946, ill. p.37 (detail) Jean Lurçat, Tapisserie française, Bordas, 1947, plate 25 J. Cassou, M. Damain, R. Moutard-Uldry, la tapisserie française et les peintres cartonniers, Tel, 1957, illustrated p.61 Exhibition catalogue, Gromaire, œuvre tissée, Aubusson, Musée de la tapisserie, 1995, reproduced on p 55 Exhibition catalogue La manufacture des Gobelins dans la première moitié du XXe siècle, Beauvais, Galerie nationale de la tapisserie, 1999.

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