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    René PERROT

    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          
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    René PERROT

    Rambouillet

        Aubusson tapestry woven in the Pinton workshop. Complete with certificate of origin signed by the artist, n° 1 of 6. Circa 1970.     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).   René Perrot is essentially an animal artist who habitually uses stylisation. His decorative style is counterweighted here by the extreme realism with which the stag is represented, rare in post-war tapestry. The title of the cartoon is a throw-back to the grand French hunting tradition which he abundantly illustrated, for example in “Sologne”, which was donated to  the Musée de la Chasse in Gien by the Mobilier National.  
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    René PERROT

    Oiseaux (birds)

       
    Aubusson tapestry woven by the Tapisseries de France cooperative. 1952.
            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).   If in Perrot's tapestries birds are often present (almost a trademark !) the use of landscape as a background is much rarer despite the artist having produced numerous works in gouache of his travels (Doubs, Auvergne, Collioure, the Canaries...), works which, despite their sensitivity, remain essentially little known.   Bibliography : Tapisseries, dessins, peintures, gravures de René Perrot, Dessein et Tolra, 1982      
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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 PERROT

    Hommage à l'abbé Breuil (a tribute to Father Breuil)

        Aubusson tapestry woven by the Pinton workshop. Complete with certificate of origin. Circa 1970.     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).   Uncharacteristic cartoon whose inspiration lies in the cave paintings at Lascaux ; here it can be said that never has a tapestry merited quite so well  the term « wall art ». Perrot’s input is, in the end, relatively modest : the use of saturated colours (particularly the mauve-pink background), the overlapping of the motifs (which are more spaced out in the cave itself), superficial laid over  blotching,... If Perrot is an habitué of  hommage-cartoons (Pergaud, Redouté, Audubon,...) this particular example is interesting because of the well-established proximity between the artist and the dedicatee, “the Pope of Prehistory”: here the hommage owes nothing to the artificiality of an official commission.   Bibliography : Tapisseries, dessins, peintures, gravures de René Perrot, Dessein et Tolra, 1982
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    René PERROT

    La roue (the wheel)

    Aubusson tapestry woven by the Pinton workshop. Complete with certificate of origin. Circa 1970.     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).   The mediaeval inspiration of  a flower-studded, khaki background, numerous birds, all the characteristic elements of Perrot’s cartoons can be found in this particular example.   Bibliography: Tapisseries, dessins, peintures, gravures de René Perrot, Dessein et Tolra, 1982
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    René PERROT

    La mort du lièvre (the hare's death)

       
    Aubusson tapestry woven by the Rivière des Borderies workshop. 1946.
         
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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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    Richard MORTENSEN

    Composition

      Aubusson tapestry woven by the Tabard workshop. Complete with certificate of origin, worn , signed by the artist. 1964 or 1965.       From early on in his career, Mortensen, favoured an abstract painting style. He settled in Paris in 1947 and showed his works, with other artists also inclined to geometric abstraction, at the Denise René gallery. In 1952 under the aegis of François Tabard and Vasarely an exhibition titled « 12 original tapestries » opened at the gallery where, in the company of Le Corbusier and Léger, there appeared works by Deyrolle, Taueber-Arp and Mortensen who thus became the first abstract painters to be reproduced in tapestry and a new art form was born (in this context, it must not be forgotten that this is the period where the “Lurçat style” was absolutely dominant) which Gilioli, Matégot and Tourlière will all subsequently claim as their own. Mortensen’s collaboration with the “René-Tabard tapestries” will last until 1968, even though he returned to his native Denmark in 1964. The 14 works of the artist which will be woven are characterised by his large-scale geometrical  compositions, using bright, light and contrasting colours in large expanses of colour, which the weavers of the Tabard workshop reproduce with great success. .   This tapestry is one of the 3 tapestries woven by the Tabard workshop in 1964-1965 to have no title (cf. Catalogue of the tapestries woven by the Tabard workshop), each of the 3 is a one-off piece.   Bibliography : Exhibition catalogue, Aubusson, la voie abstraite, Aubusson, Musée départmental de la Tapisserie, 1993
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    Richard MORTENSEN

    Saint-Mars (composition blues black yellow red white)

     
    Aubusson tapestry woven in the Tabard workshop.. With label. 1963.
        From early on in his career, Mortensen, favoured an abstract painting style. He settled in Paris in 1947 and showed his works, with other artists also inclined to geometric abstraction, at the Denise René gallery. In 1952 under the aegis of François Tabard and Vasarely an exhibition titled « 12 original tapestries » opened at the gallery where, in the company of Le Corbusier and Léger, there appeared works by Deyrolle, Taueber-Arp and Mortensen who thus became the first abstract painters to be reproduced in tapestry and a new art form was born (in this context, it must not be forgotten that this is the period where the “Lurçat style” was absolutely dominant) which Gilioli, Matégot and Tourlière will all subsequently claim as their own. Mortensen’s collaboration with the “René-Tabard tapestries” will last until 1968, even though he returned to his native Denmark in 1964. The 14 works of the artist which will be woven are characterised by his large-scale geometrical  compositions, using bright, light and contrasting colours in large expanses of colour, which the weavers of the Tabard workshop reproduce with great success.   « One of the loveliest » of Mortensen’s tapestries according to Valentine Fougère (Tapisseries de notre temps, Paris 1969), « Saint Mars », a somewhat obscure title, derives directly from an engraving from 1962. The style which is wholly geometric, consisting of blocks of primary colour and surrounded by a frame, is characteristic of this artist’s style in the years 1961-2. This model, which was to be found both at the Mobilier National (bought from the Denise René gallery in 1963) and also at the Cité de la Tapisserie in Aubusson, was woven in 2 sizes : the dimensions of this copy correspond to that mentioned in the Cité.     Origin :  Denise René collection   Bibliography : Madeleine Jarry, la Tapisserie, art du XXe siècle, Fribourg, 1974, ill. n°145 Exhibition catalogue, Aubusson, la voie abstraite, Aubusson, Musée départemental de la Tapisserie, 1993, ill. p.14 (on a photograph of a 1964 exhibition at the Denise René gallery) p.32 Acts of the colloquium, la tapisserie hier et aujourd’hui, Paris, 2011, ill. n°6 p.213 Visitor’s guide, nef des tentures, Cité internationale de la Tapisserie, Aubusson, 2016, ill. p.84

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