Jean Lurçat

Lurçat's body of work is immense: however, it is his role in the renewal of the art of tapestry that earned him lasting renown. As early as 1917, he began with works on canvas, then, in the 1920s and 1930s, he worked with Marie Cuttoli. His first collaboration with the Gobelins dates from 1937, when he simultaneously discovered the "Apocalypse" tapestry cycle from Angers, which definitively prompted him to devote himself to tapestry. He first tackled technical questions with François Tabard, and then, on the occasion of his installation in Aubusson during the war, he defined his system: gros point, counted tones, and numbered drawn Cartoons. A gigantic production then began (more than 1000 Cartoons), amplified by his desire to involve his painter friends, the creation of the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie) and his collaboration with the gallery La Demeure and Denise Majorel, and, finally, through his role as an tireless propagator of the medium throughout the world.

A gigantic production then began (more than 1000 Cartoons), amplified by his desire to involve his painter friends, the creation of the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie) and his collaboration with the gallery La Demeure and Denise Majorel, and, finally, through his role as an tireless propagator of the medium throughout the world.

His woven work bears witness to a specifically decorative artist-imaginer’s art, with a highly personal, symbolic and cosmogonic iconography (sun, planets, zodiac, the 4 elements…), stylized vegetal forms, and animals (goats, roosters, butterflies, chimeras…) set against a background with no perspective (deliberately distanced from painting). In his most ambitious Cartoons, it was intended to share both a poetic vision (he sometimes even intersperses these tapestries with quotations) and a philosophical one (the major themes were addressed from the war on: freedom, resistance, fraternity, truth…), culminating in the “Chant du Monde” (Musée Jean Lurçat, former Saint-Jean hospital, Angers), unfinished at his death.

« The Sultan » is an inverted reprise of « Fanfares », with fine alterations in the cock’s plumage. If a leitmotif in Lurçat’s work, the cock could carry different meanings: here, in glory, on a grand scale (3.5 m²), it testified to the Victory of 1945 (note the tricolour allusions); it is a festive cock, unfurled in a profusion of colourful bands.

Bibliography:
Tapestries by Jean Lurçat 1939–1957, Pierre Vorms Editeur, 1957
Exhibition cat. Lurçat, 10 years later, Musée d’Art moderne de la ville de Paris, 1976
Cat. Expo. Les domaines de Jean Lurçat, Angers, Musée Jean Lurçat et de la tapisserie contemporaine, 1986
Colloque Jean Lurçat et la renaissance de la tapisserie à Aubusson, Aubusson, Musée départemental de la Tapisserie, 1992
Exhibition cat. Dialogues with Lurçat, Musées de Basse-Normandie, 1992
Exhibition cat. Jean Lurçat, Donation Simone Lurçat, Académie des Beaux-Arts, 2004
Gérard Denizeau, Jean Lurçat, Liénart, 2013
Exhibition cat. Jean Lurçat au seul bruit du soleil, Paris, galerie des Gobelins, 2016