After Raoul Dufy

Dufy has always shown a true vocation for the Arts décoratifs and for craft techniques: book illustration, ceramics,.. and textiles. Under the aegis of Paul Poiret, he first created decorative motifs intended for the printing of fabrics, before collaborating with the Lyon silk house Bianchini-Férier. Next came commissions intended for the Manufacture de Beauvais (the furnishing suite "Paris"), for Marie Cuttoli, the Cartoons woven at Aubusson during the war ("le bel été"), and later the collaboration with the Louis Carré gallery: a role, if not eminent, certainly a sustained effort in the medium, as part of the Renaissance of Tapestry. In the 1960s too, the Manufactures Nationales judged it relevant to weave tapestries after the artist's earlier paintings.

In the 1960s too, the Manufactures Nationales judged it relevant to weave tapestries after the artist's earlier paintings. Dufy, at the end of the 1920s, produced in Antibes, for Arthur Weisweiller's villa "l'Altana," a series of 4 decorative panels: they reused certain motifs already employed for Bianchini-Férier fabrics, with that shift between outlines and colors that became characteristic of the artist. The elements of this décor served as models to be woven, in a fragmented way and on a smaller scale (with differences in detail), for Pierre de Tartas at the Moulin de Vauboyen.