Marc Saint-Saëns

“Tapestry from Aubusson woven by the Atelier Tabard. With its bolduc signed by the artist. 1961. Lurçat asked Saint-Saëns, first a fresco painter, as early as 1940. And, during the war, he produced his first allegorical masterpieces—tapestries of indignation, of combat, of resistance: “the mad Virgins”, “Theseus and the Minotaur”. At the end of the war, he naturally joined Lurçat, sharing his convictions (about the numbered cartoon and the counted tones, about the specific writing required by tapestry, …) within the A.P.C.T. (Association des Peintres-cartonniers de Tapisserie). His world, where the human figure—stretched, elongated—occupies a considerable place (compared in particular to the place it holds in those of his fellow artists Lurçat, or Picart le Doux), revolves around traditional themes: the woman, Commedia dell’arte, Greek myths, … sublimated by the brilliance of the colors and the simplification of the layout. He then evolved, in the 1960s, toward cartoons that were more lyrical, almost abstract, in which cosmic elements and forces dominate. « [This cartoon] was a success (7 examples) and there are 2 versions: one with a bordeaux background, the other with a black background. Once again, Saint-Saëns refers to the great tradition of verdure populated with animals and flowers—an art of restful leisure without pretension… » (Michèle Heng in Cat. Expo. Saint-Saëns, oeuvre tissé, Aubusson, Musée départemental de la Tapisserie, 1987, p.34) Bibliography : Cat. Expo. Saint-Saëns, Paris, galerie La Demeure, 1970 Cat. Expo. Saint-Saëns, oeuvre tissé, Aubusson, Musée départemental de la Tapisserie, 1987 Cat. Expo. Marc Saint-Saëns, tapisseries, 1935-1979, Angers, Musée Jean Lurçat et de la Tapisserie Contemporaine, 1997-1998