Tapestry manufacture

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The manufactory on Avenue des Gobelins
High loom in the tapestry factory, Paris
Flat loom in the tapestry factory, Paris

The Manufacture des Gobelins (full French name Manufacture Nationale des Gobelins ) is a traditional and prestigious tapestry - factory in the Avenue des Gobelins in Paris ( 13th Arrdt. ). It was founded as a private company in 1607 and continued as the Royal Tapestry Manufactory from 1667 . From 1792 until today the manufacture has been owned by the French state, administered by the Ministry of Culture. Today it is also a workshop - the tapestries produced are made for the state buildings -, a training center for picture makers and a museum.

term

The "tapestry", colloquially and misleadingly also called "wall" or "picture carpet ", is a woven fabric made on a loom, the weft threads of which are not worked over the entire width of the weaving, but only up to the edge of a certain colored area, so that the Motifs result in a "picture". In the technical language, the result of this textile technique is called picture knitting . Strictly speaking, "Gobelins" are only works made in the Gobelins Manufactory in Paris.

The name of the manufactory is derived from the Gobelin family's former scarlet dyeing factory .

background

With the beginning of the rule of the House of Bourbon by Henri de Navarre , a broad economic promotion of tapestry began in France . After his accession to the throne in 1589, Henry IV pursued an early form of mercantilist and protectionist economic policy. By reviving the old handicraft rooted in France, Henry IV tries to counter the imports of Dutch manufacturers with his own French products. These plans were integrated into a long-term economic development program in France and controlled by Duc de Sully, who was responsible for managing the finances .

The founding of the Académie royale de peinture et de sculpture in Paris in 1648, based on the model of the Accademia di San Luca in Rome, was an important step on the way to centralizing the arts in France. This early institutionalization became the model for the establishment of further academies under Jean-Baptiste Colbert . Between 1663 and 1671 he founded the Académie des inscriptions et belles-lettres in 1663, the Académie des sciences in 1666 , the Académie royale de la musique in 1669 and the Académie royale d'architecture in 1671 . This made a far- reaching " domestication " of art possible and led to the development of the "state style " , the "style Louis XIV" . As a means of propaganda , art served in the Ancien Régime well into the 18th century for plans to expand power and to represent the House of Bourbon.

After 1661, the later Minister of Finance, contrôleur général des finances Jean-Baptiste Colbert, expanded the mercantilist tradition, also known as Colbertism . A large-scale program combined the handicrafts and decorative arts under central, absolutist leadership and control in the Manufacture royale des tapisseries et des meubles de la Couronne . In addition to the economic revitalization of France, this association served to implement the propagandistic goal of representing the House of Bourbon as the leading power in Europe.

The initiative to reform tapestry production began around 1601. For this purpose, tapestry masters resident in the Netherlands are recruited and appointed to found a manufacture. The technology transfer requested by Heinrich IV concerned in particular the spread of the faster Dutch Basselisse technique . In contrast to this, the older Hautelissetechnik common in France enabled a steady and better control of the work result. But it was far inferior to the Dutch technology à la marche in terms of productivity . At the same time, the previous pay system based on hours worked was abolished. The Dutch system of remuneration based on the finished square was introduced.

Factory history

The foundation after 1607

Three Dutch masters - Frans van den Plancken , later François de la Planche , from Oudenaarde , his brother-in-law Marc de Comans and his brother Hieronymus de Comans from Antwerp - received a royal patent in 1607 , which led to the establishment of a new factory in Paris . This patent included numerous privileges such as civil rights , the right to brew , tax relief , financial aid , free accommodation, pensions and the assurance of market regulation by strict import bans for certain Dutch tapestries. On the other hand, the prices of the goods, the number of tools , their locations in France, as well as a continuous development of the manufactories were demanded. The Atelier de la Planche-Comans was set up on the banks of the Bièvre in the then suburb of Faubourg Saint-Marcel . The size of the new studio , with around 60 witnesses, was far superior to that in Brussels . In addition to Paris, locations were established in Amiens from 1604 to after 1633, Calais from 1614 to 1620 and Tours from 1613 to after 1618.

In the first half of the 17th century, a general demand for tapestry products led to the establishment of new tapestry manufacturers throughout Europe. The Dutch manufactories were exemplary both for France and for the founding of the Mortlake Tapestry (1620–1679) initiated in England by James I. Sir Francis Crain, commissioned by the English King James I with the founding, consequently recruited one from the Parisian in 1624 De la Planche-Comans-Atelier asked the leading Dutch studio master Philipp de Maecht for the establishment in Mortlake .

Production began in the Gobelins' Paris studio after the move from unsuitable and only temporarily used rooms, probably during the first two decades of the 17th century.

The early phase of the tapestries

The de la Planche Comans studio

From the first two decades of the De-la-Planche-Comans-Atelier, only a few records exist that provide information on the type, organization and scope of production. The manufacture was divided into individual workshops, which were headed by various Flemish masters such as Lucas van den Dalle , Philipp de Maecht and Hans Tayer . The vast majority of the tapestries were created on the deep, reclining Basselisse chairs. Skin liss work was agreed separately for special assignments.

Important series from the early period are the history of Coriolan and the series of Artemisias . The Artemisia series, produced in ten series, is the most important series of figures at the beginning of the manufacture. It is an early example of the propaganda use of tapestry to glorify the Bourbon dynasty .

After Hendrik Lerambert's death in 1608, Laurent Guyot shared the office of peintre pour les tapisseries du roi with Guillaume Dumée . As a cardboard painter , Guyot had the greatest share in the studio's success. Series such as the Kings of France or the Hunts of King Franz'I were created under him . also known as Rayerpaiß . The most extensive series on Pastor fido was created in collaboration between Laurent Guyot and Guillaume Dumée.

Other popular series have been the Diana result of Toussaint Dubreuil and Asträafolge . Between 1622 and 1623 Peter Paul Rubens made twelve compositions on the story of Constantine for Heinrich's successor, Ludwig XIII. Secular themes predominated in the choice of motifs for the tapestry series during the first half of the 17th century. It was only through Simon Vouet that new religious consequences were developed alongside the Raphael compositions of the Acts of the Apostles.

In addition to the production of tapestries, the owners and successors of the studio also used their connections to the Netherlands to establish a monopoly on the trade in Dutch tapestries through the promised import restrictions .

After François de la Planche's death in 1627, Marc de Comans handed the company over to the oldest sons of the founders Raphael de la Planche and Charles de Comans . The cooperation broke up due to disputes between the sons and the workshops were divided in 1634.

The division of the studio after 1634

The Comans Atelier

After the death of Charles de Comans, Louis-Alexandre Comans took over the management of the Comans studio from 1634 . Comans had stayed in the tapestry rooms.

Even for this period, many of the preserved tapestries cannot be clearly attributed to one of the studios. Series such as Rinaldo and Armida or the love of the gods were produced by both workshops that emerged from the De-la-Planche-Comans-Atelier.

The studio was closed in 1670 with the death of Hippolyte de Comans .

The De la Planche Atelier

Raphael de la Planche handed over the management of the studio in Saint-Germain-des Prés in 1661 to his son Sébastien-François de la Planche . The studio comprised 13 large, 9 medium and 38 small tools with 200 workers.

One of the most important series of the studio was that of the seasons and elements Les Rinceaux . Sébastien-François' unfortunate management led to the emigration of workers to the royal manufactory founded after 1662.

In 1667 the factory had to be liquidated. The remaining substance passed into the possession of the Garde Meuble.

The establishment of the Manufacture royale des tapisseries after 1662

Louis XIV visits the Manufacture Royale , tapestry from 1667

The expropriation of the tapestry studio in Maincy in 1661 by Louis XIV , after an opulent fête by Nicolas Fouquet in the half-finished Vaux-le-Vicomte castle , formed one of the starting points for the establishment of a royal tapestry manufacture. With the dissolution of the studio and the takeover of the manufactory, Jean Lefebvre's craftsmanship and Lebrun's painterly talent were transferred to the newly established royal manufactory. The first works of the tapestries are directly linked to the designs made by Lebrun in Maincy. Lebrun remains decisive for the first 25 years after the establishment of the royal workshops.

Between 1662 and 1667, the new finance minister Jean-Baptiste Colbert developed a concept of centralizing the decorative arts , which led to the establishment of the Manufacture royale des tapisseries et des meubles de la Couronne , into which the royal tapestry factory was incorporated. The task of the manufactory was to produce the furnishings for the royal castles. Charles Lebrun was appointed artistic director between 1662 and 1690 . Charles Lebrun's oeuvre became the defining artistic influence of the first two decades after its founding.

In addition to Lebrun, the works of Philippe de Champaigne , Jacques Stella and Laurent de La Hire are of particular importance for the tapestry at the beginning of the second half of the 17th century , which differ from Vouet's exuberantly moving pictorial style to a calm, strict and classically based one Delimit the composition.

During these years the manufactory employed around 250 tapestries and 50 apprentices. It had its own dye works under the direction of Joss van Kerkhove and produced the necessary raw material itself. The Gobelins workshops had to calculate the commissioned series independently . As part of the royal workshops, the internal structure of the tapestries was divided into individual studios. It was initially divided into four workshops. Three of the studios work on high-wire chairs, another worked on deep-wire, knitting chairs. The ateliers der haute lisse were led by Jean Lefebvre , Henri Laurent and Jan Jans the Elder , which from 1668 was continued by his son Jan Jans the Younger . Jean de la Croix's basse lisse atelier, which had been working from the start , was supplemented by another atelier in 1667. After 1690, Dominique de la Croix took over the management of Jean Baptist Mozin .

Increasing financial difficulties of Louis XIV , caused by the aggressive foreign policy in the Franco-Dutch War and in the subsequent cabinet wars such as the Palatinate War of Succession, led to the first economic problems. The increasing loss of liquidity culminated in 1694 with the temporary closure of the Manufacture royale des tapisseries et des meubles de la Couronne .

Colbert's death in 1683 also weakened the position of director Charles Lebrun. Lebrun's influence was curtailed primarily by Colbert's successors, Louis XIV's finance minister, Claude Le Pelletier , general controller of finances, and François-Michel Le Tellier, marquis de Louvois (1641–1691) surintendant des bâtiments, arts et manufactures , (Bâtiments du Roi) , Minister for Public Buildings. Lebrun was only formally director of the royal workshops.

After the death of Charles Lebrun, Louvois appointed Pierre Mignard (1612–1695) as the new director. In the period of his activity from 1691 until the closure in 1694, however , the Rubenist Mignard had no major effect on the manufacture. From 1699, however, the studio was reopened due to increasing demand .

The reopening of the Manufacture royale des tapisseries after 1699

The reopening will be accompanied by administrative changes in the royal workshops. The Manufacture royale des tapisseries et des meubles de la Couronne will not be created again in the original form, which includes all decorative trades . Only the Manufacture Royale des tapisseries was opened under the new director and later Architecte du Roi Robert de Cotte . Like his predecessors, Robert de Cotte remained subordinate to the surintendant des bâtiments Édouard Colbert de Villacerf (1691–1699), Jules Hardouin-Mansart and the Marquis d'Antin (1708–1736). His area of ​​responsibility comprised primarily financial and organizational tasks.

He was supported by the artistic directors of the manufactory who were now appointed. De Cotte, who was director from 1699 to 1733, had no direct influence on the artistic oeuvre of tapestries. The criticized abundance of power in Lebrun's office led to a further division of labor within the administration. The tapestries produced are characterized by a greater variety of designs. In addition to Lebrun's students Antoine Coypel and Jean Jouvenet , Claude Audran III determined the content of the pictures for the first twenty years.

The number of studios is essentially the same as before 1694. In addition to the three studios in Haute Lisse, there were four in Basse Lisse . In the course of the 18th century these were also grouped together for economic reasons. The tapestries develop in the 18th century, starting from a manufacture of the king, which in the 17th century produced almost exclusively for his needs, more and more into a contractor for private customers. In addition to the change in the scope of the consequences and size of the individual tapestries, the wishes of the customers are becoming more and more important. Due to the increasing competition of the Beauvais tapestry, this change also leads to greater discontinuity in the order situation and economic pressure to adapt, which has an impact both technologically and formally on the issues of the consequences, the expansion of the range and its use. One of the new areas of application for tapestries after 1699 is the manufacture of upholstery fabrics for covering upholstered furniture sets .

The tapestry manufacture underwent a decisive change in 1733 with the appointment of Jean-Baptiste Oudry as artistic director until 1755. Through him and François Boucher, who was subsequently in office from 1755 to 1770, the traditional production and its composition changed radically. This development met with resistance from the directors appointed at this time, Jean Charles Garnier d'Isle from 1747 to 1755 and Jacques-Germain Soufflot from 1755 to 1780, and from tapestry masters.

The manufacture after 1789

With the revolution, the connection between the tapestry manufacture and the Bourbon house was temporarily interrupted until the second restoration . The tapestry factory is nationalized and the tapestry becomes citoyen and citoyenne . After the French Revolution in the following years of the terreur , operations are suspended for three years.

The manufacture is reopened in the Directory of the First Republic in 1792. It is used for propaganda and, as a result, Napoleon Bonaparte, like Louis XVI. in front of him. The tapestries were also used as diplomatic gifts.

The Manufacture nationale des Gobelins in the 19th century

In 1826, the workshops of the Savonnerie-Manufaktur were administratively combined with those of the Gobelin-Manufaktur and the two factories shared a site since then. However, production and training remain separate.

In 1871, during the Communards , the factory was set on fire, but not completely destroyed.

The tapestries in the 20th century

The factory is currently owned by the French state and can at the address 42 avenue des Gobelins, 75013 Paris coordinates: 48 ° 50 '5.8 "  N , 2 ° 21' 11.2"  O be visited.

Artistic features

17th century

In the first half of the 17th century, it is difficult to separate the works of the various studios in Paris, as they often use the same models as e.g. As the Artemisiafolge that Coriolanfolge or the psyche result . The signatures in the borders , such as the P - for Paris and the Fleur-de-Lis , are used by the Atelier Doubout-Laurent as well as the Atelier Plancken-Commans.

mannerism

In the first third of the 17th century, the tapestries made in the manufactory remained formally and compositionally stuck to the tradition of the 16th century. The compositions of Antoine Caron (1521–1599) and the generation that followed him, from Ambroise Dubois (1542–1614) to Toussaint Dubreuil (1561–1602) and Martin Fréminet (1567–1619) were formative for the first phase of manufacture .

An exception to this are the templates of the history of Constantine made by Peter Paul Rubens from 1622 to 1623. But it was only with the engagement of Simon Vouet after 1627 that the baroque influence prevailed in painting and tapestry in Paris. The majority of the tapestry series, however, which were made up to the founding of the Manufacture royale des tapisseries et des meubles de la Couronne in 1662 and repeated from the available boxes, are in the tradition of Italian mannerism.

Formally and compositionally, the Mannerist designs from the beginning of the century are characterized by slender and strongly elongated figures and faces. The designs by Antoine Caron correspond to those of the Valois tapestry , cf. in the tapestries "Fontainebleau", "Polish Ambassadors", "Travel". The Mannerist compositions are shaped by the perspective staggered groups of figures, which predominantly and without spatial connection increase in size according to their importance, and still correspond to the “Gothic spirit”. An action depicted in the picture center is often framed by the most important individuals (clients) at the edges of the picture. The architecture that delimits the action space like a backdrop merges into a landscape prospect separated from the foreground of the picture .

The figure composition, landscapes and verduras are framed by the traditionally wide French borders. In contrast to the Dutch tapestries, the tapestries of this time generally have borders of light, three-dimensional combinations of figures and cartouches on a dark background as a surrounding frame.

Baroque - early phase 1625–1662

Vouet's baroque influence on painting is extraordinary. Pupils such as Eustache Le Sueur Charles Poerson and Charles Lebrun continued the classical development of painting , which after Vouet's death was influenced by Nicolas Poussin . From the 1950s onwards, they created new templates for the Paris tapestry manufacture.

Vouet's lively baroque compositions are more plastic. It reduces the amount of archaeological detail and simplifies the overly complicated composition. His clear, closed outline drawings, groups of figures and individual figures bring about greater clarity. In addition to the expressive and liberated faces, the painterly element in the tapestry is gaining in importance.

Baroque - middle phase 1662–1694

Due to the influence of Charles Lebrun, the graphic element in the tapestries of the tapestry became more important after 1662. Lebrun, who was strongly influenced by the painterly style of his teacher Simon Vouet at the beginning of his training, followed Poussin to Italy. Here he received important stimuli that shaped his later work from the painting of the Italian Renaissance by Raffaello Santi and Giulio Romanos . The works of the baroque painters Pietro da Cortona , Giovanni Francesco Romanelli Guido Reni , Agostino Carracci and Lodovico Carracci form the basis for his graphic drawing style, the monumentality and themes of his work.

The tapestries created under Lebrun after 1662 are increasingly becoming part of an integrated spatial architecture. Initially, the borders that are still ready form the secondary wall structure. As a result, the traditionally wide borders are replaced by narrower strips. The tapestry becomes a picture, which is assigned a predetermined, fixed place within a structured wall surface of the interior. By integrating all decorative arts, Lebrun developed the spatial concept that was decisive for the 18th century.

Lebrun's monumental style, characterized by size and pathos, lost its influence in the last decades of the 17th century. The reality on the battlefield, the increasing influence of the exotic, such as the first wave of China and the Italian grotesque in the works of Jean Louis Berain the Elder (1640–1711) in the works of Noël Coypel made Lebrun's great style increasingly obsolete. The Beauvais tapestry was ahead of the Paris tapestry manufacture with its products.

18th century

Baroque and Régence - late phase 1699–1733

The restart of production after 1699 is characterized by both new designs and the inclusion of existing series and their expansion with new scenes. As a result of Lebrun, the designs of his students Antoine Coypel and Jean Jouvenet are important for the first two decades of the tapestries. The development towards the exotic, which began in the last years of the 17th century, is formative. Charles-Antoine Coypel and François Desportes tie in with this theme with the extremely successful tapestries of the Don Quijotte series, the Old India series and the New India series .

However , after Lebrun, a continuation of the high style of the representational sequences no longer succeeds. The thematic continuation of the consequences for the glorification of Louis XIV by Louis XV. fails and is thematically changed. From the deeds of a 1727 still too young Louis XV. will be hunts. The painter Oudry was commissioned with the execution. In 1733 he was given the artistic direction of the tapestries and brought about a fundamental change in the production of tapestries.

The stylistic changes in the Regency -Decoration, (using paneling boiserie ), forms a serious competition for the tapestries. When the government moved to Paris after the death of Louis XIV , numerous new city palaces ( Hôtel Particulier ) were built. In the design of the representative rooms (apartment de parade) , tapestries lost their importance compared to the silk wall coverings.

Rococo 1733-1755

Another development that is indirectly associated with the change in the way of representation is the mirror fashion of the first decades of the 18th century. This displaces painting and tapestries. Only after being downgraded to a mere accessory, a part of the wall paneling, do they disappear completely.

With the elimination of the graphic element and the expansion of the color palette, seamless shades of color are created that are typical of the tapestry of the Rococo. The transition from the representative tapestry of the Louis-quatorze and the Régence to the picturesque tapestry of the Louis-quinze was brought about by the painter and artistic director of the tapestry from 1733 to 1755 Jean-Baptiste Oudry .

Claude Audran III , Jean François de Troy and Charles-Antoine Coypel succeed again in generating economic success for the tapestries with their designs, which are produced in numerous series and in large editions as tapestries.

Neoclassicism 1755–1789

After 1751, when he took office as directeur général des Bâtiments du Roi ( until 1773) of the Marquis de Marigny (1727–1781), the brother of Madame de Pompadour , elements of neoclassicism also gain in importance in tapestry. New bourgeois customers could be won through ever new episodes, which should increasingly show a greater variance in different borders and image content in smaller series. Small figural picture compositions, precisely knitted in medallions, are fitted into a large damask pattern that can be color-coordinated with the room concept.

The period with François Boucher as artistic director of the tapestry from 1755 to 1770 despite everything heralds the decline of tapestry in the 18th century. The old handicraft of tapestry is only able to follow the change in fashions in decoration to a limited extent. Short-term trends determine the choice of motif and composition, the goût grec is followed by the goût étrusques , the goût turques , chinois , égyptien , anglaise . But the production of small-scale portraits based on designs by Louis-Michel van Loo and Joseph-Marie Vien or the monumental patriotic series of figures by François-André Vincent did not bring economic success either. The tapestry as a representative art form has outlived itself.

Directoire, Consulate, Empire 1792-1814

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Craftsmanship

17th century

Schematic representation of a flat loom

The craftsmanship of the work of the tapestries of the 17th century remains largely linked to the traditional techniques of the last first century. Despite the pronounced painterly approach in the Baroque era, the color palette of 120 colors established by Colbert for tapestries in 1669 and 1671 was retained until the end of the century. The required raw material wool and silk is produced in the attached dye works with natural colors. Colored shades are still created by hatching hachures , and the finer and hard contours by slits . Metal threads made of silver and gold were used in individual, precious skin liss designs.

A significant change in the 17th century was the introduction of the Basselisse technique. The design was copied onto the cardboard , which was previously primarily made in tempera and later also in oil paint . The corresponding changes were made to adapt to the tapestry design.

In the Basselisse technique and in contrast to the haute lisse , this was then transferred to the tensioned warp threads as a mirrored outline drawing using the transparent calques pauses .

Another change was due to the greater division of labor between the studios. In addition to the general separation in design, cardboard and tapestry which specialize Kartonnier and Tapissier to individual areas such as animals, small figures and landscapes, architecture, large figures and faces.

18th century

Gobelins in the Schwarzenberg Palace on the Neuer Markt in Vienna

With regard to the manual and technical aspects of tapestry production, little changed in the tapestry workshops in the first third of the 18th century. The interruption of production of five years does not diminish the knowledge and skills of the artisans, especially since some of the artisans find work temporarily in the nearby Beauvais factory .

The decisive changes begin after 1733. With the takeover of artistic direction by Jean-Baptiste Oudry , a fundamental change in tapestry production begins. Through him, the graphically abstracting principle in the transfer of the design by the cardboard maker to the cardboard that is necessary for the production of the tapestry loses its position. Oudry took the position that the painterly and color quality of the template of the design should not be deviated from during the production of the tapestry.

In the dispute between the masters of the manufactory, Oudry was victorious and influenced the manufacturing process more than through his artistic oeuvre as a painter. The creation of mosaic-like patches of color on faces replaces the old technique of hatching. The expansion of the color palette, which has up to now comprised 120 colors, by a further 100 new tapestry colors enabled an almost unlimited variety of shades and made control more difficult during production. In addition, the pigments , which are characterized by a lack of light resistance , reduce the durability of the carpets. In addition to the difficulties of the immediate practical challenges in the production process, the implementation also contributes to the increasing loss of importance of the tapestry after 1755.

After 1755, François Boucher continued the development of Oudry. New bourgeois customers were to be won through ever new episodes, which increasingly show a greater variance in different borders and image contents in smaller series. Small and precisely woven figural picture compositions in medallions are fitted into a large-scale damask pattern that is quick to look and color-coordinated with the room concept.

The Anglomania in France in the last quarter of the 18th century found its counterpart in the "franco-filament" aristocracy of the Whigs in the UK . After the trade agreement signed with the United Kingdom in 1786, the French luxury handicrafts again became an important export market after the long conflict in the Seven Years' War and the conflicts in North America. But here, too, the tapestry products soon became less important. In the last decade of the 18th century, tapestries largely disappeared from the repertoire of "upholsterers" and decorators.

The incumbent director Soufflot and the masters of the studios tried to counteract the looming decline. With the use of new u. a. Knitting chairs developed by Jacques de Vaucanson increased productivity. The development of swiveling Basselisse tools improved the control of the production on the cheaper deep-seated tools. The development of better and more lightfast colors was accelerated in order to avoid the problem of bleaching out entire color spectra in the finely shaded areas. There was an almost complete conversion of the production to the cheaper Basselisse technique, to which more and more of the series, which were previously made on high-litz chairs, were drawn up. However, the economic crises of the Ancien Régime on the eve of the French Revolution were not likely to ease the financial situation. Unpaid bills led to high indebtedness of the studio, his director and the "tapestries", which remained unpaid.

Imitation tapestries in Linderhof Palace , Oberammergau , eastern tapestry rooms after 1874, paintings on canvas based on models by François Boucher, designed by Georg von Dollmann in 1874, executed by Heinrich von Pechmann

20th century

In the 20th century, as a result of the First World War , patriotic tapestries were first created. During the Second World War , works were commissioned for the Nazi occupiers, including an unfinished monumental tapestry by Werner Peiner (Die Erdkugel). In addition, tapestries that glorified the Pétain regime were created. After the Second World War, tapestries were created that were knotted according to designs by well-known artists of the 20th century, including Henri Matisse , Pablo Picasso , Le Corbusier , Fernand Léger , Jean Lurçat , Joan Miró and Louise Bourgeois .

Imitations

So-called "fake tapestries" are jacquard weaving . The tapestry painting is an imitation of the knitted tapestry by painting a woven fabric similar to the tapestry in color. The tapestry embroidery tries to imitate the real tapestry by means of a special flat stitch on canvas with wool or silk .

Tapestry series of tapestries

17th century

mannerism

Baroque - early phase 1625–1662

Baroque - middle phase 1662–1694

Repetitions - after 1667

18th century

Baroque - late phase 1699–1715

Repetitions - after 1699

Rococo 1733-1755

Classicism 1755–1789

Other French tapestry manufacturers

The foundation dates are in front.

Paris:

Province:

  • 14th century: Arras ( Nord-Pas-de-Calais ), favored since the beginning of the 14th century by orders from King Charles the Wise and his uncles, the Dukes of Anjou, Berry and Bourgogne. The takeover of the region after the death of Charles the Bold (1433–1477) caused the picture makers to relocate their workplaces to safer areas.
  • 1457: Aubusson (Creuse) ( Limousin ), the two sculptors Jacques Bonnyn and Jean Berigne recorded in Aubusson. From 1689 raised to "manufacture royale" (royal manufacture). Several factories are still active in Aubusson today.
  • 1536: Fontainebleau ( Île-de-France ), a short-lived workshop founded under the aegis of Francis I of Angoulême under the direction of the Flemish artisan Léonard Thiry, until 1540
  • 16th century: Bellegarde-en-Marche (Limousin), little-known manufacturer not far from Aubusson, active until around 1636.
  • 1604: Amiens ( Picardy ) from 1604 until after 1633
  • 1630: Cadillac ( Aquitaine ), short-lived workshop founded by Jean-Louis Nogaret de la Valette, manufactures the "Bataille de Jarnac" (1632–1637, Battle of Jarnac ) in honor of the Duke of Anjou, the future Henry IV.
  • 1658: Maincy (Île-de-France), founded by Nicolas Fouquet for furnishing the Vaux-le-Vicomte castle , artistic direction by Charles Lebrun , management of the workshop by master Jean Lefebvre until 1661.
  • 1664: Beauvais (Picardie), Manufacture Royale de tapisserie de Beauvais ( haute et basse lice ), moved to the tapestry factory after the Second World War
  • 1614: Calais (Nord-Pas-de-Calais) until 1620
  • 1689: Felletin (Limousin), the workshop that has presumably existed for a long time, was raised to "manufacture royale" in 1689, the same year as the Aubusson workshop.
  • 1613: Tours ( Center-Val de Loire ) from 1613 to around 1618
  • 1698: Nancy ( Lorraine ), Manufacture de tapisserie de Nancy, until 1719
  • 1718: Luneville (Lorraine), Manufacture de tapisserie de Luneville, until 1723
  • 1723: Nancy (Lorraine), Atelier de tapisserie de la Malgrange, took over the production of the Luneville workshop, which was closed in 1723, until 1737

literature

  • Wolf Burchard, The Sovereign Artist: Charles Le Brun and the Image of Louis XIV , London 2016
  • Maurice Dayras: La tapisserie. The problem of origines. In: Nouvelle Histoire d'Aubusson. Volume 2: De la fin du Moyen Age à la fin de l'Ancien Régime. Lecante, Aubusson 1975.
  • Denis Diderot, Jean le Rond d'Alembert: Recueil de Planches, sur les Sciences, les Arts Libéraux, et les Arts Méchaniques, avec leur Explication . Vol. 15: Tapestry - Tapestry of the Gobelin . Reprint, Inter-Livres, Paris 2002, ISBN 2-914661-23-1 .
  • Jacques Fadat: La Tapisserie d'Aubusson. Self-published, Aubusson 1992, ISBN 2-907762-10-9 (text in French, German, English and Spanish).
  • Heinrich Göbel : * tapestries . Klinkhardt & Biermann, Leipzig 1923–1934 ( digitized version ).
    • Part I, The Netherlands . 2 volumes, 1923.
    • Part II The Romance countries. The tapestries and their factories in France, Italy, Spain and Portugal . 2 volumes, 1928.
    • III. Part, Volume 1: The Germanic and Slavic countries. Germany including Switzerland and Alsace (Middle Ages), southern Germany (16th to 18th centuries) . 1933.
    • III. Part, Volume 2: The Germanic and Slavic countries. West, Central, East and North Germany, England, Ireland, Sweden, Norway, Denmark, Russia, Poland, Lithuania . 1934.
  • Dora Heinz: European tapestries. Volume 1: From the beginnings of picture knitting to the end of the 16th century (= library for friends of art and antiques. Volume 37, ZDB -ID 518703-5 ). Klinkhardt & Biermann, Braunschweig 1963.
  • Dora Heinz: European tapestry art of the 17th and 18th centuries. The history of their production facilities and their artistic objectives. Böhlau, Vienna / Cologne / Weimar 1995, ISBN 3-205-98163-4 .
  • Fabienne Joubert: La Tapisserie (= Typology des Sources du Moyen Age Occidental. Vol. 67). Brepols, Turnhout 1993, ISBN 2-503-36067-X .
  • Fabienne Joubert, Amaury Lefébure, Pascal-François Bertrand: Histoire de la Tapisserie. En Europe, you Moyen Age á nos Jours. Flammarion, Paris 1995, ISBN 2-08-010969-3 .
  • Viale Mercedes: Tapestries. Paul Hamlyn, London / New York NY / Sydney / Toronto 1969.
  • Frances A. Yates : The Valois Tapestries. 2nd edition. Routledge & Kegan Paul, London 1975, ISBN 0-7100-8244-4 (Reprinted edition. (= Frances Yates: Selected Works. Volume 1). Ibid 1999, ISBN 0-415-22044-0 ).

Individual evidence

  1. ↑ https://www.kunsthalle-muc.de/ausstellungen/details/die-faeden-der-moderne/
  2. ^ Christine Howald: The case of Nicolas Fouquet: Patronage as a means of political self-expression 1653-1661 , Munich, Oldenbourg Wissenschaftsverlag, 2012, p. 240
  3. ↑ See base Joconde .
  4. ↑ Inventory OAR 522, note on the website of the Musée du Louvre.
  5. ↑ Inventory OAR 453, note on the website of the Musée du Louvre.
  6. ↑ Inventory OAR 450, note on the website of the Musée du Louvre.
  7. ↑ La pièce a été acquise par le Center des monuments nationaux pour compléter ses collections , L'Echo Républicain, 7 février 2013 ( digitized ).
  8. ↑ Châteaudun du fil à la trame, l'art de la tapisserie , press kit of the Center des monuments nationaux, 2 May 2017 ( digitized version )
  9. ↑ Maurice Dayras, quoted by Jacques Fadat in "La Tapisserie d'Aubusson"

Web links