Tapestry after a cartoon by Jean Lurçat (1892- 1966)
France, Aubusson, tabard workshop
Woven in wool and cotton (warp in cotton, weft in wool)
Woven signature of the artist and the workshop
The tapestry presented by the Galerie Chevalier "Le Bois" is an exceptional tapestry by its dimensions and its subject. Research carried out in the archives of the Tabard workshops ensures that it is a unique piece. Certainly a commission.
This tapestry follows a binary construction by the two large windows it opens on its spectators. It is endowed with a strong symbolism dear to Lurçat, who was resistant during the Second World War. The Wood is the metaphor of a France in reconstruction at the end of the war.
This poem carries a message of unity, where everyone comes together to participate in the reconstruction of France, here symbolised by this building, probably a religious place under construction. Its positive message heralds a better future, even if all the forces of the nation will have to work towards this reconstruction.
Jean Lurçat was born in 1892 in Bruyère and died in 1966 in Saint Paul de Vence. Jean Lurçat started studying medicine but quickly abandoned this path. He meets Jean proved in Nancy, and then begins their collaboration. In 1912, he moves to Paris with his brother André (architect) and takes courses at the Colarossi Academy. There he met the great names of 20th century painting such as Henri Matisse, Paul Cézanne and Auguste Renoir. Jean Lurçat began his textile adventure with the small stitch before concentrating on tapestry.
Jean Lurçat's woven work is masterful. The artist is internationally known and his name is closely associated with the revival of French tapestry in the post-war years. He is the most important painter and cartoonist of the 20th century. In 1947, Lurçat became President of the Association of Tapestry Cardboard Painters. The A.P.C.T. groups together the artists who participated most effectively in the Renaissance of the Tapestry, that is to say, who understood the absolute necessity not only to re-adopt the primary language of this essentially mural art, but also to proceed at the same time with the reorganisation of the industry on which it depends. "(Text of presentation of the A.P.C.T.)