Une nouvelle "querelle de la tapisserie"?: peintres et liciers au temps de l'Art déco

• Autores: Rossella Froissart Pezone
• Localización: Revue de l'art, ISSN 0035-1326, Nº. 187, 2015, págs. 9-24
• Idioma: francés
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• Resumen

  • A new "Tapestry quarrel?". Painters and weavers in the Art Deco Era.

    At the turn of the 19th century, tapestry, confined to the category of grand decoration because of the costliness of the technique, and in France, largely dependent on the Manufactures Nationales, crystallized a will to change as much in terms of esthetics as in the ways of working. From Art nouveau to Art Deco, painters began the renewal by opening independent workshops or by entrusting their cartoons to the administrators of the Gobelins and of Beauvais concerned with the modernization of the repertory of models. However contemplation begins in the 1910s -and in the continuity of theoretical and historical works begun a half century earlier- on the role of the weaver, the autonomy of the loom and the aspects meant to define the "verity" of the tapestry and its decorative qualities. The cartoon, intermediary step between the conception and the execution, thus becomes a means to directly transmit the esthetic innovation to the worker, accustomed most often to slowly translating the painted models or canvases into wool. Does the modernity rise out of the painter's invention or is it inscribed in the practice of the loom? The division between these two positions becomes more radical in the 1930s around the names of Antoine-Marius Martin, Jean Ajalbert and Guillaume Janneau. The exhibition in the Musée National d'Art Moderne in 1946 consecrated the path chosen by Lurçat and the cartoon-painters, obscuring the experiments -with the exception of those of Madame Cuttoli- carried out throughout the first half of the century.