Since antiquity people have used textiles for all range of purposes. From blankets for warmth, to elaborate woven fabrics for commerce, they have been at the very center of human life.
The need for textiles, combined with our desire to enhance the world around us, has given rise to a huge range of fabric based art, everything from basic colored cloth to complex woven textiles. Tapestries and wall hangings have long been one of the most accomplished forms of this art, having a history dating back millennia, and artists from almost all cultures have contributed some form of textile wall art.
Recently tapestries and wall hangings have enjoyed a rise in interest, with many people looking beyond traditional options for wall decor. The tactile nature of tapestries, combined with their rich history, has made them once again a choice for the well-informed home improver.
Traditional tapestry designs
Although there is an increasing amount of contemporary art available as tapestry wall hangings, it is the traditional designs from the past that are the most popular. Since tapestries have enjoyed a long history these can include anything from Gothic wall hangings, to French Baroque and Rococo works from the 17th and 18th centuries, to more recent 19th century William Morris and Pre-Raphaelite art.
The main appeal of these impressive works is their connection with history. The range of designs and themes is vast and include subject matter as diverse as the rise and fall of nations, the importance of art movements at different times, and the prominence of individual artists and groups. Most appealing is that each has its own claim to history. This combination of artistic excellence and history writ large is proving irresistible to many art lovers who yearn for more depth in their home decor choices.
There are many famous tapestries from the past. In particular the Middle Ages took wall tapestries from the domain of practical decor into the realms of art. Boasting famous works like the Bayeux Tapestry and the Lady and the Unicorn series, the Medieval era is seen by many as the golden age of tapestry art. More importantly for the first time we see tapestry wall hangings widely appreciated as works of art, rather than just practical pieces of home furnishing.
A growing popularity
Reproductions of these famous works are proving very popular with modern audiences. Given the historical importance of these works of art some of the current productions available are fastidious copies of the originals. The very best of these capture the drama and virtuosity of historical art, perfectly blending it with modern weaving methods. The end result is often very faithful to the original artists' vision, with all the durability and appeal of modern fabrics.
From the vivid colors of Medieval tapestries, to the exoticism of Eastern schools of weaving, traditional tapestry designs often surprise modern art lovers with their attention to detail, their ability to capture emotion and their exploration of timeless themes such as love and romance.
An enduring allure
Because of this these centuries-old designs are enjoying a renewed prominence and are once again making their way into the homes of taste conscious art lovers. Every tapestry, because of the individuality of the weaving process, is a unique work of art unlike any other. In a world driven by mass production art and home decor enthusiasts are drawn to the uniqueness of wall tapestries as an antidote to the monotony of many other décor options.
Now, despite their ancient origins, many people are again looking towards historical tapestries and wall hangings as an answer to their modern home decor aspirations. With an ever growing range of options for shoppers the choice has never been better.
Copyright © The Tapestry House, all rights reserved.
Showing posts with label wall decor. Show all posts
Showing posts with label wall decor. Show all posts
Friday, November 28, 2008
Wednesday, September 24, 2008
GOBELINS TAPESTRY- THE OPULENCE AND SPLENDOUR OF THE ROYAL COURT
Some of the most detailed and exquisite tapestry in the world was produced at the Gobelins Factory in Paris exclusively for royal palaces. During the seventeenth and eighteenth century the factory was at the height of production and it was at a time when the world looked to France for artistic inspiration. Creating detailed and distinguished tapestries for Royal Palaces during the eighteenth century the work exuded wealth, extravagance and luxury and adorned the walls of the Palace of Versailles.
Origins and techniques
The Gobelin workshop began life in 1450 as a dyeing factory in a Paris suburb, founded by Jean Gobelin, and emerged into a tapestry weaving workshop with the arrival of two Flemish weavers, Marc de Comans and Francois de la Planche after they had been called to the Court of Henri IV in 1601.
Tapestries were used to furnish walls and give a sense of grandeur to a residence. Works emerged designed by Rubens, Simon Vouet, Goya and other leading artists as the factory produced some of the greatest tapestries of the day and of all time, commissioned for royalty. By 1661 the Gobelins workshop became a centre of excellence when Louis XIV’s finance minister, Jean-Baptiste Colbert merged the existing Parisian workshops into one site, their role being to provide furnishings for the Royal palaces including the Royal Bedchamber of Louis XIV. Often a tapestry would take years to produce and gives an insight into the economy at the time as wealthy courtiers committed money for a long term project. With Versailles being the height of inspiration, fashion and design, the use of tapestries at the Royal Court and their exquisite workmanship ensured their popularity throughout Europe.
The technique used was very specific and detailed, and eventually became known as Gobelin stitch or weave, and is a technique in itself. It is very different from other patterned weaving in that no weft threads are used along the full length of a fabric. Each unit or the background is stitched with a weft thread and only where that colour appears in the design. No knots are used in Gobelin technique. An apprenticeship for a Gobelin worker lasted eight to ten years, largely because they also dyed their own tapestry wool. The Gobelin colours still exist today as a legacy from the dyeing industry, the most well known being Gobelin Blue. Three high warp or haute-lisse looms which stood vertically and a low warp loom were used to make a tapestry, often using several people on one loom. A designer would paint the cartoon or design onto canvas which would then be interpreted and woven by the artisans. These craftsmen worked from the wrong side of a tapestry, using a mirror to see the emerging masterpiece. Typically, a Gobelins tapestry would be surrounded by an ornate frame, also woven, which gave a trompe d’oeil impression to the finished masterpiece.
Seduction by tapestry
One of the most famed courtesans in French history, Madame de Pompadour, had significant influence at the Palace of Versailles and at the Court of Louis XIV. She was famed for her extravagant commissioning of art in the form of paintings, porcelain and tapestry to seduce powerful men at Versailles including the king. One of her protégés, Francois Boucher, became master of the Gobelins Factory and some of his most famous work was made into tapestries for Madame de Pompadour. These include The Rising of the Sun and the Setting of the Sun as mythical decorations for her residence at the Chateau de Bellville.
Held to ransom
One of the rare complete Gobelin collections, sometimes called the Indian Hangings, can be seen at the Grandmaster’s Palace in Malta. The tapestries themselves were adapted from paintings at the request of Louis XIV and purchased by the Grandmaster of Malta. During their journey to the island they were seized by pirates off Sicily and a large ransom paid to ensure their safe delivery in Malta. This work was completed in 1710 and depicts scenes from South America and Africa, virtually unknown continents at the time. Wild animals emerge from the tapestry, giving the impression of a savage and untamed land, whilst highly colourful birds bring an exotic air to the work. The mixing of the colours ensured a detailed and vivid perspective to the tapestries which captured the imagination of those who saw them, full of the jungle, natives, animals, plants and hunting scenes. This fine work outside France helped spread the popularity of the Gobelins factory throughout Europe.
A testament to history
As the eighteenth century drew to a close the opulence that had adorned the Royal Courts of France was no longer fashionable and gradually fell from favour. The splendour and luxury of the royal palaces cocooned its inhabitants in tapestry covered walls, when outside on the streets of Paris a different picture of life was emerging. The French Revolution destroyed many palaces and fine homes in France and executed or exiled the clientele on which the industry depended. With them went a number of tapestries, condemned to burn as the Terror reigned. More simpler and practical designs emerged with the work of designers such as William Morris, enabling a wider population to own a tapestry and for more to be economically affordable. The Gobelins Factory is still in existence in Paris, having adapted to the centuries of change, and works on specially commissioned designs for state buildings, still retaining the air of exclusivity.
Origins and techniques
The Gobelin workshop began life in 1450 as a dyeing factory in a Paris suburb, founded by Jean Gobelin, and emerged into a tapestry weaving workshop with the arrival of two Flemish weavers, Marc de Comans and Francois de la Planche after they had been called to the Court of Henri IV in 1601.
Tapestries were used to furnish walls and give a sense of grandeur to a residence. Works emerged designed by Rubens, Simon Vouet, Goya and other leading artists as the factory produced some of the greatest tapestries of the day and of all time, commissioned for royalty. By 1661 the Gobelins workshop became a centre of excellence when Louis XIV’s finance minister, Jean-Baptiste Colbert merged the existing Parisian workshops into one site, their role being to provide furnishings for the Royal palaces including the Royal Bedchamber of Louis XIV. Often a tapestry would take years to produce and gives an insight into the economy at the time as wealthy courtiers committed money for a long term project. With Versailles being the height of inspiration, fashion and design, the use of tapestries at the Royal Court and their exquisite workmanship ensured their popularity throughout Europe.
The technique used was very specific and detailed, and eventually became known as Gobelin stitch or weave, and is a technique in itself. It is very different from other patterned weaving in that no weft threads are used along the full length of a fabric. Each unit or the background is stitched with a weft thread and only where that colour appears in the design. No knots are used in Gobelin technique. An apprenticeship for a Gobelin worker lasted eight to ten years, largely because they also dyed their own tapestry wool. The Gobelin colours still exist today as a legacy from the dyeing industry, the most well known being Gobelin Blue. Three high warp or haute-lisse looms which stood vertically and a low warp loom were used to make a tapestry, often using several people on one loom. A designer would paint the cartoon or design onto canvas which would then be interpreted and woven by the artisans. These craftsmen worked from the wrong side of a tapestry, using a mirror to see the emerging masterpiece. Typically, a Gobelins tapestry would be surrounded by an ornate frame, also woven, which gave a trompe d’oeil impression to the finished masterpiece.
Seduction by tapestry
One of the most famed courtesans in French history, Madame de Pompadour, had significant influence at the Palace of Versailles and at the Court of Louis XIV. She was famed for her extravagant commissioning of art in the form of paintings, porcelain and tapestry to seduce powerful men at Versailles including the king. One of her protégés, Francois Boucher, became master of the Gobelins Factory and some of his most famous work was made into tapestries for Madame de Pompadour. These include The Rising of the Sun and the Setting of the Sun as mythical decorations for her residence at the Chateau de Bellville.
Held to ransom
One of the rare complete Gobelin collections, sometimes called the Indian Hangings, can be seen at the Grandmaster’s Palace in Malta. The tapestries themselves were adapted from paintings at the request of Louis XIV and purchased by the Grandmaster of Malta. During their journey to the island they were seized by pirates off Sicily and a large ransom paid to ensure their safe delivery in Malta. This work was completed in 1710 and depicts scenes from South America and Africa, virtually unknown continents at the time. Wild animals emerge from the tapestry, giving the impression of a savage and untamed land, whilst highly colourful birds bring an exotic air to the work. The mixing of the colours ensured a detailed and vivid perspective to the tapestries which captured the imagination of those who saw them, full of the jungle, natives, animals, plants and hunting scenes. This fine work outside France helped spread the popularity of the Gobelins factory throughout Europe.
A testament to history
As the eighteenth century drew to a close the opulence that had adorned the Royal Courts of France was no longer fashionable and gradually fell from favour. The splendour and luxury of the royal palaces cocooned its inhabitants in tapestry covered walls, when outside on the streets of Paris a different picture of life was emerging. The French Revolution destroyed many palaces and fine homes in France and executed or exiled the clientele on which the industry depended. With them went a number of tapestries, condemned to burn as the Terror reigned. More simpler and practical designs emerged with the work of designers such as William Morris, enabling a wider population to own a tapestry and for more to be economically affordable. The Gobelins Factory is still in existence in Paris, having adapted to the centuries of change, and works on specially commissioned designs for state buildings, still retaining the air of exclusivity.
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