Null TAPISSERIE D'AUBUSSON, SECOND HALF OF THE 18th CENTURY

The flute lesson 

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Description

TAPISSERIE D'AUBUSSON, SECOND HALF OF THE 18th CENTURY The flute lesson After a carton by Jacques-Nicolas Julliard (1715-1790) Woven in wool and silk; in the center, a flute-player accompanied by a young shepherdess, a dog and a sheep, a verdant landscape, a stream and a stone bridge in the background; the border in imitation of a frieze frame of foliage interspersed with garlands and flowers; wear and old restorations, reduced in height. Dimensions: 270 x 230 cm (106 ¼ x 90 ½ in.) Bibliography: P.-F. Bertrand, Aubusson tapestries of the Enlightenment. Splendors of the Royal Manufactory, Supplier of the Enlightenment, Ed. Snoeck Gent, 2013, p.161-162 An Aubusson tapestry depicting the flute's lesson, after a drawing by Jacques-Nicolas Julliard (1715-1790), second half of the 18th century The green landscape, stream and stone bridge in the background contribute to the bucolic atmosphere of this pastoral scene. The composition is enlivened by the intersecting vertical and oblique planes of the tree trunks, to which the parallel obliques formed by the flute and shepherd's crook respond. It parallels the tapestry entitled Le Cerf-volant (The Kite). Several examples were woven at the Aubusson factory, including one now in the Château de Panloy.

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TAPISSERIE D'AUBUSSON, SECOND HALF OF THE 18th CENTURY The flute lesson After a carton by Jacques-Nicolas Julliard (1715-1790) Woven in wool and silk; in the center, a flute-player accompanied by a young shepherdess, a dog and a sheep, a verdant landscape, a stream and a stone bridge in the background; the border in imitation of a frieze frame of foliage interspersed with garlands and flowers; wear and old restorations, reduced in height. Dimensions: 270 x 230 cm (106 ¼ x 90 ½ in.) Bibliography: P.-F. Bertrand, Aubusson tapestries of the Enlightenment. Splendors of the Royal Manufactory, Supplier of the Enlightenment, Ed. Snoeck Gent, 2013, p.161-162 An Aubusson tapestry depicting the flute's lesson, after a drawing by Jacques-Nicolas Julliard (1715-1790), second half of the 18th century The green landscape, stream and stone bridge in the background contribute to the bucolic atmosphere of this pastoral scene. The composition is enlivened by the intersecting vertical and oblique planes of the tree trunks, to which the parallel obliques formed by the flute and shepherd's crook respond. It parallels the tapestry entitled Le Cerf-volant (The Kite). Several examples were woven at the Aubusson factory, including one now in the Château de Panloy.

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French Aubusson tapestry, 19th century. "Landscape with castle". Hand-knotted wool. Measurements: 215 x 296 cm. The refinement of this hand-woven tapestry testifies to the high quality of Aubusson tapestries. A luxuriant garden opens before us showing a small lake with bridges on its banks and a castle in the background. Cherry blossoms and rose bushes border the pond. The landscape has been resolved with ease and descriptive precision, in richly contrasting tones with a predominance of green, blue and earthy tones, with pink details. The subject is in keeping with nineteenth-century aristocratic taste. The city of Aubusson agglutinated numerous tapestry workshops, which were created by Flemish weavers who settled in the area at the end of the 16th century. They had a rudimentary operation, compared to the Royal Gobelins Manufacture: they had no painters, dyers, nor a commercial structure, so their tapestries were sold in inns, to a lower class private clientele, mainly provincial aristocrats. In the sixteenth and seventeenth centuries, the Aubusson workshops specialized in vegetable tapestries (with eminently floral decoration), but the situation changed radically when, in the mid-seventeenth century, this center was reorganized by Jean-Baptiste Colbert, minister of Louis XIV, with the aim of converting these workshops into royal manufactories. He then subjected the Aubusson and Felletin workshops to a guild regulation and, in exchange, promised to provide them with a painter and a dyer. This promise, however, would not become effective until the 18th century, a turning point for the workshops of La Marche, which would see a considerable increase in the quality of their tapestries by being able to count on a painter dedicated to making cartons and a dyer who would produce dyes of a higher quality than those used until then.