The art of carpets and tapestries in the 20th century

wp:paragraph Carpets have become a design essential. They elegantly dress up any interior, in any style, from the most classic to the most contemporary. Many contemporary designers express their creativity by designing models for publishers. Interestingly, the art of weaving is regularly back in the spotlight, with exhibitions showcasing its most famous exponents. In 2018, London's Tate Modern devoted a major retrospective to textile artist Anni Albers. This article looks at the history of carpets and tapestries and how they evolved over the course of the 20th century. Carpets have become an essential part of design. They elegantly dress up any interior, in any style, from the most classic to the most contemporary. Many contemporary designers express their creativity by designing models for publishers. Interestingly, the art of weaving is regularly back in the spotlight, with exhibitions showcasing its most famous exponents. In 2018, London's Tate Modern devoted a major retrospective to textile artist Anni Albers. This article looks at the history of carpets and tapestries and how they evolved over the course of the 20th century. /wp:paragraph wp:image {"align": "center", "id":17006, "sizeSlug": "full", "linkDestination": "none"} Caption: View of the "Anni Albers" exhibition at the Tate Modern in London (11/10/2018-27/01/2019). One of Anni Albers' best-known monumental works: Six Prayers, 1966-67. View of the Anni Albers exhibition at Tate Modern, London (11/10/2018-27/01/2019). One of Anni Albers' best-known monumental works: Six Prayers, 1966-67. Photo credit Tate Photography for The Josef and Ani Albers Foundation /wp:image wp:paragraph Carpets were first made in ancient Mesopotamia and Turkey as far back as 7,000 and 8,000 BC, before spreading to Egypt (wool and cotton), then Mongolia and China. The oldest surviving carpet, the Pazyryk carpet, dates from the 5th century BC, at the time of the Persian Empire. It was made by nomadic tribes along the Silk Road. At the time, carpets were used for a variety of purposes, serving as blankets, mattresses, tablecloths and movable partitions. Carpet-making can be traced back to ancient Mesopotamia and Turkey as far as 7,000 and 8,000 BC, before spreading to Egypt (wool and cotton), then Mongolia and China. The oldest surviving carpet, the Pazyryk carpet, dates from the 5th century BC, at the time of the Persian Empire. It was made by nomadic tribes along the Silk Road. Carpets were used for a wide range of purposes, from blankets and mattresses to tablecloths and movable partitions... /wp:paragraph wp:paragraph Imported into Europe by Italian merchants, carpets enjoyed a golden age in the 16th century, when magnificent Persian carpets woven from silk and velvet were used as diplomatic gifts in the great courts of Europe. In France, Henri IV created the Manufacture de la Savonnerie in 1650 - which has since been integrated into the Manufacture des Gobelins - specialising in the manufacture of velvet carpets for the French Court. It was also at this time that the first "foot carpets" appeared: whereas up until then carpets had been used to cover furniture and warm rooms, like tapestries, people were now allowed to walk on them and sit on them. /wp:paragraph wp:columns wp:column {"width": "100%"} wp:gallery {"linkTo": "none", "sizeSlug": "full", "align": "center"} wp:image {"id":17009, "sizeSlug": "full", "linkDestination": "none"} legend : Magnificent carpet made by La Manufacture Royale de la Savonnerie, Louis XV period (1740-1750), cartoon by Pierre Jos. Magnificent carpet made by La Manufacture Royale de la Savonnerie, Louis XV period (1740-1750), cardboard by Pierre Jos. Credit : Sotheby's /wp:image wp:image {"id":17011, "sizeSlug": "full", "linkDestination": "none"} Magnificent carpet by La Manufacture Royale de la Savonnerie, Louis XV period (1740-1750), detail. Carton by Pierre Jos. Magnificent carpet made by La Manufacture Royale de la Savonnerie, Louis XV period (1740-1750), detail. Carton by Pierre Jos. Sotheby's /wp:image /wp:gallery /wp:column /wp:columns wp:paragraph Oriental carpets, symbols of voluptuousness and exoticism, were highly prized in the 19th century, before the Industrial Revolution overturned weaving. European carpet production was industrialized with the advent of weaving machines. In response, William Morris, a leading figure in the decorative arts and the Arts and Crafts movement, began producing his own carpets. Oriental carpets, symbols of voluptuousness and exoticism, were highly prized in the 19th century, before the Industrial Revolution overturned weaving. European carpet production was industrialized with the advent of weaving machines. In response, William Morris, a leading figure in the decorative arts and the Arts and Crafts movement, began producing his own carpets /wp:paragraph wp:paragraph Carpet designs were now produced in large quantities and became more uniform, until the explosion of Art Deco in the aftermath of the First World War, which gave it a new lease of life. The great decorators of the period, including Jacques-Émile Ruhlmann, Paul Follot and Paul Poiret, designed carpets in their workshops for large, luxurious interiors. At the same time, the Irish designer and architect Eileen Gray Eileen Gray , who had learned to dye and weave, was producing some of her finest carpets, including the emblematic Méditerranée Méditerranée . /wp:paragraph wp:image {"id":17013, "sizeSlug": "large", "linkDestination": "none"} Jacques-Émile Ruhlmann (1879-1933), wool carpet in knotted stitches decorated with stylised flowers. Jacques-Émile Ruhlmann (1879-1933), wool carpet with knotted stitches and stylised flowers. Credit Artcurial /wp:image wp:image {"align": "center", "id":17014, "width":518, "height":328, "sizeSlug": "full", "linkDestination": "none"} Insertion image from site: https://www.gazette-drouot.com/ https://www.gazette-drouot.com/ , from page: https://www.gazette-drouot.com/article/une-affaire-sur-le-tapis/7088 https://www.gazette-drouot.com/article/une-affaire-sur-le-tapis/7088 , legend: Jacques-Émile Ruhlmann (1879-1933), knotted-stitch woollen rug decorated with stylised flowers. Jacques-Émile Ruhlmann (1879-1933), wool carpet with knotted stitches and stylised flowers. Credit Artcurial /wp:image wp:image {"align": "center", "id":17015, "width":643, "height":468, "sizeSlug": "large", "linkDestination": "none"} : Cabin of the liner Normandie, the carpet is a creation of the decorator Paul Follot, manufactured by the company Tapis France Orient. Photo credit Creative Commons CC0 licence. /wp:image wp:image {"align": "center", "id":17016, "width":704, "height":522, "sizeSlug": "full", "linkDestination":"none"} Rectangular coloured wool carpet with garlands and trellis flowers on a blue background, designed by Paul Follot, circa 1920 Rectangular coloured wool carpet with garlands and trellis flowers on a blue background, designed by Paul Follot, circa 1920 . Credit Artcurial /wp:image wp:image {"align": "center", "id":17018, "sizeSlug": "large", "linkDestination": "none"} "Méditerranée" rug, designed by Eileen Gray (1925-1935). Another artistic language is woven into the rug Mediterranean" rug, design by Eileen Gray (1925-1935). Another artistic language is woven into the carpet. Credit Ecart Paris /wp:image wp:paragraph In 1925, the motifs on carpets designed by Eileen Gray reflected a new artistic and architectural language. There's a world of difference between a carpet with floral motifs by Paul Follot and the abstract geometric shapes that make up Méditerranée Méditerranée ! The predominantly blue carpet imagined and designed by Eileen Gray reflects the evolution of the Art Deco style towards a more abstract international style, driven in particular by the great figures of the Bauhaus School, including Anni Albers, née Annelise Fleischmann (1899-1994). She entered the Bauhaus in Weimar in 1922, becoming one of the rare artists from the famous avant-garde school to achieve success during her lifetime. She trained in the school's weaving workshops, and designed abstract, resolutely geometric shapes for her carpets and wall hangings, in line with the radical, pared-down style theorised at the time. She revolutionised weaving, experimenting with new techniques: double and triple fabrics, embossing, and combining various materials in her compositions, including jute, paper and cellophane, until, in 1930, she became director of the Bauhaus weaving school. Active until the end of her life, she elevated textiles to the rank of art. Anni Albers was the 1st textile artist to have her own solo exhibition at MoMA in New York. Among these, Anni Albers, born Annelise Fleischmann (1899-1994), stands out. She entered the Bauhaus in Weimar in 1922, becoming one of the rare artists from the famous avant-garde school to achieve success during her lifetime. She trained in the school's weaving workshops, and designed abstract, resolutely geometric shapes for her carpets and wall hangings, in line with the radical, pared-down style theorised at the time. She revolutionised weaving, experimenting with new techniques: double and triple fabrics, embossing, and combining various materials in her compositions, including jute, paper and cellophane, until, in 1930, she became director of the Bauhaus weaving school. Active until the end of her life, she elevated textiles to the rank of art. Anni Albers was the 1st textile artist to have her own solo exhibition at MoMA in New York. /wp:paragraph wp:image {"align": "center", "id":17019, "sizeSlug": "large", "linkDestination": "none"} Rugs, wall hangings, pieces of fabric and a necklace made by Anni Albers during her career. Carpets, wall hangings, fabrics and necklaces made by Anni Albers during her career. Credit: www.high-everydaycouture.com /wp:image wp:image {"align": "center", "id":17021, "width":487, "height":588, "sizeSlug": "full", "linkDestination": "none"} Drawing for Jacquard fabric, Annie Albers. Drawing for Jacquard fabric, Annie Albers. www.du-grand-art.fr/ /wp:image wp:image {"align": "center", "id":17022, "sizeSlug": "large", "linkDestination": "none"} Silk and cotton wall tapestry by Anni Albers, 1926. The Metropolitan Museum of Art Photo credit © 2018 The Josef and Anni Albers Foundation / Artists Rights Society (ARS), New York/DACS, London . /wp:image wp:image {"align": "center", "id":17023, "sizeSlug": "full", "linkDestination": "none"} Intersecting, weaving piece in cotton and rayon (natural material made from cellulose), designed by Anni Albers, 1962 Intersecting, weaving piece in cotton and rayon (natural material made from cellulose), designed by Anni Albers, 1962 . Credit Paris Musées /wp:image wp:image {"id":17024, "sizeSlug": "full", "linkDestination": "none"} Weaving piece Two designed by Anni Albers in 1952. Linen, cotton and rayon. Photo credit © 2021 The Josef and Anni AlbersFoundation/Artists Rights Society (ARS), NewYork/ADAGP, Paris 2021 /wp:image wp:paragraph In France, where tapestry has been a recognised art craft for centuries (Tapisserie d'Aubusson, Manufactures des Gobelins, de Beauvais and de la Savonnerie), the late 1930s marked a revival in textile design. Gallery owners and decorators encouraged modern artists, especially painters such as Jean Lurçat, Raoul Dufy and Marcel Gromaire, to renew the medium. Exchanges between artists and manufacturers intensified in the post-war period. Matisse, Picasso and Vasarely designed works that were conceived from the outset as tapestries. In France, where tapestry had been a recognised art form for centuries (Aubusson Tapestry, the Gobelins, Beauvais and Savonnerie Manufactures), the late 1930s saw a revival in textile design. Gallery owners and decorators encouraged modern artists, especially painters such as Jean Lurçat, Raoul Dufy and Marcel Gromaire, to renew the medium. Exchanges between artists and manufacturers intensified in the post-war period. Matisse, Picasso and Vasarely designed works that were conceived from the outset as tapestries. /wp:paragraph wp:image {"id":17026, "sizeSlug": "large", "linkDestination": "none"} A handmade petit point tapestry in high wool representing the zodiacal sign of Capricorn, based on an original design by Jean Lurçat (1892-1966). The latter was both a painter and a painter's apprentice. This tapestry, hand-weaved in high wool, represents the zodiacal sign of Capricorn, based on an original drawing by Jean Lurçat (1892-1966). Lurçat, a painter, painter, ceramist, ceramist and designer of tapestries, tapestries and tapestries, was responsible for the revival of tapestry in France from the late 1930s to the 1950s. His work in the field of tapestry, from the late 1930s to the 1950s, was at the origin of the revival of tapestry in France. Credit: www.antiquites-perpignan.fr/ /wp:image wp:image {"id":17028, "sizeSlug": "large", "linkDestination": "none"} Tapisserie de haute lice, Manufacture des Gobelins, woven from cardboard GOB 1026, between 6 December 1957 and 19 June 1958. The weaving is signed Lurçat (bottom right). The artist designed what is known as a carton to be made into a tapestry. Tapisserie de haute lice, Manufacture des Gobelins, woven from carton GOB 1026, between 6 December 1957 and 19 June 1958. The weaving is signed Lurçat (bottom right). The artist designed what is known as a carton to be made into a tapestry. Photo credit © Mobilier national, rights reserved. Photo credit © Mobilier national, rights reserved. /wp:image wp:image {"align": "center", "id":17030, "width":349, "height":139, "sizeSlug": "full", "linkDestination": "none"} Gouache and watercolour by Raoul Dufy, project for the tapestry le bel été, 1940-1941. Gouache and watercolour by Raoul Dufy, project for the tapestry le bel été, 1940-1941. Credit: Arnet /wp:image wp:image {"align": "center", "id":17031, "sizeSlug": "full", "linkDestination": "none"} Tapestry by Henri Matisse: La Femme au luth, 1947-1949, Manufacture des Gobelins. To create his tapestry, Henri Matisse did not use the original painting produced in 1943 as a model, but a colour reproduction that had appeared in the magazine Verve. The photograph was then enlarged and reworked by the artist. Tapestry by Henri Matisse: Woman with a lute, 1947-1949, Manufacture des Gobelins. To create his tapestry, Henri Matisse did not use the original painting produced in 1943 as a model, but rather a colour reproduction that had appeared in the magazine Verve. The photograph was then enlarged and reworked by the artist. Credit: Mobilier National /wp:image wp:image {"align": "center", "id":17032, "width":648, "height":371, "sizeSlug": "full", "linkDestination": "none"} Pablo Picasso (1881-1973), Les femmes à leur toilette, 1968-1969. A work designed for and produced by La Manufacture des Gobelins Pablo Picasso (1881-1973), Women at their toilette, 1968-1969. Designed and produced by La Manufacture des Gobelins. Photo credit ©Manufacture des Gobelins /wp:image wp:image {"align": "center", "id":17033, "sizeSlug": "large", "linkDestination": "none"} VP KEK wool tapestry, design concept: Victor Vasarely, 1971. The artist designs what are known as cartoons, which are then made into tapestries. Wool tapestry VP KEK, design concept: Victor Vasarely, 1971. The artist designs what are known as cartoons, which are then made into tapestries. Credit: www.galerie-hadjer.com /wp:image wp:paragraph In the 1960s, carpet-making evolved with the blending of synthetic materials, such as Surnyl, and natural wools. Hippies brought back kilims from their oriental travels, carpets with colourful geometric patterns and a strong ethnic style. In the 60s, carpet-making evolved with the blending of synthetic materials, such as Surnyl, and natural wools. Hippies brought back kilims from their oriental travels, carpets with very colourful geometric patterns and a strong ethnic style. /wp:paragraph wp:image {"align": "centre", "id":17034, "sizeSlug": "large", "linkDestination": "none"} Vintage wool kilim carpet from the 1960s, origin: Turkey. The Kilim is a woven rug instead of being knotted. Vintage wool kilim rug from the 1960s, origin: Turkey. The Kilim is a woven rug instead of being knotted. Vintage wool kilim rug from the 1960s, origin: Turkey. The Kilim is a rug woven instead of knotted. /wp:image wp:image {"id":17035, "sizeSlug": "large", "linkDestination": "none"} Red vintage kilim rug, designer: Antonín Kybal, 1950s. Antonín Kybal (1901-1971) was a renowned Czech artist and a pioneer of modern textile art in his country. Red vintage kilim rug, designer: Antonín Kybal, 1950s. Antonín Kybal (1901-1971) was a renowned Czech artist and a pioneer of modern textile art in his country. For sale on Design Market For sale on Design Market /wp:image wp:image {"id":17036, "sizeSlug": "large", "linkDestination": "none"} Large modernist geometric kilim rug, design: Large modernist geometric kilim rug, design: Antonín Kybal, 1960s. As with tapestry, the design of the rug evolved with the artistic styles of the time, in this case an abstract, geometric style. Antonín Kybal, 1960s. As with tapestry, carpet design evolved with the artistic styles of the time, in this case in an abstract, geometric style. For sale on Design Market For sale on Design Market /wp:image wp:paragraph While the following years saw the consecration of the oriental rug, the interior design brand Habitat revived the market in the 1980s with a collection of contemporary rugs designed by the tandem of Elisabeth Garouste and Mattia Bonetti, in association with the manufacturer Sam Laïk. Since then, carpets have remained a popular accessory for embellishing interiors and adding character. Since then, carpets have remained a popular accessory for embellishing interiors and adding character. /wp:paragraph wp:image {"align": "center", "id":17037, "sizeSlug": "full", "linkDestination": "none"} Caption: Elisabeth Garouste and Mattia Bonetti, mechanical rug for Habitat and Sam Laïk, circa 1990 Elisabeth Garouste and Mattia Bonetti, mechanical rug for Habitat and Sam Laïk, circa 1990 . Credit: Cornette de Saint Cy /wp:image wp:image {"align": "center", "id":17038, "width":562, "height":668, "sizeSlug": "large", "linkDestination": "none"} Large rectangular "Rêverie" rug in red, black and white tufted wool with plant decoration, design: Elisabeth Garouste and Mattia Bonetti for Sam Laïk, 1991. Large rectangular rug called "Rêverie" in red, black and white tufted wool with plant decoration, design: Elisabeth Garouste and Mattia Bonetti for Sam Laïk, 1991. www.paulbert-sertpette.com /wp:image wp:paragraph {"align": "right"} François Boutard François Boutard François Boutard /wp:paragraph

The art of carpets and tapestries in the 20th century

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