Monday, 5 March 2018

le chant du monde

Early-career comparisons to Pablo Picasso are to be forgiven as he and fellow artist Jean Lurçat were virtual Dopplegänger and perhaps the albeit unique and pioneering abstract paintings of the later French artist and near-contemporary were passed over as derivative with Lurçat never achieving the renown of his Spanish counterpart, but the comparison (though importantly a point of access) does detract from the artistic merit of Lurçat’s later works, executed through his rediscovery of the medium of the medieval tapestry (tapisserie), and adhering to the craft’s stylistic horizons as much as possible. Limiting the palette of colours the artist availed himself of made monumental projects possible and after experiencing the Apocalypse Tapestry—for its depiction of the Book of Revelations—that the duke of Anjou had commissioned his residence in Angers, Lurçat realised that the format allowed for the hallucinatory abandon that he expressed in his earlier period when first decommissioned from fighting in the war.
Though off the battlefield, Lurçat and the members of his salon, a workshop of talent to operate the traditional looms and create the panels under Lurçat’s direction, were resisting tyranny in a multiple year, therapeutic catharsis that became The Song of the World, an abstract, contemporary to be inverted version of the Apocalypse, over-turned through a collective effort, hung in another wing of the same palace that displays the original. Learn more about Jean Lurçat and his vision at Messy Nessy Chic at the link up top.