The word "tapestry" is an ancient one, going back at least to the Greek word "tapetion". Archaeologists have unearthed actual remnants of Greek tapestries that have been dated to the 3rd century B.C. The ancient Egyptians were also known to make tapestries, as shown in palace paintings circa 3000 B.C. Tapestry production in the West declined and virtually disappeared until the 8th century. At that time, the Moors, as part of establishing a civilization in Spain, re-introduced the practice. Gradually, France and the Netherlands developed industries of their own and, as a result, both became major producers of European tapestries.
European tapestries of the Medieval and Renaissance periods were created mainly to adorn castles and cathedrals. These hangings were generally large, highly decorative works but they served a practical purpose as well. They could be used to create privacy, insulate drafty areas near windows and doors, even to reconfigure large spaces as temporary walls. The flexible nature of their construction made them easy to transport from place to place or to roll up and store until needed. Tapestries commissioned by the royalty of the time depicted scenes from tournaments, hunts and victorious battles. As one would expect, Biblical themes and scenes were represented in the majority of tapestries for churches and cathedrals. Often a whole set of such tapestries would be created. They provided a powerful visual medium in a time when much of the populace was illiterate.
Workshops were the center of European tapestry production. Depending on their size, they could employ people from one town or from an entire region. Tapestry weavers required a high degree of skill and had to serve a long apprenticeships with master weavers. As a result, a guild of weavers grew up to serve the workshops. Most of the workers in these workshops were related by blood or marriage and carried the artisan tradition from generation to generation. Some tapestry factories, such as the legendary Manufacture des Gobelins in Paris, were created by royalty to serve their specific needs. In the case of Gobelins, Louis VIV, the Sun King, had it created solely to furnish his court with tapestries, mainly depicting own image.
During the years 1500 to 1750, European tapestry production was at its zenith. A tapestry woven in the Middle Ages might be based very loosely on its working sketch and contain much of the weaver's own inspiration. But, by the 16th century, the weaver was allowed little to no artistic license and the whole industry had become tightly controlled and regulated. A weaver would work to stringently copy the working sketch, or "cartoon". Often these cartoons were oil paintings created by the masters of the day. The famous Acts of the Apostles tapestries, which hang in the Sistine Chapel, were based on cartoons by Rafael. Few paintings could come near their detail and beauty.
European tapestry industry was influenced by the events of the times. A great disturbance of the once center of tapestry production was the Netherlands' war for independence from Spain called the Eighty Years War from 1568 to 1648 disrupted this industry, causing many artists and weavers to flee to other places with greater safty, like Britain, Italy and France. Later on the new workshops were put together by Flemmish immigrants who expanded and improved tapestry manufacture in these countries. Cosimo de' Medici of Florence, Italy followed the lead of Louis XIV and commissioned many fine hangings for display in royal settings.
After the war, the Brussels-based Flemish tapestry industry made a strong comeback and was soon back to creating their renowned textile art. However, they no longer dominated the market. Tapestries of equal quality were now being manufactured in several other centers such as Paris. However, the revolutionary war in France (1789-1799) almost wiped out that country's tapestry production industry. With no king and virtually no aristocracy, the tapestry producers found themselves with few clients. Also, tapestries had become symbols of the hated former regime and targets for destruction. As was customary, many European tapestries had been made with gold and other metals. They were now burned in order to reclaim these materials which then could be used as a medium of exchange, as with gold, or even to make ammunition.
European tapestries enjoyed immense popularity throughout the continent during the first part of the eighteenth century. The production centers in France and the Netherlands remained dominant. However, new workshops were created by royal decree: in Madrid, by Philip V and in St. Petersburg by Peter the Great. The courts of Germany and Italy continued to support their enterprises as well. However, rise of a commercial middle class engendered a market for less costly tapestries. This caused many workshops, like Aubusson in France, to increase production of coarser, hence more affordable, tapestries. Many of these producers attracted less affluent customers by manufacturing slightly altered designs of masters such as Boucher.
In the latter part of the eighteenth century, fewer and fewer tapestries were used in interior design. Instead, elements such as furniture, paintings, mirrors and drapes became increasingly fashionable. Tapestries also remained fairly expensive which was another reason for the decline of their use. All over Europe, but especially in France and the Low Countries, tapestry production began to decline sharply. By the late 1700s, the manufacture of traditional European tapestries was well on its way to dying out. Occasionally, a large piece might be commissioned for public display and there was a concerted effort in Great Britain to revive their national enterprise. However, it was not enough. By the late 1800s, tapestry production had virtually disappeared in Europe.
The twentieth century brought the Industrial Revolution. Ironically, the mechanization of European tapestry production indirectly brought about its salvation. In the late nineteenth century, a group of artists associated with the Arts and Crafts movement in England recognized the need to revivify the craft of tapestry production. Their leader and best-known member, William Morris, started a tapestry factory at Merton Abbey near London. There tapestries were produced from the cartoons of Morris and painter William Crane but mostly from the designs of painter Sir Edward Burne-Jones. It was the French painter Jean Lurat, however, who ushered in the true modern tapestry renaissance. Many well known modern artists such as Picasso, Braque and Mir had allowed their works to be reproduced as tapestry. Lurat, however, championed the ancient collaboration between artist and weaver and tapestry as an art form in its own right, not as a sublimation of painting. He is widely credited with helping tapestry survive to become the thriving art form it is today. - 16463
European tapestries of the Medieval and Renaissance periods were created mainly to adorn castles and cathedrals. These hangings were generally large, highly decorative works but they served a practical purpose as well. They could be used to create privacy, insulate drafty areas near windows and doors, even to reconfigure large spaces as temporary walls. The flexible nature of their construction made them easy to transport from place to place or to roll up and store until needed. Tapestries commissioned by the royalty of the time depicted scenes from tournaments, hunts and victorious battles. As one would expect, Biblical themes and scenes were represented in the majority of tapestries for churches and cathedrals. Often a whole set of such tapestries would be created. They provided a powerful visual medium in a time when much of the populace was illiterate.
Workshops were the center of European tapestry production. Depending on their size, they could employ people from one town or from an entire region. Tapestry weavers required a high degree of skill and had to serve a long apprenticeships with master weavers. As a result, a guild of weavers grew up to serve the workshops. Most of the workers in these workshops were related by blood or marriage and carried the artisan tradition from generation to generation. Some tapestry factories, such as the legendary Manufacture des Gobelins in Paris, were created by royalty to serve their specific needs. In the case of Gobelins, Louis VIV, the Sun King, had it created solely to furnish his court with tapestries, mainly depicting own image.
During the years 1500 to 1750, European tapestry production was at its zenith. A tapestry woven in the Middle Ages might be based very loosely on its working sketch and contain much of the weaver's own inspiration. But, by the 16th century, the weaver was allowed little to no artistic license and the whole industry had become tightly controlled and regulated. A weaver would work to stringently copy the working sketch, or "cartoon". Often these cartoons were oil paintings created by the masters of the day. The famous Acts of the Apostles tapestries, which hang in the Sistine Chapel, were based on cartoons by Rafael. Few paintings could come near their detail and beauty.
European tapestry industry was influenced by the events of the times. A great disturbance of the once center of tapestry production was the Netherlands' war for independence from Spain called the Eighty Years War from 1568 to 1648 disrupted this industry, causing many artists and weavers to flee to other places with greater safty, like Britain, Italy and France. Later on the new workshops were put together by Flemmish immigrants who expanded and improved tapestry manufacture in these countries. Cosimo de' Medici of Florence, Italy followed the lead of Louis XIV and commissioned many fine hangings for display in royal settings.
After the war, the Brussels-based Flemish tapestry industry made a strong comeback and was soon back to creating their renowned textile art. However, they no longer dominated the market. Tapestries of equal quality were now being manufactured in several other centers such as Paris. However, the revolutionary war in France (1789-1799) almost wiped out that country's tapestry production industry. With no king and virtually no aristocracy, the tapestry producers found themselves with few clients. Also, tapestries had become symbols of the hated former regime and targets for destruction. As was customary, many European tapestries had been made with gold and other metals. They were now burned in order to reclaim these materials which then could be used as a medium of exchange, as with gold, or even to make ammunition.
European tapestries enjoyed immense popularity throughout the continent during the first part of the eighteenth century. The production centers in France and the Netherlands remained dominant. However, new workshops were created by royal decree: in Madrid, by Philip V and in St. Petersburg by Peter the Great. The courts of Germany and Italy continued to support their enterprises as well. However, rise of a commercial middle class engendered a market for less costly tapestries. This caused many workshops, like Aubusson in France, to increase production of coarser, hence more affordable, tapestries. Many of these producers attracted less affluent customers by manufacturing slightly altered designs of masters such as Boucher.
In the latter part of the eighteenth century, fewer and fewer tapestries were used in interior design. Instead, elements such as furniture, paintings, mirrors and drapes became increasingly fashionable. Tapestries also remained fairly expensive which was another reason for the decline of their use. All over Europe, but especially in France and the Low Countries, tapestry production began to decline sharply. By the late 1700s, the manufacture of traditional European tapestries was well on its way to dying out. Occasionally, a large piece might be commissioned for public display and there was a concerted effort in Great Britain to revive their national enterprise. However, it was not enough. By the late 1800s, tapestry production had virtually disappeared in Europe.
The twentieth century brought the Industrial Revolution. Ironically, the mechanization of European tapestry production indirectly brought about its salvation. In the late nineteenth century, a group of artists associated with the Arts and Crafts movement in England recognized the need to revivify the craft of tapestry production. Their leader and best-known member, William Morris, started a tapestry factory at Merton Abbey near London. There tapestries were produced from the cartoons of Morris and painter William Crane but mostly from the designs of painter Sir Edward Burne-Jones. It was the French painter Jean Lurat, however, who ushered in the true modern tapestry renaissance. Many well known modern artists such as Picasso, Braque and Mir had allowed their works to be reproduced as tapestry. Lurat, however, championed the ancient collaboration between artist and weaver and tapestry as an art form in its own right, not as a sublimation of painting. He is widely credited with helping tapestry survive to become the thriving art form it is today. - 16463
About the Author:
Tapestries from France inspire and bring excitement to your walls. Woven Fabrics Create Beautiful Coastal Tapestries to calm your mind and sooth your mood.
