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The Tapestry Book, by Helen... - Yesterday Image

The Tapestry Book, by Helen... - Yesterday Image


The Tapestry Book, by Helen Churchill Candee. 176 of 196 03/03/2009 19:16 See larger image AMERICAN (BAUMGARTEN) TAPESTRY COPIED FROM THE GOTHIC See larger image DRYADS AND FAUNS From Herter Looms, New York, 1910 It is odd that New York should have more tapestry looms at work than has Paris. The Baumgarten looms exceed in number the present Gobelins, and the Herter looms add many more. The ateliers of Albert Herter are in the busiest part of New York, and here are woven by hand many fabrics of varying degrees of excellence. It is not Mr. Herter’s intention to produce only fine wall hangings, but to supply as well floor coverings “a la façon de Perse,” as the ancient documents had it, and to make it possible for persons of taste, but not necessarily fortune, to have hand-woven portières of artistic value. Apart from this commendable aim, the Herter looms are also given to making copies of the antique in the finest of weaving, and to producing certain original pieces expressing the decorative spirit of our day. Besides this, the work is distinguished by certain

The Tapestry Book, by Helen Churchill Candee. combinations of antique and modern style that confuse the seeker after purity of style. That the effect is pleasing must be acknowledged as illustrated in the plate showing a tapestry for the country house of Mrs. E. H. Harriman. (Plate facing page 263.) It is not easy in a review of tapestry weaving of to-day to find any great encouragement. These are times of commerce more than of art. If art can be made profitable commercially, well and good. If not, it starves in a garret along with the artist. If the demand for modern tapestries was large enough, the art would flourish—perhaps. But it is not a large demand, for many reasons, chief among which is the incontrovertible one that the modern work is seldom pleasing. The whole world is occupied with science and commerce, and art does not create under their influence as in more ideal times. What can the trained eye and the cultivated taste do other than turn back to the products of other days? We have artists in our own country whose qualities would make of them marvellous composers of cartoons. The imagination and execution of Maxfield Parrish, for example, added to his richness of colouring, would be translatable in wool under the hands of an artist-weaver. And the designs which take the name of “poster” and are characterised by strength, simplicity and few tones, why would they not give the same crispness of detail that constitutes one of the charms of Gothic work? Perhaps the factories existent in America will work out this line of thought, combine it with honesty of material and labour, and give us the honour of prominence in an ancient art’s revival. FINIS BEST PERIODS AND THEIR DATES EARLIEST TAPESTRY LOOMS EUROPEAN EARLY ATTEMPTS ARRAS AND BURGUNDIAN TAPESTRY GOTHIC PERFECTION, FLANDERS GOTHIC PERFECTION, FRANCE ITALIAN FACTORIES RAPHAEL CARTOONS IN FLANDERS 1515-1519 RENAISSANCE PERFECTION, FLANDERS BRUSSELS MARK 1528 FLEMISH DECADENCE FRENCH RISE FRENCH ORGANISATION ENGLISH SUPREMACY, MORTLAKE ESTABLISHED 1619 ESTABLISHMENT OF GOBELINS BEST HEROIC PERIOD OF GOBELINS Prehistoric Twelfth To Fourteenth Centuries Early Fifteenth Century About Fifteen Hundred About Fifteen Hundred Fifteenth Century 1515 To Second Half of Century End of Sixteenth Century End of Sixteenth Century 1597, Reign of Henri IV 1662, Reign of Louis XIV Last Half of Seventeenth Century 177 of 196 03/03/2009 19:16

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