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Gobelin Tapestries

Gobelin Tapestries “What is lovely never dies, but passes into other loveliness.” Throughout the 17th and 18th century many memorable works of art were created. There is one piece of art that stands out they are the Gobelins. Gobelins are luxurious tapestries made out many fine threads. These tapestries hung on the walls of many great castles, homes, and prominent buildings. They have inspired generations of artists to make their creations as beautiful, if not equally beautiful. In the paragraphs that follow there will be explanations of how the Gobelin tapestries came to be, how they were made, and their influence on the world. The Gobelin tapestry industry was created in the “mid-15th century, when Jean Gobelin and Philbert Gobelin set up a dye works on the outskirts of Paris(Microsoft Encarta).” They set the basis of what would become the greatest industry to grace France. In the 17th century King Henry IV made the Gobelin dye works into a tapestry industry. This industry became so distinguished that Colbert took it over in 1662. The Gobelin factory came to known as the “Manufacture royale des meubles de la Couronne, and, as this implies, it was planned to produce everything necessary to the furnishing of the royal palace(Blunt 194).” In 1663 Colbert appointed Lebrun as the director of this industry. Under his command he created a business that did everything from painting to marbling. Lebrun also set up a school to learn the trade. This school consisted of four stages. The four stages were the “elementary level, advanced level, academy and tapestry school(Weigert 19).” Along with the school for the creation of Gobelins, they offered a free drawing school. Due to the intense training that was given, “an outpouring of magnificent hangings, upholstery, and furniture in a richly ornate, baroque style(Microsoft Encarta)” were created. To ensure that the industry stayed successful “doctrines of Colbert and Lebrun became virtually dogma and no independent artist or style appeared, either in or outside Paris, till after Colbert’s death in 1683(Bazin 101).” Despite its closing from 1694 to 1699, financial difficulties of the Crown. It reopened and only continued to make tapestries, but it slowed down during the French Revolution. Even thought the styles changed the factory was able to acquire “Savonnerie rug works, founded in 1627. It is now officially called the Manufacture Nationale de Gobelins(Microsoft Encarta).” Now that you have learned the history of the Gobelin industry, I is only natural to learn how they were made. The weavers used two different techniques. These two techniques were high and low warp. High-warp meant that the “tapestry the warp is stretched vertically in the loom; in low-warp tapestry it is horizontal(Weigert 13).” The Gobelins were neat and regular. They look as if they were made by a machine. They called the threads they used warp. Warp was wool, hemp, linen and cotton. They were called warp, because the material was very coarse. Although the majority of the tapestry was made of warp they used silk, gold and silver. These threads were used for the more luxurious hangings. The raw materials were often colorless, which meant they had to be dyed. The tapestry weavers were given the privilege to dye the materials. The pure dyes were extracted from tartar, vegetables, and insects. The synthetic colors came from alum, tin, iron, and chrome. After years of research they were able to use indigo. These synthetic colors enabled the creators to give contrasts and shades. They needed these colors to create more vivid designs and cartoons. The cartoons were designed by Lebrun, and were usually of Louis XIV’s experiences. The designs on the Gobelins were all different geometric shapes and lines. The designs and cartoons were usually traditional and expressed the culture of France. The Gobelins had borders. The borders began in the 16th century. The border was usually decorative. Then in the 17th century the borders were more ornamental and in the 18th century were “by woven representations of carved and gilded frames(Weigert 21).” This gave the wall-hanging and illusion of being a picture. The Gobelins were also given special marks and inscriptions. The marks were called “esgards or revards(21).” They were placed on the wall-hanging by the inspector. These marks “consisted of a lead seal bearing the arms of the town, and served as a guarantee of the quality of the raw materials and of the weaving(21).” The inscriptions were poems, an d explained the picture. The Gobelin tapestries had a great impact on the world of art lovers. “The influence of the XVIIth century is discernible in this tapestry designed by Parrocel which represents ‘The Turkish Ambassador Mohammed Effendi Entering the Tuileries Gardens.’ It was woven in 1734(Faniel 161).” The ornamental tapestries established the style of the 18th century(Weigert 128). It also ensured that the Beauvais factory would always be second to the Gobelins. There were other wall-hangings such as “Flora and Zephyr and The Loves of Neptune and Amymone(Faniel 161).” Flora and Zephyr is a perfect example of the new technique they used to make the tapestry look exactly like a painting. This was extremely controversial between the painters and the directors of the factories. The other tapestry was a “typical Louis XVI ornamental(161).” This was when the weavers began to stop imitating pictures and began to weave original works of art. Versaille also gave a name to the Gobelin industry. Due to exquisite taste and craftsmanship the rest of Europe began to imitate them. People were especially impressed with the tapestries that were made for Louis XIV. The tapestries represented him as the “Sun God”. The industry also set the standard for the tapestry. In conclusion, the Gobelin tapestries have been around for hundreds of years and still exist. They survived for so long, because of their beauty and articulate designs. If it wasn’t for the Gobelins, Henry IV, Louis XIV and Colbert the Gobelin industry would have never been as successful as it is today. I have learned a lot about a culture and an art that I would have otherwise disregarded. Writing this paper broadened my horizons. The reason I began my paper with that particular quote to emphasize how important the tapestries are. They were lovely when they were created, and became even lovelier as the years grew. These tapestries will live on forever. They will always represent the “Greatness of France”, and it’s people. Bibliography: Works Cited Bazin, Germain. Art Treasures in France, McGraw-Hill Book Company, New York. 1969 An overall good book for the latter part of the industry. Blunt, Anthony. Art & Architecture in France 1500-1700, Penguin Books, Maryland. Gave a great past history on industry Faniel, Stephane. French Art of the 18th Century, Libraire Hachette Et Societe D’Etudes Et De Publications Artistiques. 1956. Gave impressive tapestries and influences Microsoft Encarta. CD-ROM Gave a great base of knowledge Weigert, R.A. French Tapestry, Charles T. Bradford Company, Massachusetts. 1962 Gave me everything I needed to know about the tapestries.

Word Count: 1066