Last updated David Sees Bathsheba Washing and Invites Her to His Palace from The Story of David, Brussels, ca1526–28 (Musée National de la Renaissance, Écouen)Diana of Ephesus, after a cartoon by Perino del Vaga, Brussels, 1545, woven for Andrea Doria of Genoa (Nationalmuseum, Stockholm)
Brussels tapestry workshops produced tapestry from at least the 15th century, but the city's early production in the Late Gothic International style was eclipsed by the more prominent tapestry-weaving workshops based in Arras and Tournai. In 1477 Brussels, capital of the duchy of Brabant, was inherited by the house of Habsburg;[1] and in the same year Arras, the prominent center of tapestry-weaving in the Low Countries, was sacked and its tapestry manufacture never recovered, and Tournai and Brussels seem to have increased in importance.
The great period of Renaissance weaving in Brussels dates from the weaving entrusted by Pope Leo X to a consortium of its ateliers[5] of the Acts of the Apostles after cartoons by Raphael, between 1515 and 1519.[6] Leo must have been motivated by the already high technical quality of Brussels tapestries.[7]
The conventions of a monumental pictorial representation with the effects of perspective that would be expected of a fresco or other wall decoration were applied for the first time in this prestigious set; the framing of the central subject within wide borders that proved able to be brought up to date in successive weavings, was also introduced in these 'Raphael' tapestries.[8]
The prominent painter and tapestry designer Bernard van Orley (who trained in Italy) transmuted the Raphaelesque monumental figures to forge a new tapestry style that combined the Italian figural style and perspective rendition with the "multiple narratives and anecdotal and decorative detail of the Netherlandish tradition," according to Thomas P. Campbell.[9]
A Hunts of Maximilian suite, depicting hunting in each of the months, was woven to cartoons by Bernard van Orley ca1531-33.[10] A suite of nine allegorical Honors that celebrated the coronation of Charles V as king of Germany and his assumption of the title of Holy Roman Emperor-elect in 1520 survives among the Patrimonio Nacional, Palacio Real de la Granja de San Ildefonso, Spain.[11] Van Orley's pupils, Pieter Coecke van Aelst and Michiel Coxie, also provided cartoons for Brussels looms under the general influence of Italian painting. A set of Seven Deadly Sins, of which four survive,[12] are recognized as Pieter Coecke van Aelst's masterpieces.[13][14]
Brussels quickly took pre-eminence in tapestry weaving. In 1528 a city decree ordained that each piece of Brussels tapestry over a certain size bear the woven mark of a red shield flanked by two B's; this aids in identifying Brussels production. Each tapestry was to include the woven mark of the maker or the merchant who commissioned the tapestry for resale. The public market for tapestry sales was Antwerp.
French patronage
Mascarade à l'éléphant, also known as Elephant (387 x 640 cm.; 152 x 252 in.), one of the Valois tapestries, 1580s
Though he was the arch-rival of the Habsburgs, Francis I of France commissioned tapestries from Brussels and Antwerp in the early years of his reign.[15] After the arrival of Primaticcio at Fontainebleau in 1532, it was to Brussels that the Italian painter was sent, with a preparatory drawing of a Story of Scipio Africanus to be rendered as a cartoon, with which he returned.
The prominent Brussels weaver Peter de Pannemaker executed for Francis that same year a suite enriched with silver and gold thread, to designs by Matteo del Nassaro of Verona, an engraver of gems. There were other commissions and purchases by Francis of Brussels tapestry until the establishment, about 1540 of a manufactory at Fontainebleau, under the general patronage of the king.[16]
The 'Valois tapestries' depicting festivities at the court of France were woven in the Spanish Netherlands, likely in Brussels, shortly after 1580.[17] Other nobles continued to support Brussels manufacture in the 16th century.
Jagiellonian patronage
Most of the royal 'Jagiellonian tapestries' conserved in Poland at the Wawel Castle in Kraków were commissioned by Sigismund II Augustus of Poland in Brussels[18] in the workshops of Willem and Jan de Kempeneer, Jan van Tieghem[19] and Nicolas Leyniers between 1550 and 1565.[20] Only 136 tapestries from the initial original collection of 356 pieces remain today, from which the largest part was commissioned in Brussel.[21]
Tudor patronage
The Triumph of Hercules, woven for Henry VIII in Brussels, ca1540–42, to designs created for Leo X ca1517–20 (Hampton Court Palace, London)
In England, both Cardinal Wolsey and Henry VIII amassed large tapestry collections. Henry competed with both Charles V and Francis I in displays of courtly magnificence, and vast sums were spent on tapestries to augment the lavish settings for his meeting with Francis at the Field of Cloth of Gold in 1520 and for the visit of Charles V to England in 1522.[22]
Wolsey furnished his palaces at York Place and Hampton Court with rich tapestries. Many of the cardinal's acquisitions illustrate Biblical texts, but he also acquired secular works, including two sets of Triumphs of Petrarch. One was purchased from the executors of the Bishop of Durham and one was commissioned directly by Wolsey. Evidence associates this later set with a partial set now in the Victoria & Albert Museum and likely woven in Brussels.[23] The Seven Deadly Sins panels woven for Wolsey's bedroom at Hampton Court are also thought to be Brussels work. By the time of his fall in 1529, Wolsey's collection included over 600 tapestry pieces, old and new. But despite his commissions to the weavers of Brussels, his tastes were conventional, and none of his acquisitions seem to have been in the new style pioneered by van Orley.[24]
Conversely, Henry VIII embraced the new Italianate style. From the later 1520s, the king's tapestry commissions reflect two marked tendencies: a selection of themes and subjects chosen as "unambiguous and pointed" propaganda, and the first appearance of the figural styles of the Italian Renaissance in England, albeit through the "distorted lens of the Brussels 'Romanist' artists."[25]
In October 1528, Henry acquired a small set of the Twelve Months and a much larger ten-piece set of The Story of David measuring 743 1/2 ells (418 square yards) from the merchant Richard Gresham. Recent research suggests strongly that this set of the Story of David has survived intact and is the Brussels-woven set worked in wool, silk, and metal-wrapped thread now housed in the Musée National de la Renaissance, Écouen, described as "one of the finest examples in the world of pre-1530 weaving."[26]
In the 1540s Henry commissioned Brussels reproductions of the Raphael Acts of the Apostles series and a set of Antiques also woven to designs created for Leo X ca1517–20 by artists of the Raphael workshop. Two of these, The Triumph of Hercules and the Triumph of Bacchus, remain in the Royal Collection and are hung in Hampton Court Palace.[27]
At the end of the 16th century, Spanish Habsburg persecution of Protestants in the Low Countries dispersed many weavers to the advantage of tapestry workshops in Delft and Middelburg, England and Germany, with a consequent drop in the quality of Brussels production. The Brussels looms soon revived in the optimistic atmosphere of the Twelve Years' Truce (1609–21) and under the major design influence on 17th-century Brussels tapestry, the Baroque style of Peter Paul Rubens, who carried out four suites of drawings expressly for tapestry. Rubens' connection with tapestry design commenced in November 1611 with the contract signed in Antwerp by the Genoese merchant Franco Cattaneo, the Brussels trader-weaver Jan II Raes, and the Antwerp dealer and weaver Frans Sweerts, for a suite of the History of Decius Mus on cartoons by Rubens, carried out in 1616–18.[28]
The prominent atelier of Jan Raes the Elder and Younger had executed a set of Animals in Landscapes in collaboration with the atelier of Catherine van den Eynde for Cardinal Montalto.[29][30] and a suite of the History of Samson. Among the most ambitious projects to cartoons of Rubens were the eighteen pieces of The Triumph of the Eucharist commissioned in 1627 by Isabella Clara Eugenia, Habsburg governess of the Spanish Netherlands, that were destined for the royal monastery of the Descalzas Reales di Madrid, where they remain to this day; the hangings, costing 100,000 guilders, a great boost to the tapestry industry in Brussels at the time, were woven in the ateliers of Jan II Raes, Jacques Fobert, Jan Vervoert, Jan Newoert and Jacob Geubels.[31]
Other leading Brussels ateliers of the 17th century were directed by Martin Reymbouts and members of the Leyniers family. Rubens's pupil Jacob Jordaens also provided many cartoons for tapestries.[32]Kermesse subjects drawn from village life in the manner of the Teniers, father and son, were often woven at Brussels in the 17th and 18th centuries.[33]
French connections and competition
When Louis XIV's minister Jean-Baptiste Colbert organized the royal manufactory of the Gobelins, an early suite was The Acts of the Apostles first woven at Brussels. The Brussels workshops soon fell under the influence of French design originating from the royally supported Gobelins, to the extent that the Story of Alexander suite, a thinly disguised allegory trumpeting the ascendancy of Louis XIV, were woven also at Brussels, among other places.[34] Brussels received an influx of highly trained workers when the Gobelins was temporarily closed in 1694 and the weavers ordered to disperse, under the financial stringencies of Louis XIV's wars.[35]
The 18th century saw the increased competition of the French workshops, both royal and private. Weavers like Le Clerc, Leyniers, van den Hecke and de Vos maintained quality, but the last of the traditional Brussels tapestry ateliers closed at the time of the French Revolution, by which time tapestry was finally becoming less popular; Goya's designs for the royal factory in Spain were perhaps the last major works in the medium.
Gallery
The Miraculous Draught of Fishes from the Acts of the Apostles, workshop of Pieter d'Enghien van Aelst after a cartoon by Raphael, ca1517-1519 (Vatican Museums)
The Life of Paul, by Pieter Coecke van Aelst, Brussels, ca1535-40
Tapestry with shield-bearing satyrs and monogram SA of Sigismund Augustus, Brussels, ca1555.
Arabesque tapestry with the monogram of Sigismund Augustus, Brussels, ca1555
God and Noah, Jan de Kempeneer, from a cartoon by Michiel Coxie, mid-16th century
Tapestry from a suite of Months, woven by Cornelis de Ronde, Brussels, mid-16th century (Kunsthistorisches Museum, Vienna)
Tapestry with the arms of Cardinal Załuski
Haman Begs Esther for Mercy from a suite Story of Esther, 2nd half 16th century (Kunstgewerbemuseum Berlin)
↑ The mille-fleurs panel with the arms of Charles the Bold in the Musée Historique, Berne, which is generally agreed to have been woven in Brussels, must predate his death in January 1477.
↑ Souchal, Geneviève (ed.), Masterpieces of Tapestry from the Fourteenth to the Sixteenth Century: An Exhibition at the Metropolitan Museum of Art, p. 108, 1974, Metropolitan Museum of Art (New York, N.Y.), Galeries nationales du Grand Palais (France), ISBN0870990861, 9780870990861, google books
↑ Schneebalg-Perelman, in Gazette des Beaux-Arts70 1967, noted in H. Osborne, ed. The Oxford Guide to the Decorative Arts, s.v. "Tapestry".
↑ Other 15th-century tapestries attributed to Brussels include the Allegory of the Virgin as the Source (Louvre), Virgin and Child with Donorca 1600 (Musée des Tissus, Lyon), The Story of the Virgin (Madrid)
↑ Thomas P. Campbell 2002: "a tour de force of imaginative design, the ensemble has long been recognized as one of Coecke's masterpieces."
↑ Pieter Coecke van Aelst (sometimes called Pieter van Aelst) should not be confused with his near-contemporary, Pieter van Aelst the Younger (otherwise known as Pieter d'Enghien van Aelst), a Brussels tapestry weaver associated with the workshop of his father, Pieter van Aelst the Elder, and with the artist Bernard de Orley.
↑ The only set of tapestries securely attributed to the workshop at Fontainebleau is the suite from the 'Gallery of Francis I', on the looms at the king's death in 1547, which was doubtless a royal gift of Francis's son, Charles IX to his father-in-law the Emperor and is conserved among Habsburg collections at the Kunsthistorisches Museum, Vienna (Weigert 1956:91f).
↑ Henry's Acts of the Apostles tapestries were sold in 1650 following the execution of Charles I of England and were last known to be in the Kaiser Friedrich Museum in Berlin. They are thought to have been destroyed in 1945. The papal set of the Antiques, called The Grotesques of Leo X, disappeared in the 18th century. Campbell 2007, pp. 263–68
↑ N.F. Grazzini, Brussels Tapestries for Italian Customers: Cardinal Montalto's Landscapes with Animals made by Jan II Raes and Catherine van den Eynde, 2007.
↑ Surviving records of the Brussels tapestry workshop of Pieter van der Borcht record Teniers peints par le fameux Sr Michau, such Teniers-like subjects painted by "the famous Sieur Michau" (Guy Delmarcel, Flemish tapestry from the 15th to the 18th century, 1999:352).
↑ Weigert (1956:109) mentions Aubusson and Munich.
↑ Weigert 1956:113; the Gobelins reopened, under a thorough reorganization, in 1699.
Tapestry is a form of textile art, traditionally woven by hand on a loom. Normally it is used to create images rather than patterns. Tapestry is relatively fragile, and difficult to make, so most historical pieces are intended to hang vertically on a wall, or sometimes horizontally over a piece of furniture such as a table or bed. Some periods made smaller pieces, often long and narrow and used as borders for other textiles. Most weavers use a natural warp thread, such as wool, linen, or cotton. The weft threads are usually wool or cotton but may include silk, gold, silver, or other alternatives.
Bernard van Orley, also called Barend or Barent van Orley, Bernaert van Orley or Barend van Brussel, was a versatile Flemish artist and representative of Dutch and Flemish Renaissance painting, who was equally active as a designer of tapestries and, at the end of his life, stained glass. Although he never visited Italy, he belongs to the group of Italianizing Flemish painters called the Romanists, who were influenced by Italian Renaissance painting, in his case especially by Raphael.
Victor Honorius Janssens or Victor Honoré Janssens was a Flemish painter of religious and mythological works and a tapestry designer. He spent a substantial period of his career abroad and worked in Germany, Italy, Vienna and London. He was court painter of Emperor Charles VI of Austria in Vienna. He is mainly known for his mythological and history paintings.
Pieter Coecke van Aelst or Pieter Coecke van Aelst the Elder was a Flemish painter, sculptor, architect, author and designer of woodcuts, goldsmith's work, stained glass and tapestries. His principal subjects were Christian religious themes. He hailed from the Duchy of Brabant, worked in Antwerp and Brussels, and was appointed court painter to Charles V, Holy Roman Emperor.
Romanism is a term used by art historians to refer to painters from the Low Countries who had travelled in the 16th century to Rome. In Rome they had absorbed the influence of leading Italian artists of the period such as Michelangelo and Raphael and his pupils. Upon their return home, these Northern artists created a Renaissance style, which assimilated Italian formal language. The style continued its influence until the early 17th century when it was swept aside by the Baroque.
Jan Snellinck or Jan Snellinck (I) (c. 1548 – 1 October 1638) was a Flemish painter, draughtsman and designer of tapestries, prints and frescoes. He is known for his large altarpieces and was also recognized as a leading battle painter in his time. Snellinck was active as an art dealer and art collector.
The Beauvais Manufactory is a historic tapestry factory in Beauvais, France. It was the second in importance, after the Gobelins Manufactory, of French tapestry workshops that were established under the general direction of Jean-Baptiste Colbert, the finance minister of Louis XIV. Whereas the royal Gobelins Manufactory executed tapestries for the royal residences and as ambassadorial gifts, the manufacture at Beauvais remained a private enterprise. Beauvais specialised in low-warp tapestry weaving, although the letters patent of 1664, authorising the company and offering royal protection, left the field open for the production of high-warp tapestry as well.
Antoon Sallaert or Anthonis Sallaert (1594–1650) was a Flemish Baroque painter, draughtsman and printmaker who was active in Brussels. Sallaert produced many devotional paintings for the Brussels court of Archdukes Albert and Isabella as well as for the local churches. Sallaert was an innovative printmaker and is credited with the invention of the monotype technique. He was an important tapestry designer for the local weaving workshops.
The family of de Pannemaeker or de Pannemaker were tapestry weavers from the Southern Netherlands, more or less equivalent to modern-day Belgium. Pieter de Pannemaeker, working from Brussels, was a celebrated weaver who, for European royalty, created tapestries resplendent with gold and silver threads, and expensive fine silks and woollen items. In 1520, Pieter de Pannemaeker commissioned the artist Bernard van Orley to make tapestry cartoons for his workshop. A surviving fragment depicts the Allegory of the Four Winds. Pannemaeker was court weaver to Margaret of Austria, Regent of the Southern Netherlands, who commissioned the Passion in four parts, and in 1523, she ordered an imposing dais made up of three tapestries, which later featured in the abdication ceremony of Emperor Charles V.
The Master of the Prodigal Son, was the notname given to a Flemish painter and designer of tapestries and stained glass. He was active in Antwerp where he operated a large workshop between 1530 and 1560. He painted religious subjects, landscapes, genre scenes and allegories. He is regarded as a leading master of Flemish Mannerism in the sixteenth century.
Hans Knieper was a Flemish painter and draughtsman.He became a court painter and tapestry cartoon designer at the Royal Danish Court and ran a tapestry weaving shop in Denmark.
Pieter van Aelst or Pieter van Aelst III was a Flemish tapestry weaver whose workshop commenced by his grandfather was one of the leading weavers of Flanders in the first half of the 16th century.
The Story of Abraham is a set of ten Brussels tapestries depicting stories from the life of the biblical prophet Abraham. They appear to have been designed by Bernaert van Orley initially, but completed by Pieter Coecke van Aelst around 1537, both artists who were leading designers for the Brussels workshops. Three sets survive.
Augustin Coppens or Aurelius Augustinus Coppens was a Flemish painter, engraver, draughtsman and tapestry designer active in Brussels. He specialized in landscape and city views. He is now mainly known for his tapestry designs and for his drawings and prints documenting the devastating effect on the civil buildings caused by the Bombardment of Brussels by French troops in 1695.
Jan van Orley or Jan van Orley II was a Flemish painter, draughtsman, printmaker and designer of tapestries. Van Orley was one of the major figures of Flemish tapestry design in the late 17th and early 18th century.
The Franses Tapestry Archive and Library in London is devoted to the study of European tapestries and figurative textiles. It is the world’s largest academic research resource on the subject.
Lodewijk van Schoor was a Flemish painter, draughtsman and designer of tapestries. Van Schoor was one of the major figures of Flemish tapestry design in the late 17th and early 18th century, together with Victor Honoré Janssens and Jan van Orley.
The Hunts of Maximilian or Les Chasses de Maximilien, also Les Belles chasses de Guise are a set of twelve tapestries, one per month, depicting hunting scenes in the Sonian Forest, south of Brussels, by the court of Maximilian I, Holy Roman Emperor. They were produced in a Brussels workshop, and several tapestries are given identifiable locations that were then around the outskirts of the city, but are now mostly engulfed by it. The set is now in the Louvre.
The Leyniers family (/lɛnɪjɛ/) is a bourgeois family that appeared in Brussels in the 15th century and produced many high-level tapestry makers and dyers, experts in the art of dyeing in subtle shades the woolen threads destined for this trade.
The Don Quixote tapestry series is a popular series of 18th century mural-scale tapestries illustrating scenes from the Miguel de Cervantes novel, Don Quixote. The series was woven at the Gobelins Manufactory in Paris from 1714 to 1794, during which they were the most frequently reproduced series in the manufactory with over 200 panels woven. Their design marked the emergence of elaborate alentour borders in tapestries.
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