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Index
K. L. H. Wells
Description: Weaving Modernism: Postwar Tapestry Between Paris and New York
Weaving Modernism: Postwar Tapestry Between Paris and New York
Index
Author
K. L. H. Wells
PublisherYale University Press
Copyright© 2019 by K. L. H. Wells
Stable URL: https://aaeportal.com/?id=-21590
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Index
Page numbers in italics refer to illustrations.
Abakanowicz, Magdalena, 102, 104, 247n8
Abakan Red, 216–217, 217
abstract art: the decorative as recovering function for, 158, 191–192, 202, 210–211
early modernist concepts of decorative art as, 7, 11, 158, 173, 199–200
painterly vs. post-painterly, 21
and purity, 20
as uniquely suited to tapestry, 63, 172–173
Abstract Design in American Quilts (1971), 34, 219–220
Abstract Expressionism, 3, 21, 158, 178
and architectural commissions, 210–211
and Greenberg, 19, 21
Monet as influence on, 21, 157–158
revival narrative and, 157–158
verticality and, 174, 178
Adams, Mark, 224–225
Adamson, Natalie, 99
Agam, Yaakov, 141
Air France tapestry project (1965), 156, 185–188, 186–187, 189–190, 245nn56, 59
Albers, Anni, 2, 159, 169–170, 216, 220, 221, 222
designing tapestries woven by others, 170, 171, 220–222, 247nn18–20
“pictorial weavings,” 170, 245n18.
Works: AT&T commission, 212, 220–221, 221
Floating, 220, 247n19
Letter, 247n19
Nylon Rug, 170
Orchestra series, 220, 247n19
Red Lines on Blue, 220, 247n18
Six Prayers, 247n20
Tapestry (1927), 170
Tapestry (1948), 170
Triangulated Intaglio, 247n19
Vicara Rug, 170, 171
Albers, Josef, 1–2, 129, 141, 142, 153, 170, 220
Full, xii, 1, 2
Homage to the Square: Ten Works by Josef Albers, 2, 129, 131
Alechinsky, Pierre, 245n56
Algeria, 82, 162, 163
Al-Hilali, Neda, 247n8
American Craftsmen’s Council, 63, 184–185
American exceptionalism, 3, 215. See also capitalism; Cold War
Andre, Carl, 17
André, Maurice, 102, 245n56
Angerer, Sepp, 90, 92
Anger, Jenny, 7
Angers: Apocalypse tapestry cycle of, 60, 68–70, 69, 240n29
cathedral, 68–69
Château d,’ 69, 69
Anthonioz, Michael, 148–149
Antliff, Mark, 8
Anuszkiewicz, Richard, 219
Apocalypse tapestries of Angers, 60, 68–70, 69, 240n29
Apollonio, Umbro, 102
Appel, Karel, 99, 100
applied arts: Hoffmann and, 42–43
and interest in total modern aesthetic, 160–162, 160–161
Mondrian and, 42
tapestries as confounding separation of pure art vs., 2, 16, 17, 19
appropriation art, 128, 150, 155
architecture: curtain wall of, 185, 204
humanizing with tapestry, 184–185, 187, 188, 193, 195, 196, 199, 210, 214, 234
incorporation of art into everyday environments, 43, 160, 184, 199, 210–211
International Style, 67–68, 201, 203
Le Corbusier’s attitude toward decoration of, 203–205
Loos’s Principle of Cladding, 203, 205, 246–7n94
Pollock’s painting as becoming, 204–205, 205–211, 208–209
polychromy of ancient cultures, 204–205
postwar revival of tapestry and, 66–68, 101, 102
Semper’s Principle of Dressing and, 17, 203–205, 206, 207, 210, 246–7n94
tapestry as “dressing” worn by structures, 172–173, 207, 210, 211
use of tapestry in modernist environments, 184–199. See also total modern aesthetic
Arnason, H. H., 100
Arp, Jean, 129, 170, 180, 196
Ramure, 246n77
Sailboat in the Forest, 246n77
Arradon, Monique, 245n56
Arras Gallery (New York), 53
Art for a Synogogue (1951), 191–192
Art for a Synogogue (1953), 191–193
art historians and exclusion of modern tapestry from modernist history, 214–215
distributed authorship and, 6
feminist scholarship and, 215, 218–219, 227–228, 230–231
fiber art history and, 215–218, 247n7
and historicization as politicized process, 214–215, 228, 229, 230, 234–235
market forces and, 214
and multiples, 6
simplified narrative of modernism resulting from, 215, 235. See also feminist scholarship
artist involvement with production of tapestries: as increasing value, 53, 121–122
of Picasso, as fiction, 120–122, 127, 128, 153, 242n41. See also original vs. reproductive tapestry
art/life unity, 2, 66, 67, 178
Art Nouveau tapestries, 61
Art of Oceania, Africa and the Americas from the Museum of Primitive Art (1969), 123
Associated American Artists gallery (Beverly Hills), 223
Association des peintres-cartonniers de tapiesserie (APCT), 70–71, 73, 93, 101, 102, 110, 153, 213, 241n65
Atelier André Delarbre (Aubusson, France), 165, 168
Atelier Brégère, 68, 240n28
Atelier Cavalaire. See de la Baume-Dürrbach, Jaqueline
Atelier Picaud (Aubusson, France), 94–95
Atelier Tabard. See Tabard workshop
Aubusson, France: Doisneau’s photojournalistic documentation of, 58, 75–80, 75–80
early twentieth century representation of, 77–78, 78
French government support for, 93, 96–97
interwar decline of, 167, 245n15
and modern French tapestry revival, 70, 92
representation by others of, 96–97
World War II and, 90–93, 167, 241nn58,63. See also Pinton workshop; Tabard workshop
author function, 124, 155
authorship, 10
artist control of cartoon, 145–146
authenticating photographs, 121, 122, 124–126
collaborative expectations, 226–227
distributed, 6, 126
labels on tapestries, 153
modernists as contesting, 6
Motherwell tapestries and, 44–45
prints and, 220
autograph works, 108, 110, 140, 153
autonomy of tapestry from painting, 63–64, 70, 71, 127, 145–146
Avery, Milton, Maternity, 56, 56
Baldwin, Neil, 175
Banach, Joan, 46–47
Bann, Stephen, 126
Barnes, Dr. Albert C., 131–132
Barr, Alfred H. Jr.: additional mentions of, 8, 67, 157, 196
as adviser to Rockefeller, 101, 112, 113, 115, 116, 131–132, 133–134
original designs as privileged by, 151–152
and photography, inaccuracies in, 116, 118
and reproductions, 113, 132–133, 242n25, 243n74
reservations about Picasso tapestries, 112–113, 115, 116, 129
support for tapestry and decorative arts, 44, 101, 134
on types of paintings best suited as tapestries, 115, 116, 242n30. See also Museum of Modern Art
Barthes, Roland, 155
Bascoulergue, Louis, 109
Baskin, Leonard, Condorbird, 52
bassesse, objects of (Krauss), 178–179, 184
Bataille, Nicholas, 69
Bauchant, André, 163
Baudouin, Pierre, 96, 127, 128–129, 144–145, 242n1
Bauhaus, 6, 16, 64, 67, 103, 241n87
A. Albers and, 2, 169–170
Dessau (workshop), 86–89, 86–89
in histories of tapestry, 61, 216
marginalization of women at, 88–89
visualizations of weavers at, 86–89, 86–89
Bayeux tapestry, 188
Bazin, Germain, 101
Beaton, Cecil, Pollock photographs, 207, 209, 210
Begay, Gloria, 238n54
Begay, Mary Lee, 238n52
Belgium, as historic center of tapestry, 99
Benjamin, Walter, 111
Berger, Otti, 87, 88, 88
Betty Parsons Gallery: Murals in Modern Architecture (1950), 204–205, 205–206, 211
Pollock exhibition (1950), 205, 207, 208–209, 210
Betz, Pierre, 75
Beutlich, Tadek, 247n8
Biennale international de la Tapisserie (International Tapestry Biennial), 101–103, 104, 216, 218, 241n83, 247n7
biennials, establishment of, 101, 241n83
Billotey, Louis, Le départ des cavaliers, 241n65
Black Mountain College, 169–170, 216
Blake, Peter, “Ideal Museum” model, 204–205, 204–205, 210
Bloomsbury Group, 7
Bois, Yve-Alain, 8, 9, 13–15, 15, 16
Bonnard, Pierre, 190
Boucher, François, 4
Boyer, Louise A., 242n15
Braque, Georges, 7, 8, 162–163
church doors, 190
Le Guéridon, 163–165, 164
Brennan, Archie, 18, 30, 144
Brenner, Marcella, 31
Broderie, André, 245n56
Broude, Norma, 228–230
Brunschwig & Fils (Aubusson), 77–78, 78
Bucher, Jeanne. See Galerie Jeanne Bucher-Myrbor
Buic, Jagoda, 247n8
Bunshaft, Gordon, 3, 11, 199
tapestries owned by, 193–194, 193–194, 246n70
Bürger, Peter, 216
Cahiers d’Art, 165, 166
Cain, Victoria, 74
Calder, Alexander, 141, 163, 180, 196, 198
Mobile, 56, 56
tapestry exhibition (1972), 175
canvas: bare areas in, 22, 32–33
blank, as picture, 22–23, 30
Greenberg and, 21–23, 30
Louis and, 32–33
slippage between tapestry and, 30
capitalism: corporate art collections as ameliorating, 185
modernist art and design as promoting achievements of, 3, 202, 213–214
and postwar cultural exchange, 100–101
postwar revival of tapestry and, 68, 93
cartoon, 145–146
development of painter-cartoonists, 70, 145–146
Matisse’s numbered key for, 148–149, 149
model/maquette distinguished from, 145
numbered cartoon (carton numéroté), 71–72, 72, 73, 118, 149, 227, 240n35. See also models/maquettes for tapestries
Cassou, Jean, 60, 72, 91–92, 97, 101
Castelli, Leo, 54, 239n102
Cauquil-Prince, Yvette, 127
Célérier, Glorvina, 242n41, 243nn61,69
Centre de la tapisserie ancienna et moderne (CITAM), 101–102, 103
Cézanne, Paul, 20–21, 157, 163
Chagall, Marc, 127, 190
Chapelle du Rosaire (Vence, France), 191
Chase Manhattan Bank art collection, 195–196, 246nn76–77
Chatelain, Jean, 108, 109
Chicago, Judy, 223, 224, 225–227
The Dinner Party: A Symbol of Our Heritage, 224–225, 225–227
The Dinner Party, 223–227, 224–225
churches. See houses of worship
Clark, T. J., 210
cloth dyeing, as metaphor, 21–22
Cogniat, Raymond, 101, 103
Cohen, Lee, 34, 36
Cold War: art and design as promoting Western capitalism, 202, 213–214
corporate art collections and, 185
tapestry and fiber art as symbol of and competition in, 10, 102–105, 216, 247n7
collaborations of male and female artists, 7, 234
collector function, 124. See also provenance
color: fusion of, with support, 28, 30
medieval tapestries and, 68
printing of, in magazines/journals, 148–149
purity of, and tapestry revival, 62
Color Field painting: and bare canvas, 32–33
Greenberg’s textile metaphors for, 21–22, 32
post-painterly abstraction of, 21
relationship with tapestry, 39–40
and tapestry as fusion of color with support, 27, 28, 30, 39–40
as translated into flat-woven vs. pile-woven tapestries, 25, 27
compound art, 108
conceptual art, 122, 155
Constantine, Mildred, 44, 63, 66–67, 180
Contemporary French Tapestries (1959), 63
Contet, Edouard, 181
copyright law, 116, 118, 120
corporate art collections and architecture, 101, 194–196, 195, 197–199, 198, 220–221, 221, 246nn72,76–77
Coupignay, Edmond, 181
Coural, Jean, 146, 148, 149
Coutaud, Lucien, 163
craft: medium specificity as discourse of, 65
and modernist painting, 219–220, 247n14
prints and tapestries associated with, 143
craftsmanship aesthetic, 74
“crisis” of the easel picture. See tableau
Crow, Thomas, 207, 210
Cubism and Cubists, 8, 21, 67, 70
Braque’s Le Guéndon tapestry, 163–165, 164
the tableau as juxtaposed with the table in (Poggi), 179, 184
verticality of the tableau and, 174, 179
Curtis, Saide, 36
Cuttoli, Marie, 120, 131, 162–166, 213
and Algeria, 82, 162, 163
and Aubusson, 163
and Braque, 162–165
couture house of, 244n13
and Dufy, 131, 163, 166–167, 167–168
Galerie Jeanne Bucher-Myrbor, 165–166, 166, 171–172
Galerie Vignon, 163–165, 244n13
in histories of tapestry, 61, 165, 173
and illusionism, 163–165, 164, 173
and Léger, 131, 162, 163, 195
and Lurçat, 162, 163
and Man Ray, 146, 163
and Matisse, 131, 163
and Miró, 131, 134, 135, 163
Myrbor boutique, 162–163, 163
and Picasso, 107, 131, 133, 163, 179
René compared with, 171–172
Cuttoli, Paul, 162
Dada, 6, 7
Damisch, Hubert, 15
David, Jacques-Louis, 4
Davis, Gene, 219
Davis, Stuart, 44
de Amaral, Olga, 247n8
death of artists, tapestries following, 154–155
heirs and, 31, 42, 153–154
and Hofmann, 40–43, 40–41, 239n70
and Louis, 31, 238n43
and Picasso, 152–153
“death of the artist,” 155
decolonization, 84
decorative art, 10–11, 44, 173
claim of modernism to have rejected, 7, 10–11, 199, 214–215, 234–235
early modernist associations between abstraction and, 7, 11, 158, 173, 199–200
feminist scholarship on, 24, 227–234
and function for abstract art, 158, 191–192, 202, 210–211
Greenberg on, 199–202, 246n89
illusionism vs., 62, 64, 71, 172–173, 200–201, 246n87
vs. the tableau (easel painting), 158–159, 199, 200–201, 210
tapestry as privileged within, 7, 11, 159, 165–166, 169. See also tableau (easel painting)
de la Baume-Dürrbach, Jaqueline (Atelier Cavalaire): and architects’ commissions, 193–194, 193
autonomy of, 125, 129, 243n69
and R. Delaunay, 194
editions of, 118, 120
exhibitions of works by, 127
and fame of N. Rockefeller, 122
and Léger, 194, 246n72
low-warp loom of, 242n30
and Picasso tapestries, 107, 108, 112, 113, 114, 116, 117, 118, 124–129, 125, 152–153, 193–194, 193, 243n69
and relationship to Picasso, 120–121, 127, 128, 242n41
and reproductive vs. original tapestries, 132
and size of tapestries, 128, 242n21
as translator of paintings, 126–129
“weaving without sewing” technique of, 125, 128, 243n56
workshop of, 126–127, 243n61
Delaunay, Robert, 169, 231
La joie de vivre, 194, 246n72
Delaunay, Sonia: additional mentions of, 6, 120, 127, 129, 141
design work of, 160–162, 230
exhibitions of, 20, 162, 170
gender politics and, 230, 231
turn to tapestries by, 159, 162.
Works: Air France project, 245n56
Tapis et tissus, 160–162, 160–161
Delectorskaya, Lydia, 137, 139
Deliberate Entanglements (1971), 217–218, 247n8
Demeure, La (gallery), 78, 79, 104, 245n56
Denis, Maurice, 17
Derain, André, 163
design reform movement, 64–65, 66, 67, 73, 203–205
De Stijl movement, 16, 67, 112
d’Harnoncourt, René, 98, 133
Diamond, Harold, 122
Diderot, Denis, Encyclopédie, 81–82
Dine, Jim, 54
Valentine, 56, 56
display of textiles and tapestries evoking the tableau, 161–162, 161–162, 170–173, 172, 175
Dixon, Barbara, 42
Doisneau, Robert, Aubusson et la renaissance de la tapisserie, 58, 75–80, 75–80
Dondol, Jean de, 69
Dossin, Catherine, 98
Dovecot Studios (Edinburgh, Scotland), 30, 52, 144
projects, 18, 38, 46, 50–51, 51, 52
Drexler, Arthur, 206
Dubreuil, Pierre, 70, 92, 96
Dubuffet, Jean, 99, 100, 174
Ducos de la Haille, Pierre-Henri, Le Niger, 241n65
Dufy, Raoul, 60, 98, 159, 166
and Cuttoli, 131, 163, 166–167, 167–168.
Works: furniture and interior design, 166–167, 167
Le bel été, 167, 169, 169
Paris, 166–167, 168
Dürrbach, René, 126
Dwork, Melvin, 46
early modern period: church tapestries, 188
court tapestry workshops, 4
and the easel painting, 158
and interest in medieval art, 68
easel painting. See tableau (easel painting)
Eastern Europe, and fiber art as symbol, 102–104, 216, 247n7
East India Carpet Corporation (India), 84
Eastman, Lee, 45
École de Paris, 99–101, 171–172
École nationale d’art décoratif d’Aubusson (ÉNAD), 96, 241n65, 243n89
economics of tapestries, 73, 84
American vs. European commissions, 144–145
distribution of profits, 46, 246n74
and Motherwell, 43–44, 45–46, 47–48, 57, 144
original vs. reproductive tapestry and, 47–48
reproduction as expanding the market for modern art, 141–142
and Stella, 48, 52, 57, 144
weaver wages and economic need, 35, 74, 240n40, 245n15. See also market for modern art; pricing of tapestries
Elderfield, John, 24, 38, 39
Éluard, Paul, Liberté, 92
embroidery, 89
needlepoint, 5, 219, 237n14
Emmerich, André: and Hofmann, 40–41, 42–43, 239n70
and Louis, 31, 32, 40
Empire State Plaza Art Collection, 196–197
English, Darcy, 234
engraving, as translation, 126
Episcopal Church of the Ascension, 191
Ernst, Max, 180, 223
Evenson, Norma, 85
Exhibition of Picasso Tapestries from the Personal Collection of Governor Nelson A. Rockefeller (1968), 123
exhibitions of tapestry, 3
Greenberg’s attendance at, 20
live demonstrations by weavers at, 73, 240n38
postwar, international numbers of, 3. See also specific exhibitions
Faré, Michel, 101
Feeley, Helen, 154
Feeley, Paul, Lacona, 154
Feigen, Richard, 142
feminist art and scholarship, 24, 224, 229
and alleged anti-decorative stance of modernism, 11, 227–234
and Chicago’s The Dinner Party, 223–227, 224–225
and critiques of Chicago, 226–227
and Delaunay, 231, 234
and exclusion of modern tapestry from art history, 215, 218–219, 227–228, 230–231
and historicization as politicized process, 24, 228, 229, 230
Pattern and Decoration movement and, 215, 227, 228–230
vs. tapestry as elite art form, 24–25, 220–223
and textile crafts, relationship to modernist painting, 219–220
and Wayne, 222, 223. See also gender politics of tapestry
Feminist Art Program (CalArts), 227
Fendrick, Daniel, 142–143
Ferron, John, 44
Ferry, René-Marc, 180–181
fiber art: Bauhaus-to-fiber-art narrative of, 216, 218
Deliberate Entanglements (1971), 217–218, 247n8
and modern tapestry, relationship with, 215–218, 217, 237n13, 247n7
as symbol of geopolitical distinction between Eastern and Western Europe, 102–104, 216, 247n7
the tapestry biennial as venue for, 102–104, 218
trend toward, 34
WACK! Art and the Feminist Revolution (2007), 216–217, 217
waning of, 218
Fields, Edward, and Hofmann, 41–43, 41
Fields, Jack, 42–43
Five Centuries of Tapestry (1976–77), 224
flatbed picture plane (Steinberg), 174–179, 176–177, 180
flatness: and autonomy of tapestry, 63–64
“carpet paradigm” and, 17
fusion of color with its support, 28, 30
Greenberg and, 17, 20, 22–23, 63–64, 201
and translation of paintings into tapestries, 115, 128
Flavin, Dan, 122
Fletcher, Molli, 34–35
Florisoone, Michel, 101
Folland, Tom, 231
Fontaine, Georges, 150
Formless: A User’s Guide (1997), 178
Foucault, Michel, 155
France: Communist politics, 97
construction of tapestry as specifically French art, 61, 62, 90, 92, 93, 97
copyright law, 118, 120
diplomatic gifts of tapestries, 140
and government subsidizing of private tapestry workshops, 93, 96–97
and narrative of the capital of modern art as shifting to New York, 10, 98
Popular Front, 96–97
and postwar prestige in the USA, 59–60, 62, 90, 97–99, 101, 104–105
postwar revival of tapestry as re-establishing cultural leadership of, 60, 98–99, 213
and traditional excellence in hand-produced luxury crafts, 96–97, 103
Frankenthaler, Helen, 23–30
additional mentions of, 9, 17, 19, 24, 30, 39, 196
and the decorative arts, 24–25, 230
and gender politics, 23–25
and Greenberg, 24
and Motherwell, 24, 44
and Ross, 23, 25, 27, 30, 33.
Works: The Cape, 25, 27
house of worship tapestry, 25
Mountains and Sea, 24
Untitled (Fourth National Bank), 25, 27, 27
French & Co. gallery (New York), 20, 32, 92
French tapestry industry, 4, 46, 131
influence on American modernism, 6–7
limited editions as tradition of, 52, 110, 120, 144, 150–151
women’s limited participation in, 4–5, 237nn10,14. See also Mobilier national
Friedman, Martin L., 100
Fried, Michael, 9, 32–33, 39, 57
Fry, Roger, 228, 246n87
Fumeron, René, 245n56
furniture, tapestry used to upholster, 4, 166–167, 167. See also Mobilier national
Galerie Denise René, 141, 195, 245–246nn56,77
tapestry exhibition catalogue (1974), 170–173, 172. See also René, Denise
Galerie Étienne Bignou (Paris), 70
Galerie Jeanne Bucher-Myrbor, 165–166, 166, 171–172
Galerie Louis Carré, 169
Gallatin, A. E., 44
Gandhi, Mahatma, 83
Gautier-Delaye, Pierre, 186
Geffroy, Gustave, 181
Genauer, Emily, 191–192, 202, 246n64
gender politics of tapestry, 11, 89
A. Albers and, 220, 222
Delaunay and, 230, 231
Frankenthaler and, 23–25
Wayne and, 222. See also feminist scholarship
Gilioni, Emilio, 245n56
Gleizes, Albert, 126, 127
Gobelin-Manufakturs (Germany), 102
Golan, Romy, 67, 97
Goldberg, Bertrand, Marina City (Chicago), 195
Goodman, Percival, 191
Göring, Hermann, 90, 92
Gorky, Arshile, 44
Gottlieb, Adolph, 196
Burst, 196, 246n77
church works, 192–193
Greenberg, Clement, 19–24
and awareness of modern tapestry, 6–7, 19–20
and bare canvas, 21–23, 30
challenges to dominance of, 214–215
on the decorative, 199–202, 246n89
and early modernist views of the decorative, 199–200
as encouraging artists to make tapestries, 19, 30–32
and flatness, 17, 20, 23, 63–64, 201
and Hofmann, 41
inconsistencies and contradictions of, 199, 202
on Matisse, 20, 202
and metaphor, decorative arts as, 20–21, 200
and metaphor, textiles as, 9, 17, 19, 20–23, 25, 32, 39, 57, 200–202
on Monet, 21, 157, 238n21
and Newman, 202
and pure vs. applied art, 17, 19
verticality and, 178.
Works: “After Abstract Expressionism,” 22–23
Art and Culture, 19
“Avant-Garde and Kitsch,” 20
“The Case for Abstract Art,” 201, 202
“Cézanne and the Unity of Modern Art,” 20–21
“The Crisis of the Easel Picture,” 158, 200–201, 206
“Feeling Is All,” 202
“The Later Monet,” 21, 238n21
“Louis and Noland,” 21–22
“Our Period Style,” 201–202, 246n89
“Post Painterly Abstraction,” 21
“Towards a Newer Laocoön,” 20
Green, Christopher, 8
Grierson, Douglas, 46
Gris, Juan, 169
Gromaire, Marcel, 60, 70, 92, 96, 98
Gropius, Walter, 87, 170
Grosman, Tatyana, 143
Grossen, François, 247n8
Guggenheim, Peggy, 206, 207, 210
Guiffrey, Jules, 64
Guilbaut, Serge, 98, 100
Guinot, Robert, 241n63
Hajdu, Etienne, 100
Hard Edge art, 172, 198
Harris, Ann Sutherland, 219
Harrison, Ellen, 112, 113
Harrison, Wallace K., 112, 121, 194
Hartung, Hans, 99, 245n56
Harvard, Henry, 64
Hedlund, Ann, 144
Henry, Micheline, 28, 29
Herbin, Auguste, 127
Herbst, René, rugs by, 161, 161
Hesse, Eva, 102
Hicks, Sheila, 102, 247n8
Air France tapestries, 188, 189–190, 246n59
Hilaire, Camille, Air France tapestry, 187, 188, 245n56
Hirsch, Herbert, 238n43
Hitchkock, Henry-Russell, 67
Hobsbawm, Eric, 61
Hockney, David, 144
Hodge, Maureen, 46
Hoffmeister, Adolphe, 102
Hofmann, Hans, 9, 19
posthumous tapestries of, 40–43, 40–41, 239n70.
Works: Blue Loup, 41–43, 41
Purple Loup, 41–43, 41
To Miz—Pax Vobiscum, 40, 41
Hofmann, Renate, 42
Holtzman, Harry, 16, 42
Hopi weavers, 35–36
horizontality. See verticality vs. horizontality
Houp le Beau, Jeanne, 245n56
houses of worship: Pollock paintings for, 206
tapestries for, 25, 188, 190–193, 247n20. See also medieval art
Howard, Charles, 44
Howard, Roy W., 246n64
Hurschler, J. L. tapestry collection, 223, 248n28
Husey, Walter, 191
Idlewild Airport (New York), 186
Illinois Institute of Technology (Chicago), 216
illusionism: of Braque’s Le Guéridon tapestry, as playful, 163–165, 164
of Cuttoli, viewed as decline of tapestry, 163–165, 164, 173
the decorative as the opposite of, 201, 246n87
postwar tapestry revival and rejection of, 62, 64, 71, 172, 173
Impressionism. See Monet, Claude
India, 82–86, 83–85, 240nn48–49
Indiana, Robert, 54
industrialization, 65, 74
International Gothic Style, 67
International Style, 67–68, 201, 203
interwar period: decline of Aubusson tapestry industry, 167, 245n15
and medieval art, interest in, 68–69, 240n29
neoclassicism of, 67, 241n65. See also Cuttoli, Marie
Ireland, Elaine, 226
Isolde, Ann, 224, 225–226
Issartial, Henry, 181
Jacobi, Ritzi and Peter, 247n8
Janneau, Guillaume, 63, 72–74, 173, 213, 227
and Nazi tapestry commissions of WWII, 90–91, 92–93, 241n58
Jarry, Madeleine, 80–81, 81, 222
Jaudon, Valerie, 227, 228
Jenkins, Paul, 30
Phenomena Mandala Spectrum Turn, 28
Phenomena Peal of Bells Cross, 12, 28, 28
Jensen, Alfred, 196
Jeppson, Lawrence, 20, 59, 60, 92
narrative of tapestry revival through WWII, 92–93, 97
as tapestry dealer, 92, 93
John F. Kennedy Center for the Performing Arts, 140–141
Johnson, Philip, 11, 41, 67, 193, 205
AT&T headquarters (New York), 220. See also Seagram Building (New York)
Jones, Caroline, 214–215, 246n89
Joselit, David, 8
Jullien, Louis-Marie, 102, 245n56
Kahnweiler, Daniel-Henry, 8
Kandinsky, Wassily, 129, 170, 228, 229
Kauffer, E. McKnight, 44
Kaufmann, Ruth, 216
Kawashima Textile Mills (Japan), 102
Kelley, Mike: More Love Hours Than Can Ever Be Repaid, 230–231, 232–233, 248n44
The Wages of Sin, 232
Kelly, Ellsworth, Primary Tapestry, 56, 56, 196
Kendall, Donald, 48, 51
Kester, Bernard, 217–218
Kichart, Paul, 137
kilim weave, 84, 240n48
kinetic art, 172
Kingley, April, 226
Klee, Paul, 7, 169, 180
Klein, Mason, 175
Klein, Max S., 240n35
Kline, Franz, 25
Knoll, Florence, CBS headquarters (NYC), 197
Kootz Gallery: Art for a Synogogue (1951), 191–192
Art for a Synogogue (1953), 191–193
The Muralist and the Modern Architect, 191, 211
Kootz, Samuel, 191
Kozloff, Joyce, 227, 228
Krauss, Rosalind, 8, 109–110, 178–179, 184, 245n43
Kuenzi, André, 102–103
Kuenzli, Katherine, 7
Lady and the Unicorn tapestries, 60, 68, 240n28
Lagrange, Jacques, 70, 245n56
Lambert, Phyllis, 195, 246n72
Lannan, J. Patrick, 32
Large-Scale Modern Paintings (1947), 206
Larochette, Jean Pierre, 224
Lassaigne, Jacques, 162
Laugier, Henri, 179
le Blanc, Charles, 64
Le Brun, Charles, 4
Le Corbusier: additional mentions of, 7, 102, 127, 163, 213, 228
anti-decorative stance of (Law of Ripolin), 203, 205
and architecture, tapestry as integral to, 11, 159, 199, 206
and economics of tapestry, 144–145
on muralnomad theory of tapestry, 66, 159, 184, 203, 206–207, 210–211
orientalist stereotypes held by, 84, 240n49
and René, 129, 170.
Works: L’art décoratif d’aujourd’hui, 203
Bogota, 194, 194
Chandigarh, India tapestry project, 83–86, 83–85
Court of Justice, High Court Building (Chandigarh, India), 83
Pavilion de Temps Nouveaux, 206
Le Doux, Jean Picart, 70, 102
Léger, Fernand: additional mentions of, 7, 20, 127, 169, 180
Apocalypse cycle as inspiration for, 68–69, 240n29
and Cuttoli, 131, 162, 163, 195
posthumous tapestries of, 154–155
in Seagram Building, 7, 194, 246n72.
Works: Blanc No. 8, 243n72
church tapestry, 190
Ciel de France, 154
in Delaunay’s Tapis et tissus, 160, 160
Fleur du Mexique, 246n72
L’homme à la nature morte, 246n72
L’homme à la pastèque, 246n72
Jaune No. 9, 243n72
Nature morte (à l’étoile), 154
Léger, Nadia, 154
Lejard, André, 69
French Tapestry, 81–82, 82
Le Moal, Jean, 245n56
LeWitt, Sol, 122
Liberman, Alexander, 196
Lichtenstein, Roy: additional mentions of, 3, 219
and Castelli, 54
and embrace of reproduction, 54, 57
and Modern Master Tapestries, 54, 55, 57
Modern series, 54, 56.
Works: Amerind Landscape, 54
ceramic sculptures/dishes edition of, 239n104
Modern Tapestry, 52–53, 54, 55, 55
limited editions, 108
French tapestry industry and tradition of, 52, 110, 120, 144, 150–151
Miró and, 243n81
Picasso tapestries, 108, 153
as shock to Rockefeller, 118, 120, 150, 153
Lipchitz, Jacques, 190
Lippard, Lucy, 219–220, 247n15
Lissitzky, El, Had Gadya prints, 49, 49, 52
lithography: and print renaissance, 143, 244n96. See also prints and printmaking
Littman, Robert, 44–45
Lodz Academy, 241n87
Longobardi, Xavier, 245n56
Loos, Adolf, 203, 205, 228, 246n95
Los Angeles, and modern tapestry, generally, 223, 247n26, 248n28
Los Angeles County Museum of Art: The New Decade (1955), 100
retrospective of Joseph Grau-Garriga (1974), 223
Tapestry: Tradition and Technique (1971), 223
Women Artists (1976), 219
Loucheim, Aline, 192–193, 199, 202
Louis, Morris, 9, 19, 24, 30–33
market for works of, tapestry and, 31–32, 40
posthumous tapestries of, 31, 238n43
textile metaphors and, 21–22, 32–33, 39.
Works: Equator, 31, 238n43
Loom, 32
Louvre, 60, 101
Lurçat, André, 160, 160
Lurçat, Jean, 70, 93, 101–102, 144, 223, 240n38
Apocalypse cycle as inspiration for, 68–69, 70, 240n29
and authorial role of the artist, 70, 72–73
and autonomy of tapestry from painting, 70, 71
and the carton numéroté (numbered cartoon), 71–72, 72, 73, 118, 149, 227, 240n35
and Cuttoli, 162, 163
and the French Resistance, 91–92, 94–95
and postwar tapestry revival, 10, 70–73, 92, 167, 213, 218, 223
and San Francisco Tapestry Workshop, 224, 225
in La tapisserie française (1946), 70, 72, 92, 98
and visibility of modern French tapestry, 6–7.
Works: Le chant du monde, 241n65
La conquête de l’air, 186
l’Homme aux Coqs, 92
Liberté, 92, 94–95
Lurie, Yael, 224
Lynes, Russell, 219
McBrinn, Joseph, 219, 247n14
MacIver, Loren, 44
Maingonnat, Élie, 96
Majorel, Denise, 3, 20, 63, 70, 92. See also Demeure, La (gallery)
Mallet-Stevens, Robert, 160
Manessier, Alfred, 100, 101, 245n56
Manet, Édouard, 200, 201
Mann, Fred, 46
Man Ray: and Cuttoli, 146, 163
Projet pour une tapisserie, 146, 147
retrospective (2009), 175
Tapestry, 175, 176, 178, 245nn34–35
Manufacture de Beauvais, 4, 137, 139, 166, 237n8
Manufacture de la Savonnierie, 4, 181, 181, 183, 237n8
Manufacture des Gobelins, 4, 237n8, 241n65
Air France project, 186, 245n56
Delaunay tapestries, 162
Léger tapestries, 154
Matisse tapestries, 151
Miró tapestry, 135, 136, 243n81
Nazi commissions, in WWII, 90–91, 91
Peiner tapestries, 91
Picasso tapestries, 107, 109, 242n1
market for modern art, tapestry and, 1, 3, 214
and Hofmann, 40–41, 42–43
and importance of artist’s active involvement, 121–122
and invisibility of tapestry in art historical scholarship, 214
and Louis, 31–32, 40
and multiples, 109, 111, 141–142
and privileging of originality, 109–110
and provenance, 122–124
and serial art, 151
and shift from textiles to tapestries, 159
and unfavorable economics of tapestry, 43–44
marketplace modernism: definition of, 8–9
and diversity of postwar art, 235
and reproduction, 110–111
and revival, 62
Martin, Antoine-Marius, 96, 243n89
Martins, Maria, 132
Masheck, Joseph, “The Carpet Paradigm: Critical Prolegomena to a Theory of Flatness,” 16–17, 65, 228, 229
Masterpieces of French Tapestry (1947–1948), 98–99, 222
Matégot, Mathieu, 102, 245n56
Mathieu, Georges, 245n56
Mathison, Fiona, 46
Matisse, Henri: additional mentions of, 7, 17, 44, 99, 169, 180, 213, 229
and Cuttoli, 131, 163
and the decorative, 7, 229, 230
exhibitions of, 102, 149
Greenberg on, 20, 202
and original vs. reproductive tapestry, 150–151
paper cutouts of, 137, 139–140
as serial artist, 149–151.
Works: for Chapelle due Rosaire (Vence, France), 191
Le Luth, 146, 148–151, 148–149, 151, 152
Papeete (Fenêtre à Tahiti I), 132, 133, 243n72
Polynésie tapestry diptych (Le Ciel and La Mer), 137–141, 138–139, 150–151, 152
medieval art: Bauhaus and, 67
formal qualities of, 66, 70
and functional role in society, 66, 67, 69–70
International Gothic style of, 67
as legitimating precedent for modernism, 67–68
religious function of, as minimized, 66, 69
Romanesque period as anticipating modernist formalism, 66
medieval tapestry: Apocalypse cycle of, 60, 68–70, 69, 240n29
artistic autonomy of weavers in, 72–73
bright colors of, 68
church commissions for, 188
fiber art and narrative of, 218
functional role of, 66
Lady and the Unicorn cycle, 60, 68, 240n28
medium specificity and, 62, 65, 70–71
portability and, 66
renewed interest in, 68–70
in La tapisserie française (1946), 60, 67, 68. See also weavers, representation of
medium specificity, 3, 9–10
and canvas, 22–23, 33, 57
“carpet paradigm” and, 17
as craft discourse, 65
and decorative art, 173
defined by Greenberg, 20
experimentation and, 22–23
flatness and, 20
playful illusionism as subverting expectation of, 165
postmodern critique of, 215
printmaking and, 143–144
tapestry revivalists as helping to codify, 65
medium specificity of tapestry: and autonomy of tapestry, 63–64
and design reform/truth to materials discourse, 64–65, 203–204
medieval tapestries and, 62, 65, 70–71
and rejection of illusionism, 173
revival of tapestry and, 62–65, 70–72, 213
and rise of fiber art, 103
specificity of painting and, 22–23, 33, 57
Mellow, James R., 123, 133
metaphor: “The Carpet Paradigm” (Masheck), 16–17, 65, 228, 229
decorative arts as, 20–21
Elderfield and, 38, 39
Ferry and, 180–181
Fried and, 9, 39, 57
Greenberg and, 9, 17, 19, 20–23, 25, 32, 39, 57, 200–202
preferred over literal tapestry, 16, 17
tapestry/textiles as, 13, 57. See also tapestry as model for modernist painting
Meyer, Richard, 243n74
Mies van der Rohe, Ludwig, Seagram Building, 7, 136, 194–195, 246nn72,74
Millecamps, Yves, Air France tapestry, 156, 186, 187–188, 245n56
Miller, Arthur, 223
Miller, Dorothy, 132–133, 134
milles fleurs backgrounds, 71, 71
Minimalism, 230
Miró, Joan, 7, 44, 180, 194–195, 196
and Cuttoli, 131, 134, 135, 163
and Ross, 30.
Works: Composition, 195
Femme, fleur, étoile, 194–195
Hirondelle Amour, 134–137, 135, 140, 195, 243n77, 243n81
Spanish Dancer, 246n77
Mobilier national, 4
and CITAM, 101
and Matisse, 146
Picasso tapestries held by, 110
and private workshops, 93, 96
women employed by, 4–5
models/maquettes for tapestries: photographs as, 146, 147, 148–149
for quality control, 1, 2
valued by museums as originals, 137–141, 243n87
weavers and rigid adherence to, 34–36. See also cartoons
modern art: affinities with Native American art, 33–34, 36
American interest in Parisian modernism, 99–101
the decorative as recovering function for, 158, 191–192, 202, 210–211
Greenberg’s critiques of French art, 99–100, 101
modernist experimentation, 22–23, 40, 52, 56, 57
ongoing need to defend, 199
Modern French Tapestries by Braque, Léger, Matisse, Miró, Picasso, Rouault, 20
Modern Master Tapestries, Inc. (Charles E. Slatkin), 9, 15–16, 44, 52–57, 213, 246n77
and A. Albers, 220–221
artists commissions, 246n74
catalogues of, 53, 56–57, 56, 63, 66–67
corporate scale of, 53–54
and Feeley, 154
and Hofmann, 239n70
and India, outsourcing weaving to, 82–83
and Lichtenstein, 54, 55, 57
and Mondrian, 15–16, 15, 42
and Motherwell, 44–45, 46, 47–48
pile rugs as medium of, 52, 82, 174
Pop artists and, 54, 56–57
prices of, 52–53, 195, 246n74
as providing stock to order from, 53–54
and Stella, 48, 52, 56, 239nn93,102
and Warhol, 54, 56
Mondrian, Piet, 16, 17, 19, 38, 42, 141, 153, 172
as influence, 17
on tapestry as commercial endeavor, 48, 52.
Works: Composition with Red & Grey, 16
Composition with Red, Yellow & Blue, 15, 16
New York City, 13–15, 14, 16
Victory Boogie Woogie, 242n25
Monet, Claude: Greenberg on, 21, 157, 238n21
and the implied horizontality of vertically hung works, 180–184, 181–183
as influence on Abstract Expressionism, 21, 157–158
revival of, 157–159
and the tableau, 158–159
tapestry metaphors and, 180–181.
Water Lilies series: as “chromatic,” 21, 157
Clouds, 182, 182–183
damage to, in MoMA fire (1958), 1, 244n1
Grandes décorations ensemble, 157, 181, 182–183, 182–183
as monumental, 21
Morning with Willows, 182–183, 182–183
pile rugs (1911–13), 181, 181, 183
monumentality, 128, 136, 242n21
Moore, Henry, 190–191
Morgan, Prys, 240n8
Morris, George L. K., 44
Morris, Robert, 102
Morris, William, 61, 66, 67
Mortensen, Richard, 170
mosaics, 20–21, 174
Moses, Ed, 17
Motherwell, Robert, 42–48
additional mentions of, 3, 9, 25, 196, 218
and ambivalence toward tapestry, 19, 43–48, 57
and art prints, 44–45, 46, 47–48
and economics of tapestries, 43–44, 45–46, 47–48, 57, 144
and original vs. reproductive tapestry, 47–48, 57
relationship with Frankenthaler (spouse), 22, 24
and tapestry producers, 44–48, 47.
Works: Burnt Sienna, 196, 246n77
church works, 192–193
Elegy to the Spanish Republic No. 116, 46, 47
Moulin, Raoul-Jean, 172–173
Muñoz, Aurelia, 247n8
Muralist and the Modern Architect, The (1950), 191, 211
muralnomad. See Le Corbusier
Murals in Modern Architecture (1950), 204–205, 205–206, 211
Museum of Modern Art (MoMA), 44, 67, 113, 116
Exhibition of Modern Church Art (1948–50), 190–191
fire in (1958), 157, 244n1
Large-Scale Modern Paintings (1947), 206
and Miró’s Hirondelle Amour, 134–137, 135, 140, 243n77, 243n81
The New Decade: 22 European Painters and Sculptors (1955), 100, 101
New Rugs by American Artists (1942), 44
and reproduction, collusion with, 136–137
and responses to La tapisserie (1946), 59, 98
N. Rockefeller on board and as trustee of, 112, 133–134, 242n17
Twentieth-Century Art from the Nelson Aldrich Rockefeller Collection (1969), 123, 132–133. See also Barr, Alfred H. Jr.
musical metaphors, 238n21, 243n58
Myrbor boutique, 162–163, 163
Nabis: and decoration, 7, 158
in histories of tapestry, 61
textile works by female family members of, 5, 237n14
Namuth, Hans, 90
Natani, Sarah, 35
Native American art and artists: affinities with modernist art, 33–34, 36
exhibition of Navajo rugs (1972), 219–220, 247n15
market appeal of, 34, 36
Navajo women, Noland tapestry project with, 33–37, 52, 219–220, 238nn52,54, 239nn60,66
Nazis and tapestry. See World War II
Nelson A. Rockefeller Collection of Mexican Folk Art, The (1969), 123
Nelson Rockefeller Collection Inc., 123–124
neoclassicism, 67, 241n65
Neo-Expressionism, 38
neo-medievalism, 61, 67
Neo-Plasticism, 16
Nesmer, Cindy, 231
Neutra, Richard, 102
New Decade, The (1955), 100, 101
Newhouse, Victoria, 207, 247n100
Newman, Barnett, 157, 202
New Rugs by American Artists (1942), 44
“new tapestry”. See fiber art
New York (state), reproduction rights law, 238n43
New York City: narrative of modern art capital as shifting from Paris to, 10, 98
visibility of Parisian modernism in postwar, 6–7
New York School: Empire State Plaza Art Collection as recognition of, 196–197
Greenberg as champion of, 19, 99
Hofmann as teacher of, 41
and visibility of modern French tapestry, 6–7
nineteenth century: characterized as decline of tapestry, 61, 64
design reform movement, 64–65, 66, 67, 73, 203–205
modernism and the decorative in, 7, 11, 158, 173, 199–200
Nochlin, Linda, 219
Noland, Kenneth, 33–39
additional mentions of, 7, 9, 19
and Frankenthaler, 24
influence of tapestry projects on paintings of, 37–38, 39
Navajo tapestry project of, 33–38, 39, 52, 219–220, 238nn52,54, 239nn60,66
and original vs. reproductive tapestry, 36, 52, 239n60
Plaid Paintings series, 38–39
process of approving tapestries, 36, 239n66
and Ross, 17, 33–36, 38, 39, 219, 238–239nn52,54,60,66
Rough Chevron paintings series, 37–38, 37–38
textile metaphors for, 21, 22, 38–39.
Works: Bell, 33
Earth Mark, 37, 37
Hawkeye, 37–38, 38
Line of Spirit, 239n66
Seventh Night, 17, 18, 38–39
Shooting Star, 37–38, 38
non-Western artistic practices: fiber art and, 34, 216, 218
Pattern and Decoration movement and, 227, 228. See also Native American art and artists
nostalgia: revival narratives distinguished from, 61
for weaving as cottage industry, 82–84
Notre-Dame-de-Toute-Grâce (Assy, France), 190, 191
Nottingham, Walter, 247n8
Novros, David, 196
Obler, Bibiana, 7, 234
off-loom techniques, 34. See also fiber art
oil painting, tapestries representing, 25–26
O’Keeffe, Georgia, 224
Op art, 172, 198
orientalism: and Indian audiences believed to be unable to appreciate abstract tapestry, 84–85, 104
Le Corbusier and, 84, 240n49
and representations of weavers, 82–86, 83–85
original edition, definition of, 108–109
original intentions of the artist: and distinction between reproductive and original tapestry, 107, 109–111, 151–152
and marketing tapestries, 42–43
models valued by museums as, 137–141, 243n87
originality, 3, 10
art history as privileging, 109–111
curators as valuing, 131
Pop art as distancing from, 54
postmodern critique of modernist obsession with, 215
repetition as challenging notions of, 105
as rising standard, 243n74
serial work and, 151
original vs. reproductive tapestry, 108–111, 151–152
curators attempting to draw distinction between, 131–137
definition of terms, 109
and Matisse, 150–151
and Miró’s Hirondelle Amour, 137
and Motherwell, 47–48, 52
and Noland, 36, 52, 239n60
and posthumous tapestries, 154–155
and Stella, 52
U.S. Customs law and, 110, 150
Ossorio, Alfonso, 206, 219
Pace Editions gallery, 17, 142
paint-by-number, 72, 118, 240n35
painting: and classification in contrast to tapestry, 7–8, 30
as model, 15. See also tapestry as model for modernist painting
Painting in France, 1939–1946 (1947), 99–100
Paris: narrative of cultural shift to New York, 10, 98
as ongoing center for modern art, 99–101
Parker, Rozsika, 219
Pattern and Decoration movement, 215, 227, 228–230
Paulvé, Dominique, 162–163
Peer, Shanny, 96–97
Peiner, Werner, 90
Le char des taureaux, 91
Pereira, I. Rice, 44
performance art, 155
Pergram, Elizabeth, 124
Perrone, Jeff, 227, 229–230
Perrot, René, Air France tapestry, 186
Persine, André de, 127
Pétain, Marshal, 93, 97
Petite Usine, La, 166
Philippe, Emmanuelle, 77
photographs and photography: authenticating Picasso tapestries, 121, 122, 124–126
as documenting works in stages to create a series, 149–151
inaccuracies of, and production of tapestries, 116, 118
negatives of, not treated as “original,” 140
as tapestry models, 146, 147, 148–149
Picart le Doux, Jean, 245n56
Picasso, Pablo: additional mentions of, 6–7, 8, 17, 44, 99, 169, 180, 213, 228, 230
collages of, 165, 179
and Cuttoli, 107, 131, 133, 163, 179
death of, 152–153
involvement in tapestries, as fiction, 120–122, 127, 128, 153, 242n41
as selling copies from editions, 118, 120
studio at La Californie, 129, 130.
Works: Bouteille, journal, et verre sur une table, 179
Les demoiselles d’Avignon, 111, 113, 114, 115, 125, 125, 126, 129, 130
Deux harlequins, 193, 193, 246n70
Eté, 194
Etude de tête d’homme au chapeau, 179
Les femmes à leur toilette, 107, 108, 109–111, 109, 242nn1–2
Girl on the Beach, 134, 193–194
Girl with a Mandolin (Fanny Tellier), 153, 239n98
Girl with a Toy Boat, 153
Guernica, 8, 107, 108, 109, 110–111, 112–113, 115, 126, 133, 242nn2,4,21
Harlequin, 115
Interior with Girl Drawing, 118
Mercure, 194
Night Fishing at Antibes, 106, 116, 117, 118, 119, 127–128, 133, 153
Pitcher and Bowl of Fruit, 118
Secrets (Confidences) or Inspiration, 131–132, 132, 133, 134, 243n72
Shores, 56, 56
The Studio, 120
Three Dancers, 120, 121
Three Musicians, 133
Le violon, 179. See also Rockefeller, Nelson A., Picasso tapestries of
Picasso Tapestries from the Collection of Nelson A. Rockefeller (1971), 123
Picaud, Raymond, 96
Pictorial Weavings (1959), 170, 171
pile-woven carpets: and Color Field painting, 25
of Monet, 181, 181, 183
postwar modern “tapestries” as also referring to, 5–6, 25, 174, 180
tapestries distinguished from, 5. See also Manufacture de la Savonnierie; Modern Master Tapestries, Inc.
Pinton workshop (Felletin, France), 27, 27, 40, 41, 162, 239n92
plain weave, 5, 237n13
Plaisir de France, 187
Poggi, Christine, 179, 184, 245n43
Point, Le (art journal), 75–80, 75–80
Poiret, Paul, 162, 166
Poland, 102–104, 216, 241n87
Pollock, Griselda, 231, 234
Pollock, Jackson: additional mentions of, 19, 24, 90, 157–159
and architecture, art becoming, 204–205, 205–211, 208–209, 247n100
and flatbed picture plane, 174, 178
and Peggy Guggenheim, 207, 210
and horizontality and verticality, simultaneous juxtaposition of, 159, 178
Kelly as remaking, 230, 248n44
and Le Corbursier’s muralnomad, 205, 206–207, 210
portability and, 159, 206–207
solo exhibition (1950), 205, 207, 208–209, 210.
Works: application for Guggenheim Fellowship (1947), 206
Autumn Rhythm: Number 30, 1950, 207, 208
and “Ideal Museum” model of Peter Blake, 204–205, 204–205, 210
Lucifer, 206
Mural, 206, 207, 210
Number 1, 1948, and fire at MoMA, 244n1
Number 2, 1950, 209
Number 28, 1950, 209
Number 32, 1950, 207, 209
One: Number 31, 1950, 207, 209
Pop art and artists, 54, 56–57, 56
portability: Le Corbusier on tapestries (muralnomad), 66, 159, 184, 203, 206–207, 210–211
medieval tapestries and, 66
Pollock and, 159, 206–207
tableaux and, 159, 210
of tapestries, 159, 210. See also verticality vs. horizontality
post-Impressionism, 246n87
post-Minimalism, 102
postmodernism: and historicization of postwar modernism as politicized process, 214–215, 228, 229, 230, 234–235
Krauss and, 178
and relationship to modernism and decoration, 199, 215, 230
Steinberg and, 178
and subversion of the dichotomy between the horizontal and the vertical, 178–179, 184
post-structuralists, and authorship, 155
postwar modernism: definition of, 9
and dual status of tapestry as both elite and marginal, 7–8
heterogeneity of, 3, 234–235
historicization of, as politicized process, 214–215, 228, 229, 230, 234–235
rejection of decoration in, as overstated, 7, 19, 158, 173
tapestry as enabling rise of, 3, 10
Prakash, Vikramaditya, 84, 240n49
Prassinos, Mario, 102, 145–146, 151–152, 245n56
pricing of tapestries: American vs. European producers and, 144–145
compared with prints, 144, 244n100
and Empire State Plaza Art Collection, 196
Le Corbusier, 144–145
of modern tapestry, 53
Mondrian, 16
value of Seagram’s Building collection, 246n72. See also economics of tapestries
prints and printmaking: economics of, 141–142, 144, 244n100
medium specificity and, 143–144
and Motherwell, 19, 43–48, 57
and Noland, 36
originality and reproduction, 105, 109, 140, 153, 155, 244n98
renaissance of, 142–144, 244n98
as rival medium to tapestry, 43, 48, 141, 218, 220
tapestry compared to, 141, 143–144, 222, 243n89
Prouvé, Jean, 160
provenance, 122–124
Pugin, A. W. N., 66
Puvis de Chavannes, Pierre, 7
Rabinovitz, Lauren, 226
Rand, Christopher, 85
Raphael, 243n87
Acts of the Apostles, 188
Rapin, Henri, 181, 182
Rauschenberg, Robert, 143, 174, 244n96
Bed, 175, 177, 178
Raux, Sophie, 124
Reed, Christopher, 7
René, Denise, 1, 129, 141–142, 198, 213, 245n23
and J. Albers, 1, 129, 141, 142, 153, 170
Cuttoli compared with, 171–172. See also Galerie Denise René Rive Gauche
Renoir, Auguste, 163
reproduction, 10, 151–152
all tapestries marginalized as, 110
cartoon as generating exact replicas, 146
compound arts as inviting, 108
conceptual art as compared to reproductive tapestry, 122
craft discourse as mitigating status of, 143
engraving as translation in, 126
labeling tapestries as, 140–141
models for tapestries valued above, 137–141, 243n87
MoMA as colluding with, 136–137
Pop artists as embracing, 54, 57
provenance and prestige of, 122–124
as spreading out cost of production, 108. See also original vs. reproductive tapestry
reproduction rights, 238n43
restoration of Lady and the Unicorn tapestries, 68, 240n28
revisionist critics: African-American art history, and exclusion of black modernists, 234
and historicization of postwar modernism as politicized process, 214–215, 228, 229, 230, 234–235
revival, 10
Abstract Expressionism and, 157–158
art history and reliance on, 229
as art marketing strategy, 105
of Monet, 157–159
nostalgia distinguished from, 61
print renaissance, 142–143
repetition and, 105
rise-fall-renaissance narrative, 10, 60–62, 82, 104–105, 142–143, 229, 240n8
revival of tapestry, postwar, 10
and autonomy of tapestry from painting, 63–64, 70, 71, 127
and coarser “medieval” weave, 62, 73
and Cold War agenda, 10, 104–105
construction of tapestry as specifically French art, 61, 62, 90, 92, 93, 97, 222–223
Cuttoli credited with spearheading, 131
and development of painter-cartoonists, 70, 145–146
early modernist experiments ignored in, 61, 64, 67
fiber art as parallel movement to, 217–218
the French Resistance and, 91–92, 97
and functional role in society, 66–67, 69–70
and medium specificity, 62–65, 70–72, 213
and narrative of medieval technique as remaining largely unchanged, 73–74, 89–90
proclamation of decline, 61–62, 64
and purity of color, 62
and relationship of artists with weavers, 70, 72–73, 118, 227
renewed interest in medieval tapestry, 68–70
San Francisco Tapestry Workshop and, 224–225. See also weavers, representation of
Richier, Germaine, 100
Crucifixion (sculpture), 190
Riegl, Alois, 17
Rippentrop, Joachim von, 92
Ritchie, Andrew Carnduff, 100
Robbins, Dan, 240n35
Robbins, Daniel, 8
Robert, Dom, 70–71, 98
L’eté, 71, 71
Rockefeller, Abby Aldrich, 112
Rockefeller, Blanchette, 134
Rockefeller, David, 195–196
Rockefeller, John D., 112
Rockefeller, Nelson A., 112
commercial reproductions from collection of, 123–124
and Cuttoli, 131–132, 243n72
and the Empire State Plaza Art Collection, 196–197
exhibitions of collection of, 123, 132–133
fame of, as collector, 122–124
and Harrison, Wallace K., 112, 121
and Miller, Dorothy, 133, 134
as MoMA trustee and board member, 112, 133–134, 242n17
political career of, 112, 122–123
value of art collection of, 112.
Works: Léger, Blanc No. 8, 243n72
Léger, Jaune No. 9, 243n72
Matisse, Papeete (Fenêtre à Tahiti I), 132, 133, 243n72
Miró, Hirondelle Amour, 134–137, 135. See also Barr, Alfred H. Jr.; Rockefeller, Nelson A., Picasso tapestry collection of; van Doesburg, Nelly (Pétronella)
Rockefeller, Nelson A., Picasso tapestry collection of, 111–112
accuracy of copies, disagreement about, 112–113, 115–116, 118, 129, 242n21
active involvement of Picasso, as fiction, 120–122, 127, 128, 153, 242n41
additional mentions of, 20, 113
approval of final product by Picasso, 129, 152, 243n69
authenticating photographs signed by Picasso, 121, 122, 153
editions of multiple copies as shock, 118, 120, 150, 153, 242nn1,4
exhibitions of, 123, 243n51
and permissions for reproductions, 116, 120
prices paid for, 53, 113, 239n98
process of production of, 116, 118, 119, 127
as reproducing category “work of art by Picasso,” 111–112, 152
as substitutes for works unavailable as paintings, 111, 113.
Works: Demoiselles d’Avignon, 111, 113, 114, 115, 125, 125, 126, 129, 130
Femmes à leur toilette, 107, 108, 109–111, 109, 242nn1–2
Girl on the Beach, 134
Girl with a Mandolin, 153, 239n98
Girl with a Toy Boat, 153
Guernica, 8, 107, 108, 109, 110–111, 112–113, 115, 126, 133, 242nn2,4,21
Night Fishing at Antibes, 106, 116, 117, 118, 119, 127–128, 133, 153
Secrets (Confidences) or Inspiration, 131–132, 132, 133, 134, 243n72
Rodin, August, Age of Bronze, 123
Rodin Rediscovered (1981), 108–109
Romanesque period, 66
Roque, Jacqueline, 153
Rosenberg, Léonce, 240n29
Rossbach, Ed, 216
Ross, Gloria F., 23–25
additional mentions of, 30, 142, 144, 154, 213
as Frankenthaler’s sister, 23, 25, 30
and Frankenthaler tapestries, 25, 27, 33
and Hofmann, 41, 41, 42–43, 239n70
and Jenkins, Paul, 27–28, 28
and Louis, 31, 238n43
and Motherwell, 44, 45–47, 47
and Noland, 17, 33–36, 38, 39, 219, 238–239nn52,54,60,66
and Stella, 48, 239n92
and treatment of weavers, 34–36, 238nn52,54
and variety of weavers worked with, 142, 244n92
as weaver, 25, 142
Rothko, Mark, 7
Roualt, Georges, 7, 131, 165, 166
church windows, 190
Fleurs du mal, 163
Rubinstein, Helena, 243n73
Rubin, William S., 134, 136–137
Ruskin, John, 66, 67, 73
Saarinen, Eero, CBS headquarters (NYC), 197
Saint-Saëns, Marc, 70, 98, 102, 245n56
Thésée et le Minotaur, 59, 60
Sakiestewa, Ramona, 35–36
Salet, Francis, 64
Sallandrouze workshop, 245n15
Salles, Georges, 98
Sandberg, Mark, 74
San Francisco Tapestry Workshop (SFTW), 224–227
Schapiro, Meyer, 66
Schapiro, Miriam, 227–230
Collaborations series, 227
“Female Imagery,” 227
femmages, 227, 228–229
Schneider, Alexandra, 240n45
School of Paris 1959: The Internationals, 100
Schumacher, René, 245n56
sculpture, and originality in, 109, 140, 155
Seagram Building (New York), 7, 136, 194–195, 246nn72, 74
Sekimachi, Kay, 247n8
self-criticism, 22–23
Semper, Gottfried, 17, 203–205, 206, 207, 210, 246n94, 247n98
series and seriality, 56, 149–151
Seurat, Georges, 163
Shaw, Jennifer, 7
Sherrebek workshop (Germany), 61
Sidney Janis Gallery, 3, 20, 136
Siegel, Adele, 53
Singier, Gustave, 245n56
Skidmore, Owings & Merrill (SOM): American Republic building (Des Moines, IA), 197
Esso headquarters (NYC), 194
Fourth National Bank and Trust (Wichita, KS), 27, 27
International Bank for Reconstruction and Development (Washington, DC), 194
Marine Midland Bank Building (NYC), 194, 195
Union Carbide Building (NYC), 198, 198. See also Bunshaft, Gordon
Slatkin, Charles E: and modern tapestries exhibit (1965), 44. See also Modern Master Tapestries, Inc.
Slivka, Rosa, 207
Smithsonian Institution, 3, 63
Smith, T’ai, 64
Smith, Tony (architect), 206
Snow, Carmel, 59, 60
Solomon, Elke, 143
Solomon, Richard H., 142
Soroka, Joanna, 50
Soulages, Pierre, 99, 100, 245n56
stain technique, 24, 25, 27
Stamos, Theodoros, 56, 196
Sunset, 246n77
Steinberg, Leo, the flatbed picture plane, 174–175, 178–179, 180, 184
Stella, Frank, 48–52
additional mentions of, 9, 17, 218, 219, 220, 230
and ambivalence toward tapestry, 19, 48, 52, 57
and Castelli, 239n102
and economics of tapestry, 48, 52, 57, 144
and producers, 48, 52, 56, 239nn92–93,102.
Works: Flin Flon XIII, 239n92
Illustrations After El Lissitzky’s Had Gadya series, ii, 48–52, 49–51
PepsiCo headquarters tapestries, 48–51, 51
River of Ponds, 239n93
Singerli Variations I, 239n93
Singerli Variations II, 239n93
Still, Clifford, 157
Strengell, Marianne, 216
studio assistants, 36
Subversive Stitch exhibits (1988), 219, 247n12
Sullivan, Louis, 228
Sully-Matégot, Patrice, 28, 29
Surrealism and Surrealists, 67, 70
Sutherland, Graham, church painting, 191
Tabard, François, 104, 129, 154, 241n63
Tabard workshop (Aubusson, France), 53, 60, 104, 154, 162, 169, 240n38
and J. Albers, xii, 1, 2
refusing work, 129, 131
and René, 141, 142
and Dom Robert, 71, 71
Tabary, Daniel, 139
tableau (easel painting): alleged rejection of decoration in favor of, 158, 173
Cuttoli’s illusionism and, 165
decorative art vs., 158–159, 199, 200–201, 210
definition of, 158
display of tapestries as evoking, 161–162, 161–162, 170–173, 172, 175
Greenberg on modernist version of, 200–201
modernist rejection of, 7, 19, 158, 160–161, 173, 200
rejection of, by tapestry revivers, 158
Taeuber-Arp, Sophie, 6, 129
tapestry, 1–11, 213–214, 234–235
ambivalence of artists toward, 19, 43–48, 52, 57
as both autonomous object and integrated decorative element, 186–188
as compound art, 108
definition of, historical/contextual, 5–6
definition of, technical, 5
flat, plain weave of, 5, 237n13
and fusing of figure and ground, 9–10
intermedial influence of, 57
kilims, 84, 240n48
pile rugs as interchangeable with, 5–6, 25, 174, 180
as reverse/mirror of cartoon, 71
signatures on, 125–126, 125
as substitutes for works unavailable as paintings, 111, 113, 242n25
tropes of, 53
warmth of, 162, 184–185, 210, 214
tapestry as model for modernist painting, 3, 10, 39–40
and decorative function of abstract art, 158, 191–192, 202, 210–211
Greenberg and, 200–201
Mondrian’s works and, 13–15
Noland and, 39, 219–220
textile crafts as model, 219–220
tapisserie, as term, 179–180, 210
tapisserie au point. See embroidery
tapisserie française du Moyen-Âge à nos jours, La (1946): additional mentions of, 63–64, 73
and Lurçat, 70, 72, 92, 98
and medieval tapestry, 60, 67, 68
modern tapestries in, 59, 60, 60, 71
and postwar tapestry revival, 59–62, 67, 70
responses by Americans to, 59, 60
and return of France to cultural leadership, 60, 98–99
as traveling to the USA and Belgium, 98–99
Tapisseries d’interpretation libre (1961), 127
Tariff Act (U.S., 1959), 110
Tate Gallery, 120
Tauber-Arp, Sophie, 170
Taylor, Francis, 98
Tériade, 149
textiles: A. Albers and, 169–170
and artistic authorship, 6
broad shift to tapestries from, 159–170
Cuttoli and, 162–166
Delaunay and, 160–162
designing of, and interest in total modern aesthetic, 160–162, 160–161
Dufy and, 166–169
as origin of architecture, 203–205
total modern aesthetic: Greenberg on, 201–202
and Myrbor boutique of Cuttoli, 162–163, 163
oppressiveness of corporate environments, 197–199
rejection of the tableaux and, 160–161
through design of textiles and other applied arts, 160–162, 160–161
Tourlière, Michel, 96, 102, 245n56
Troy, Nancy, 8
Troy, Virginia Gardner, 245nn18,35
Twentieth-Century Art from the Nelson Aldrich Rockefeller Collection (1969), 123, 132–133
twentieth century, early: and Aubusson, representation of, 77–78, 78
characterized as decline of tapestry, 61
modernism and the decorative in, 7, 11, 158, 173, 199–200
Two Grey Hills weaving, 35
Uht, Carol K. (curator for Nelson Rockefeller), 112
diagramming and notations, 116, 118, 119, 127, 136
and exhibitions, 113, 243n51
and frustration with size/cost of tapestries, 128, 242n21
and permissions, 116, 120
and prices of tapestries, 239n98
Vaisse, Pierre, 64, 65
Valentine Gallery (New York), 70
van de Velde, Henry, 228
van Doesburg, Nelly (Pétronella): as adviser to N. Rockefeller, 112–113, 118, 120
correspondence with Uht, 116, 118
de la Baume-Dürrback represented by, 193
as maintaining fiction of active involvement of Picasso, 120–122, 242n41
van Doesburg, Theo, 112, 170
Vasarely, Victor, 129, 141, 154, 245n56
Venice Biennale, 102, 241n83
Véra, Paul, La toilette de Flore, 241n65
Verlet, Pierre, 60, 67, 98, 99
Verrier, Jean, 68
verticality vs. horizontality: overview and definition of terms, 159
additional mentions of, 165, 183, 210
and bassesse (Krauss), 178–179, 184
Cubism as juxtaposing the tableau and the table, 179, 184
display of textiles and tapestries evoking the tableau, 161–162, 161–162, 170–173, 172, 175
and flatbed picture plane (Steinberg), 174–179, 176–177, 180
Monet as juxtaposing, 180–184, 181–183
simultaneous juxtaposition of, 159, 178–184, 181–183
the tableau as defined by verticality, 173–174, 200
Verve (journal), 146, 148–150, 148–149
Vesti Corporation, A. Albers, 220, 247n19
Vichy government. See World War II
Viera da Silva, Maria Helena, 99, 100, 101
Villon, Jacques, 127
Vitry, Bernard, 69
Vogele, Robert, 36
Vogue magazine, 207, 209, 210
Vreeland, Diana, 60
WACK! Art and the Feminist Revolution (2007), 216–217, 217
Waller, Irene, Textile Sculptures, 216, 218
Wandteppich, as term, 179–180, 181, 210
Warhol, Andy, 54, 56
Flowers, 56, 56
warp, defined, 5
watercolor technique, 27–28
Wayne, June, 143, 220, 222–223
“Joan of Art” seminars by, 222
“The Tradition of Narrative Tapestry,” 222
weavers: additional mentions of, 35, 226
artistic autonomy of, 51, 125, 129, 243n69
and autonomy of medieval practice, 72–74
collaborative expectations with artists, 226–227
crediting by name, 34–35
divisions of labor, 35–36, 70, 73, 221–222, 223, 224, 225–227
economic need and wages of, 35, 74, 240n40, 245n15
experimentation vs. rigid adherence to models, 34–36
as lacking in artistic and economic standing, 33, 73
live demonstrations by, 73, 240n38
naming rights of, 34, 238n52
postwar revival of tapestry and constraint of, 72–73, 118, 227
refusal of work by, 129, 131
as translators/interpreters, 36, 72, 126–129, 131
treatment of, by Ross, 34–36, 238nn52,54
weavers, representation of, 73–74, 89–90
anonymity in, 88–89
archaicization in, 74–78, 75–78, 82, 240n45
Bauhaus examples of, 86–89, 86–89
and the craftsmanship aesthetic, 74
and distancing of viewer, 74, 89
exoticization/othering of weavers, 74, 82–86, 83–85, 240n49
fragmentation and fetishization of weavers’ bodies, 74, 78–81, 79–81
hierarchy of scale and, 74, 84–85, 85–86
live demonstrations of weaving at exhibitions, 73, 74, 240n38
and recycled illustrations from Diderot’s Encyclopédie, 81–82, 82
weft and weft-faced, defined, 5
Welles, Chris, 197
Wheeler, Monroe, 59, 98
White, Harrison and Cynthia, 9
Whitney Museum of American Art: Abstract Design in American Quilts (1971), 34, 219–220
Calder tapestry exhibition (1971), 175
Oversize Prints (1971), 143
Painting in France, 1939–1946 (1947), 99–100
Wigley, Mark, 203
Wogensky, Robert, 60, 70, 96, 98, 102, 245n56
women: Bauhaus visualizations of weavers, 86–89, 86–89
collaborations between male and female artists, 7, 234
limited participation in the French tapestry industry, 4–5, 237nn8,14
Nabis tapestries and, 5, 237n14
needlepoint and, 5, 219, 237n14
perception of tapestry as domain of, 2
Women Artists (1976), 219
World War II: and the figure, use of in tapestry, 241n65
French Resistance, 75, 91–92, 94–95, 97
and medieval art, interest in, 68, 240n28
Nazi appropriation and looting of tapestries, 90
Nazi commissions and interest in tapestry, 90–91, 91, 92–93, 97, 104, 241n58
Vichy government, 92–93, 97, 241n63
Wright, Alastair, 7
Wright, Frank Lloyd, 228
Wright, Harry, 18, 46
Yoors, Jan, 194, 195
Younger European Painters (1953–54), 100
Zachai, Dorian, 247n8
Zapffe, Carl, 53
Zeisler, Claire, 247n8
Zodiac (architectural journal), 84–85, 85–86
Zorach, Margueritte, 44