{"id":17743,"date":"2025-11-21T16:45:59","date_gmt":"2025-11-21T16:45:59","guid":{"rendered":"https:\/\/galerie-institut.com\/jean-lurcat-1892-1966-biography\/"},"modified":"2025-11-21T16:46:08","modified_gmt":"2025-11-21T16:46:08","slug":"jean-lurcat-1892-1966-biographie","status":"publish","type":"post","link":"https:\/\/galerie-institut.com\/en\/jean-lurcat-1892-1966-biographie\/","title":{"rendered":"Jean Lur\u00e7at (1892 – 1966) – Biography"},"content":{"rendered":"

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JEAN LUR\u00c7AT<\/a><\/h1>\n

(1892-1966)<\/strong><\/p>\n

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A native of the Vosges region, Jean Lur\u00e7at studied under Victor Prouv\u00e9 at the \u00c9cole Nancy, founded in 1901 by \u00c9mile Gall\u00e9, who advocated the meeting of art and industry, art and decoration. He moved to Paris in 1912, at the height of the Cubist movement. After a brief spell at the \u00c9cole des Beaux-Arts, he entered the Acad\u00e9mie Colarossi. Trained as a painter, but strongly influenced by decorative practices, Lur\u00e7at soon tried his hand at tapestry. In 1917, his mother commissioned his first canvas-stitch tapestries , Filles vertes<\/em> and Soir\u00e9e dans Grenade<\/em>. After the war, he traveled to Switzerland, Germany and Italy. He exhibits in Zurich, Geneva, Berne and Paris at the Salon des Ind\u00e9pendants (2 tapestries and 4 canvases). Lur\u00e7at settles in Paris with his future wife Marthe Hennebert. She creates his two tapestries, P\u00eacheur<\/em> and Piscine<\/em>, in petit point. <\/p>\n

In the 1920s, his painting was marked by Cubism and Surrealism. His work took on dreamlike overtones, especially his landscape paintings, imbued with melancholy and solitude, such as Surrealist Landscape<\/em> of 1928 (private collection), reminiscent of Arnold B\u00f6cklin. Early in the decade, he met Pierre Chareau, designer of the famous glass house for his friends Jean and Annie Dalsace, with whom he collaborated on furniture ensembles, carpets and wallpapers. He created his first tapestry for Marie Cuttoli, Le Cirque<\/em>, in 1922. Through her commissions for avant-garde artists, Marie Cuttoli was, in the private sphere, the great initiator of the tapestry revival in France. Georges Braque, Henri Matisse and Pablo Picasso took up the challenge at a time when the boundaries between the arts were becoming increasingly blurred. Throughout the twentieth<\/g> century, artists diversified their activities, composing cartoons for tapestries and carpets, illustrating books, designing book and magazine covers, sets and costumes for the stage (dance, theater), fabrics, ceramics, jewelry, stained glass and more. In other words, the decorative was omnipresent in the painters’ practice. <\/p>\n

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[\/et_pb_text][et_pb_image src=”https:\/\/galerie-institut.com\/wp-content\/uploads\/2021\/10\/lurcat-jean-1939-paysage-surrealiste.jpg” alt=”A dreamlike, colorful composition on the border between abstract and figurative. Various elements seem to fly across the sheet, with several patches of color filling the space. ” title_text=”lurcat-jean-1939-landscape-surrealiste” url=”https:\/\/galerie-institut.com\/en\/produit\/lurcat-jean-surrealist-landscape-1939\/” align=”center” _builder_version=”4.20.4″ _module_preset=”default” width=”62%” min_height=”437.7px” custom_margin=”-66px||-37px|||” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” text_font_size=”12px” min_height=”33.8px” custom_margin=”||-38px|||” custom_padding=”0px||1px|||” link_option_url=”https:\/\/galerie-institut.com\/produit\/lurcat-jean-verseau-1959\/” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n

Surrealist Landscape, 1939, Oil on canvas, 129 x 195 cm \u00a9ADAGP, Paris, 2024.<\/em><\/p>\n

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Lur\u00e7at continues to travel. He visited Spain, North Africa, Greece and Asia Minor (now Turkey). In 1924, he marries Marthe Hennebert, who creates his canvases. He signs a non-exclusive contract with Etienne Bignou. Jeanne Bucher presented his work on several occasions in her gallery on rue du Cherche-Midi. He takes part in the set design (carpets and paintings) for Marcel L’Herbier’s film Le Vertige<\/g>, released in 1926. The following year, he designed four tapestries in petit point (28m2<\/g>) for the salon of the David David-Weill family villa. He also created L’Orage<\/em>for Georges Salles, then curator of national museums (Centre Georges Pompidou, Mus\u00e9e National d’Art Moderne \/ CCI, Paris). <\/p>\n

He stayed and worked in New York several times, in 1928, 1933 and 1934. In 1933, he designed the set and costumes for Jardin public<\/em>, a ballet by Georges Balanchine with music by Vladimir Dukelsky, an opportunity for Lur\u00e7at to diversify his involvement in decoration. He collaborated with the choreographer again the following year for the ballet S\u00e9r\u00e9nade<\/g>, with music by Piotr Ilytch Tchaikovsky. In 1933, for the first time, a tapestry by Lur\u00e7at is woven in Aubusson at Madame Delarbre’s, based on a painted cartoon commissioned by Marie Cuttoli, Le Vent<\/g> ou L’Orage<\/g>. Lur\u00e7at travels to Russia in 1934. He takes part in the activities of the Association of Revolutionary Writers and Artists. He became involved with Louis Aragon in the Querelle du r\u00e9alisme<\/em>, painting along the aesthetic and political lines of the French Communist Party. <\/p>\n

[\/et_pb_text][et_pb_image src=”https:\/\/galerie-institut.com\/wp-content\/uploads\/2021\/10\/lurcat-jean-1959-verseau-1.jpg” alt=”Lovers in Green, Chagall, 1916-1917″ title_text=”lurcat-jean-1959-verseau-1″ url=”https:\/\/galerie-institut.com\/produit\/rouault-georges-nomades-au-cheval-etique-1910\/” align=”center” _builder_version=”4.20.4″ _module_preset=”default” width=”66%” custom_margin=”||7px|||” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” text_font_size=”12px” width=”100%” custom_margin=”|5px|40px|||” custom_padding=”|14px|0px|||” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n

Verseau, 1959, Tapestry, 63 x 51 cm \u00a9ADAGP, Paris, 2024.<\/em><\/p>\n

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In 1936, he had his first tapestry, Les Illusions d’Icare<\/em>, woven at the Manufacture nationale des Gobelins. The tapestry was presented by the French State to the Queen of Holland. On this occasion, Lur\u00e7at made the acquaintance of lissier Fran\u00e7ois Tabard. Coming from a long line of tapestry-makers, Fran\u00e7ois Tabard and his three siblings ran the family workshop in Aubusson. He was also active on a more global level, as president of the fledgling Chambre syndicale des fabricants de tapisserie and of the Gu\u00e9ret Chamber of Commerce. At the time of his meeting with Lur\u00e7at, Aubusson, with its centuries-old tapestry-making tradition established as a Manufacture Royale by Colbert in the 17th<\/sup> century, was aware of the need to renew its production through the search for new models. <\/p>\n

Lur\u00e7at travels to Spain, a country in the grip of nationalism. His painting is tinged with dramatic accents in which historical events resonate. The Spanish War, the Guernica massacre relayed by Pablo Picasso’s painting, the rise of nationalism throughout Europe, the threat of disaster – all these haunt Lur\u00e7at’s paintings. He painted desolate, tragic, burning landscapes. These were his last oil paintings, from then on preferring gouache. In 1937, he took part in the decorations for the Exposition internationale des arts et des techniques appliqu\u00e9s \u00e0 la vie moderne. <\/p>\n

The following year, Lur\u00e7at discovered the 14th-century<\/sup>Apocalypse<\/em> tapestry in Angers (Domaine national du ch\u00e2teau d’Angers). Tapestry became an increasingly important part of his practice. He appropriated the technique of tapisserie de lisse and sought to revive the simplicity of medieval tapestries. He developed the numbered cardboard (colors are no longer painted, but numbered) and opted for a reduced palette. The Moisson<\/em> tapestry, woven by the Tabard workshop, inaugurates this new method. <\/span>In 1939, along with Marcel Gromaire and Pierre Dubreuil of the French Ministry of Education, he was commissioned by Guillaume Janneau, director of the Manufactures nationales de Beauvais et des Gobelins, to halt the decline in the art of tapestry. They moved to Aubusson in the summer of 1939. Lur\u00e7at composes the great Four Seasons<\/em> wall hanging, a traditional tapestry theme. Lur\u00e7at creates a poetic world inspired by medieval imagery, Picasso and surrealism. Iconographically, he develops a universe very close to nature and the elements. The sun, foliage, birds and a whole bestiary are omnipresent. The rooster occupies a privileged place among the motifs that inhabit his work. <\/p>\n

[\/et_pb_text][et_pb_image src=”https:\/\/galerie-institut.com\/wp-content\/uploads\/2024\/07\/capture-d-ecran-2024-07-20-a-13-51-25.webp” alt=”Screenshot 2024-07-20 at 13.51.25″ title_text=”Screenshot 2024-07-20 at 13.51.25″ url=”https:\/\/musees.angers.fr\/lieux\/musee-jean-lurcat-et-de-la-tapisserie-contemporaine\/index.html” align=”center” _builder_version=”4.20.4″ _module_preset=”default” width=”66%” custom_padding=”||0px|||” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” text_font_size=”12px” min_height=”20.6px” custom_margin=”-14px||40px|||” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n

<\/em>Le Chant du Monde by Jean Lur\u00e7at in the former ward of the H\u00f4pital Saint-Jean<\/p>\n

Mus\u00e9es d’Angers, F. Baglin; Fondation Lur\u00e7at \/ Adagp, Paris 2021<\/p>\n

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At the height of the war, in August 1941, he moved to the Lot region. He took part in the communist resistance movement with Jean Cassou, Ren\u00e9 Huyghe and Tristan Tzara. In 1942, the tapestries Libert\u00e9<\/em>, based on a poem by Paul \u00c9luard, and Es La Verdad<\/em>, based on a poem by Guillaume Apollinaire, were woven in Aubusson. He joins the Communist Party. At the Liberation, he and other artists founded the Association des Peintres-Cartonniers de Tapisserie (APCT), of which he was appointed president. In the summer of 1946, a major exhibition entitled La Tapisserie fran\u00e7aise du Moyen Age \u00e0 nos jours (French tapestry from the Middle Ages to the present day<\/em>) was held at the Mus\u00e9e National d’Art Moderne in Paris. An entire room was devoted to Jean Lur\u00e7at’s tapestries. As Jean Cassou points out in the catalog, “we can and must speak of a renaissance of French tapestry. This event revives the whole history of a national art, with its contrasts, its opposing intentions and meanings, its counterpoints, all its moving richness.” The exhibition was then presented in Amsterdam, followed by Brussels and London in 1947. In the summer of 1949, Jean Cassou organized another exhibition on tapestry at the Mus\u00e9e National d’Art Moderne, highlighting the dynamism of national manufacturers in the post-war revival of tapestry. Four years of French tapestry. Manufactures nationales and Mobilier national <\/em>.<\/p>\n

Like many other modern artists commissioned by P\u00e8re Couturier in the context of the revival of religious art, Lur\u00e7at takes part in the decoration of the Notre-Dame-de-Toute-Gr\u00e2ce church on the Plateau d’Assy. He composed the tapestry l’Apocalypse<\/em> for the church choir. Lur\u00e7at also produced illustrated books. In 1949-1950, he illustrated Andr\u00e9 Richaud’s La Cr\u00e9ation du monde<\/em> and Jean-Henri Fabre’s Le Monde merveilleux des insectes<\/em> with color lithographs, as well as an anthology of twenty Fables<\/em> by Jean de La Fontaine. Chagall’s illustration of the Fables<\/em> appeared shortly afterwards, in 1952, published by T\u00e9riade. The post-war period was extremely prosperous for illustrated books. <\/p>\n

In the 1950s, Lur\u00e7at gave numerous lectures around the world, in Europe, the United States, South America and China. While Picasso had been living in Vallauris since 1948 and continued his passion for the arts of fire, Jean Lur\u00e7at produced his first ceramics at the Sant-Vicens pottery, founded by Firmin Baudy, in Perpignan in 1951. Other artists who contributed to the revival of French tapestry alongside Lur\u00e7at, such as Jean Picart Le Doux and Marc Saint-Sa\u00ebns, also frequented the Sant-Vicens workshop. In 1954, he created a major tapestry, Hommage aux morts de la R\u00e9sistance et de la D\u00e9portation<\/g> (4 x 12 m), for the Mus\u00e9e d’Art Moderne de la Ville de Paris. In 1957, Jean Lur\u00e7at begins weaving the gigantic tenture Le Chant du monde<\/em>, his testament work. <\/span>(municipality of Angers), comprising ten panels, most of which were executed by the Tabard brothers and sisters workshop. Eighty meters in length, this vast ensemble illustrates man’s anxieties and hopes in contemporary times. The first four refer to war and man’s threat in the atomic age. The Great Menace<\/g>, Hiroshima Man<\/g>, The Great Charnier<\/g>, The End of Everything<\/g>. The next six are more hopeful: L’Homme en gloire dans la paix<\/g>, L’Eau et le Feu<\/g>, Champagne<\/g>, La Conqu\u00eate de l’espace<\/g>, Po\u00e9sie<\/g>, Ornamentos Sagrados<\/g>. In 1959, Lur\u00e7at collaborated with studio head Gumersind Gomila on another major project, a huge ceramic piece for the fa\u00e7ade of the Maison de la radiot\u00e9l\u00e9vision in Strasbourg, based on his beloved theme of the Four Elements<\/em>. Lur\u00e7at continued to diversify towards the end of his life. In 1960, he designed a series of jewels for Patek Philippe, created by Gilbert Albert. <\/p>\n

A major retrospective celebrates Lur\u00e7at’s work in 1958 at the Mus\u00e9e National d’Art Moderne. In 1961, on the initiative of Lur\u00e7at and Pierre Pauli, the Centre International de la Tapisserie Ancienne et Moderne (CITAM) was created in Lausanne. Lur\u00e7at was elected president. <\/p>\n

He died on January 6, 1966 in Saint-Paul-de-Vence.<\/p>\n

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JEAN LUR\u00c7AT (1892-1966)   A native of the Vosges region, Jean Lur\u00e7at studied under Victor Prouv\u00e9 at the \u00c9cole Nancy, founded in 1901 by \u00c9mile Gall\u00e9, who advocated the meeting of art and industry, art and decoration. He moved to Paris in 1912, at the height of the Cubist movement. After a brief spell at […]<\/p>\n","protected":false},"author":20,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","footnotes":""},"categories":[55],"tags":[],"dipi_cpt_category":[],"class_list":["post-17743","post","type-post","status-publish","format-standard","hentry","category-uncategorized"],"yoast_head":"\nJean Lur\u00e7at (1892 - 1966) - Biography - Galerie Institut<\/title>\n<meta name=\"description\" content=\"His early years as an artist were marked by cubism and surrealism. 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