DOI Artikel:
Schmitz, Hermann: Die Bildteppichmanufaktur von Beauvais
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.52117#0160
Die verhältnismäßig häufigeren „Beauvais-Garnituren“ können den Sammlern
bei der fast unmöglichen Erlangung großer Wandteppiche wenigstens einen
Abglanz von der köstlichen Kunst der Manufaktur von Beauvais bieten.
The foundation of the factory of Beauvais in Picardie is due to those
endeavors of Louis XIV. and Colbert, which, in the sixties of the 17th Century,
formed the basis for the supremacy of French art. As soon as Philippe
Behagle from Audenaarde (1684—1711) took Charge of the factory, Beauvais
began to prosper. Six „Rustic Festivities“, wovon after paintings of David
Teniers the younger — Peltzer Collection in Narva — (Fig. 1, PI. XLV)
belong to the products of this first period. The colour scheme is startlingly
gay, almost crude; especially a brillant, deep red. This colouring, as well
as the technical trcatment, reappears in a tapestry with Chinese designs,
in the Berlin Schloßmuseum, which has but recently been brought to light.
We have a proof that this latter tapestry is a work of Beauvais, of the first
quarter of the 18th Century, in its close relation to one of the most populär
of the Beauvais series, the cclebrated „Tenture Chinoise“, a most fantastic
rendering of the court of the Great Mogul from designs of Vernansal, Blin
de Fontenay, and du Mons — origin about 1730. (Fig. 3, PL XLVII; Fig. 4,
PI. XLVIII.) By its remarkably bizarre architecture, this series, together with
another celebrated group of Beauvais tapestries of the first decades of the
IS01 Century, the Grotesques after Berain (Fig. 5, PL XLVII) — of which several
repetitions are existing — did much towards the propagation of the riches
of later French Baroque ornamentation in Germany. Beauvais acquired
world-wide fame with the appointment of Oudry and Besnier as directors.
The climax of this period is marked by the series after Boucher, which, in
contrast to the gaudy, varicolored works of the 18th Century, excel in diffuse,
delicately blended tones. (Fig. 6, PL XLIX, „La Pipde aux Oiseaux“ out of
the celebrated „Tenture de la Noble Pastorale“.) Düring the period of
Louis XVI. a more pseudo-classical taste gradually gains ground. (Fig. 7,
PL L, „Achilles recognized by Ulysses“ after Destoria — about 1780—1793.)
104
bei der fast unmöglichen Erlangung großer Wandteppiche wenigstens einen
Abglanz von der köstlichen Kunst der Manufaktur von Beauvais bieten.
The foundation of the factory of Beauvais in Picardie is due to those
endeavors of Louis XIV. and Colbert, which, in the sixties of the 17th Century,
formed the basis for the supremacy of French art. As soon as Philippe
Behagle from Audenaarde (1684—1711) took Charge of the factory, Beauvais
began to prosper. Six „Rustic Festivities“, wovon after paintings of David
Teniers the younger — Peltzer Collection in Narva — (Fig. 1, PI. XLV)
belong to the products of this first period. The colour scheme is startlingly
gay, almost crude; especially a brillant, deep red. This colouring, as well
as the technical trcatment, reappears in a tapestry with Chinese designs,
in the Berlin Schloßmuseum, which has but recently been brought to light.
We have a proof that this latter tapestry is a work of Beauvais, of the first
quarter of the 18th Century, in its close relation to one of the most populär
of the Beauvais series, the cclebrated „Tenture Chinoise“, a most fantastic
rendering of the court of the Great Mogul from designs of Vernansal, Blin
de Fontenay, and du Mons — origin about 1730. (Fig. 3, PL XLVII; Fig. 4,
PI. XLVIII.) By its remarkably bizarre architecture, this series, together with
another celebrated group of Beauvais tapestries of the first decades of the
IS01 Century, the Grotesques after Berain (Fig. 5, PL XLVII) — of which several
repetitions are existing — did much towards the propagation of the riches
of later French Baroque ornamentation in Germany. Beauvais acquired
world-wide fame with the appointment of Oudry and Besnier as directors.
The climax of this period is marked by the series after Boucher, which, in
contrast to the gaudy, varicolored works of the 18th Century, excel in diffuse,
delicately blended tones. (Fig. 6, PL XLIX, „La Pipde aux Oiseaux“ out of
the celebrated „Tenture de la Noble Pastorale“.) Düring the period of
Louis XVI. a more pseudo-classical taste gradually gains ground. (Fig. 7,
PL L, „Achilles recognized by Ulysses“ after Destoria — about 1780—1793.)
104