The designation Gobelin, covers the French wall carpets of a Paris Manufaktur as art-historical generic term. Frequently the name in the linguistic usage general is used for Tapisserien. Strictly taken the term Gobelin designates the manufactured Tapisserien that Paris Manufacture of the Gobelins.

Term

The term Gobelin is derived from the name of the owners of the buildings of a This was up to the sales to the studio de la Planche Comans in the possession of the family Gobelin. The buildings were to today's 5 in Faubourg Saint Marcel on the today's area. Arrondissement. In this building to the a tributary to its, begin the both Dutchman fray van the Plancken and Marc de Comans the enterprise a Manufaktur for carpet, the Gobelins.

Background

With the beginning of the rule of the house Bourbon by Henri de Navarre a broad economic promotion of the Tapisseriekunst in France began. Heinrich IV. pursues an early form merkantilistischer and protectionist economic policy after its accession 1589. By the revival of the old hand work verwurzelten in France Heinrich IV. tries to meet the imported goods of Netherlands Manufakturen by own French products. These plans were integrated on a long-term basis into an economic system generating program of France, and by Maximilien de duc de Sully, the assigned the administration of finances, baron de Rosny steered.

The establishment of the Royale de Peinture de Sculpture 1648 in Paris after the model of the Accademia di San Luca in Rome an important step on the way of the centralization of the arts was et in France. This early institutionalizing became the model of the establishment of further academies under Jean Baptiste Colbert, Marquis de Seignelay. Between 1663 and 1671 he created the inscriptions et belles lettres 1663, 1666 the of the sciences, 1669 the de musique and 1671 the d'architecture. This made possible a large "Domestizierung" of the art and led style Louis to the development of the "state style", "the XIV". As means the art in the Ancien until far served propaganda in 18. Century the plans of the power extension and the representation of the house Bourbon.

After 1661 by the later Minister of finances, gnral the finances Jean Baptiste Colbert the merkantilistische tradition, also than Colbertismus, was designated expanded still. A large-scale program connected thereby the handicrafts and decorative arts under central, absolutist guidance and control into the Manufacture royale of the tapisseries et the meubles de la Couronne. This combination served the conversion of the propagandistic goal apart from the economic stimulation of France of representing the house Bourbon as prominent power of Europe.

The initiative for the reformation of the Tapisserieherstellung began already around 1601. For this purpose in the Netherlands residents masters of the Tapisserie are recruited and appointed as the establishment of a Manufaktur. The IVTH transfer of technology wished by Heinrich concerned in particular the spreading of the faster Netherlands Basselissetechnik. The older Hautelissetechnik common in France made constant and better control possible of the result of working in contrast to this. It was however la marche at productivity far underlaid for the Dutch technology. At the same time the past remuneration system on time base was abolished. The Netherlands system after the remuneration manufactured Quadratelle was introduced.

Work history

The establishment after 1607

Three Netherlands masters fray van to the Plancken of late de la Planche from Oudenaarde and its brother-in-law Marc de Comans and its brother Hieronymus de Comans from Antwerp received to 1607 a royal patent to the establishment of a new Manufaktur in Paris led. This patent covered numerous privileges such as citizen rights, brewing rights, tax exemption, financial aids, free accommodation, pensions and the warranty of the market adjustment by strict import bans for certain Netherlands wall carpets. Opposite the prices of the goods, the number of Gezeuge, their locations were demanded in France, as well as a continuous development of the Manufakturen. The size of the new studio, with approx. 60 Gezeugen, was far superior to those in Brussels. Beside Paris locations in Amiens were established to 1618 starting from 1604 until 1633, Calais starting from 1614 to 1620 and route starting from 1613 until.

A general demand for Tapisserieerzeugnissen led 17 in the first half. Century in completely Europe to reestablishments of Tapisserie Manufakturen. The Netherlands Manufakturen were example-giving both for France and those in England initiated establishments of the Mortlake Tapestry (1620-1679) by Jakob I. Of the English king the James Ith Sir Francis Crain beautragte with the establishment enlisted logically 1624 also one from that Paris De la Planche Comans studio managing Netherlands studio master Philipp de Maecht for the establishment in Mortlake.

The beginning of production in Paris studios of the Gobelins began after the removal from unsuitable and only temporarily used areas, probably still during first two decades the 17. Century.

The early phase of the Gobelins

The De la Planche Comans studio

From the first two decades of the De la to Planche Comans studio only few recordings exist to kind, organization and range of production information give. The Manufaktur was divided into individual workshops, which dents differently masters from such as Lucas van, Philipp de Maecht (*; 1655 were led) and Hans Tayer. The predominant number of the Tapisserien developed on the tieflitzigen, lying Basselisse chairs. Hautelissearbeiten were agreed upon separately for special orders.

Important series of the early period are the history of the Coriolan and the Artemisiafolge. The Artemisiafolge manufactured in ten series is the most important figure sequence at the beginning of the Manufaktur. It is an early example of the propagandistic use of the Tapisseriekunst for the glorification of the dynasty of the Bourbonen.

After death Hendrik Leramberts 1608 divided Laurent Guyot together with Guillaume the office peintre pour les tapisseries you roi. Guyot had the largest portion of the success of the studio as a cardboard painter. Under it series developed like the kings of France or the hunts king of the Franz' I. also as Rayerpaiss admit. The most extensive series to the minister fido developed in co-operation of Laurent Guyot and Guillaume

Further popular series were the Diana sequence of Toussaint Dubreuil and the Between 1622 and 1623 Peter Paul Rubens manufactured twelve compositions to constant-Inge-laminated for the successor the Heinrichs Ludwig XIII. In the choice of the motives of the Tapisseriefolgen during the first half of the 17. Century outweighed the world-light topics. Only by Simon Vouet new religious consequences beside the Raffaelkompositionen of the Apostelgeschichte are developed.

Beside the production of Tapisserien the owners and successor of the studio used their connections into the Netherlands over by the assured import restrictions a monopoly on the trade with Netherlands Tapisserien to establish at the same time.

After the the death of de la Planche 1627 hand over to Marc over de Comans the the enterprise to the the old son the of the founder Raphael de la Planche and Charles de Comans. By disputes between the sons broke co-operation and the workshops 1634 were divided.

The division of the studio after 1634

The Comans studio

After death Charles de Comans took over the line of the Comans studio starting from 1634 Louis Alexandre Comans. Comans had remained in the areas of the Gobelins.

Also for this time many of the received Tapisserien cannot be attributed clearly to one of the studios. Series such as Rinaldo and arm IDA or the were made by both, of the De la Planche Comans studio come out, workshops.

The studio was closed 1670 with death by Hippolyte de Comans.

The De la Planche studio

Raphael de la Planche transferred the line of the studio in Saint Germain de 1661 to its son Fran§ois de la Planche. The studio covered 13 large, 9 middle and 38 small Gezeuge with 200 workers.

One of the important series of the studio was those of the seasons and elements Les Rinceaux. Fran§ois luckless line led to the drift of the workers into the royal Manufaktur created after 1662.

1667 had to be liquidated the Manufaktur. The remaining substance changed into the possession of the guard Meuble.

Articles in category "Gobelin Manufaktur"

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