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Book Reviews Originalveröffentlichung in: Decorative arts 17 (2009/2010), Nr. 1, S. 198-201 Book Reviews Thomas P. Campbell, ed., Tapestry in the Campbell's essays form the didactic framework of this Baroque: Threads of Splendor, exh. cat. New Haven catalogue. In addition to the introduction, "The Golden and London: Yale University Press for The Metropolitan Age of Netherlandish Tapestry Weaving" (pp. 3­15), and Museum of Art, 2007. 563 pp., 175 color pis., 169 b/w the first chapter, "The Disruption and Diaspora of the Neth­ ills., bibliog., index. $75. erlandish Tapestry Industry, 1570­1600" (pp. 17­27), he is the author of all the contributions about the social and historical aspects of the production of and trade in Baroque Following the great success of his Tapestry in the Re­ tapestries, their use, and reception. His detailed, self­con­ 1 naissance: Art and Magnificence (2002), Thomas Campbell tained essays are "The Development of New Centers of has once again succeeded in satisfying the high level of Production and the Recovery of the Netherlandish Tapestry aspiration and great expectations of the professional world. Industry, 1600­1620" (pp. 61­75); "Stately Splendor, Wo­ That most recent success was his exhibition Tapestry in the ven Frescoes, Luxury Furnishings: Tapestry in Context, 2 Baroque: Threads of Splendor, shown at The Metropolitan 1600­1660" (pp. 107­21); "Collectors and Connoisseurs: Museum of Art, New York, from October 17, 2007, to The Status and Perception of Tapestry, 1600­1660" (pp. January 6, 2008. Campbell's catalogue is dedicated to the 325­39); and "Continuity and Change in Tapestry Use and gradual emergence of tapestry manufacturing from the late Design, 1680­1720" (pp. 491­507). Taken together, these sixteenth century onward. Chronologically, thematically, information­rich essays serve not only the reader but also and didactically, it follows seamlessly from its predecessors. other authors as reliable documents for the characterization The Baroque era, seen as dating between 1575 and 1725, is and comprehension of widely varied developments. ptesented; the late Baroque and Rococo periods are disre­ On this occasion, as with Tapestry in the Renaissance, garded. Campbell was able to enlist the most renowned interna­ Campbell explains the historical reasons for the choice tional experts. Thus from the beginning it was guaranteed of this particular time frame. One reason was the decline that the catalogue texts represented the current state of around 1570 of the once­dominant Flemish centers of tap­ research,' and even partly defined research in a new way. estry making, above all Brussels and Antwerp. This decline Thus, Wendy Hefford's essay, "The Mortlake Manufactory, was a result of the religious strife and civil wars that raged in 1619­49" (pp. 171­83), was based on many years of research the Low Countries during the last third of the sixteenth for a forthcoming book on English tapestry of the seven­ century. During the second decade of the eighteenth century teenth and eighteenth centuries, to be published by the the definitive replacement of tapestries with paintings as the Victoria and Albert Museum, London; and Lucia Meoni's representative visual medium took place—a loss in prestige essay, "Tapestry Production in Florence: The Medici Tap­ that continues today. Clearly, this fundamental change in estry Works, 1587­1747" (pp. 263­75), profited from prepa­ the perception and appraisal of tapestries led to the practice ratory work for the exhibition "La nascita dell'arazzeria of surrounding them with illusionistic borders that imitated medicea. Dalle botteghe dei maestri fiamminghi alia mani­ carved and gilt picture frames, thus endowing tapestries with fattura ducale dei 'creati fiorentini,'" which was held during the conventional presentation form of paintings (see cat. the summer of 2008 in Florence.4 nos. 55, 58). The increasing loss of quality in tapestries, The sole region in Europe where an appreciable num­ which were produced in ever­greater numbers, led to their ber of tapestries were produced and ttaded during this time falling completely out of fashion by the end of the eigh­ period was the Spanish Netherlands (Flanders). Descriptions teenth century as the medium of courtly representation. of the developments there, with many fateful highs and Moreover, the reputation of high­value older tapestry series lows, are extended over several chapters and run as a thread faded; owners hardly attended to the inventories that had through the entire catalogue. Not until the general decline been handed down to them. Furthermore, as a result of and loss of the monopoly once held by the traditional constant, excessive use and neglect, many tapestries were Flemish centers did the prerequisites for the emergence of largely worn out. effective tapestry manufacturing in other locations in Eu­ 198 Studies in the Decorative Arts/Fall-Winter 2009-2010 Book Reviews 199 rope fall into place (Campbell describes this in "Disruption exemplary act of patriotism, but it was not a common subject and Diaspora," pp. 17-27). The engines of these develop­ in art (cat. nos. 10, 11). The preparatory work lasted almost ments were almost always highly qualified master­weavers two years (1616­1617), after which he finally delivered eight from Flanders, who generally went into exile on religious monumental cartoons, all painted exquisitely in oil on fine grounds, to locations where their skills were then employed canvas, to the workshop of the master­weaver Jan Raes II. for the prestige of a new lord of the land. In this process the The cartoons were later to become treasures of the Princely founding of tapestry manufacturing often led to the consol­ Collection of Liechtenstein. The Decius Mus series was the idation of the economy in the master­weavers' new home­ first to bring the verve and grandeur of Rubens's Baroque towns. High­value products originating in France were to style to tapestry design. Along with the unparalleled display dominate the international market; the name "Gobelins" of color, Rubens introduced a completely new style, which became the synonym for "tapestries par excellence." The was soon to become exemplary for other artists and weavers. special paths of developments in Italy, the northern Neth­ As a result, from this time onward, the dyers had to adapt erlands, and England, too, are acknowledged in individual their palette to that of the painter, despite the fact that the chapters. In contrast, the comments on exiled workshops in color­fastness of the dyes they had to choose suffered over Germany are quite short and focus on Hans van der Biest, the course of time. The concept in oil took precedence over who worked at the court of Duke Maximilian I of Bavaria the final textile version. from 1604 to 1618 and collaborated closely with the court Just five years after the Decius Mus series, Rubens's painter Peter Candid (see Campbell, "New Centers," pp. innovations for the twelve­part series The Life of Constantino 61­75, cat. no. 8). The blame for this should not be assigned the Great directly influenced the production of two foreign to the authors, however; rather, it is unfortunately a symp­ manufacturers. During a stay in Paris in 1622, he created tom of the current status of research on tapestry production largely seminal designs, which were characterized by a clas­ in the German­speaking countries,5 which has not kept pace sical style of almost archaeological precision. The question with general developments for some time.6 of whether the Constantine series was a direct commission The period of gradual recovery and the second period of from the French king Louis XIII or whether two entrepre­ prosperity for the Flemish tapestry­making industry are in­ neur weavers, Marc Coomans (Marc de Comans) and Frans extricably linked to Peter Paul Rubens, the outstanding van der Plancken (Francois de la Planche), acted as inter­ artist of the time (see Campbell, "New Centers," pp. 61­75, mediaries has not yet been conclusively resolved (see Isa­ and cat. nos. 10­11; and Guy Delmarcel, "Tapestry in the belle Denis, "The Parisian Workshops, 1590­1650," pp. 123­ Spanish Netherlands, 1625­1660," pp. 203­17, and cat. nos. 47; cat. no. 14).8 Whatever the answer may be, the seria 19­24). Rubens first became familiar with the art of tapestry princeps of the Constantine cartoons was woven into tapes­ within his own family circle. His mother, Maria Pypelinckx, tries by Coomans and van der Plancken in their Faubourg descended from a family of tapestry dealers, and his second Saint­Marcel workshop, probably on order of the king, who wife, Helena, was the youngest daughter of Daniel Fourment in 1625 gave the series as a present to the Papal Nuncio, of Antwerp, a prosperous dealer in tapestry and silk. Otto Cardinal Francesco Barberini, a nephew of Urban VIII. The Venius, one of Rubens's teachers, was a trained cartoon cardinal was so pleased with this gift of regal splendor that painter. Moreover, in his youth Rubens had already inten­ he had additions made from designs by Pietro da Cortona. sively studied the cartoons of the most famous Acts of the These were woven in his own private manufactory, the Apostles tapestries. These were originally designed by Ra­ Arazzeria Barberini in Rome, where some of the most am­ phael in 1515­1516 for Pope Leo X to hang in the Sistine bitious series in Italian Baroque style emerged until Chapel in the Vatican.7 Rubens designed at least four large Francesco's death in 1679 (see James G. Harper, "Tapestry sets of tapestries, each one of which can be regarded as a Production in Seventeenth­Century Rome: The Barberini chief work of Baroque tapestry art. Furthermore, paintings Manufactory," pp. 293­303, cat. no.
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