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. 35). that were not originally intended to become cartoons were Rubens's next and undoubtedly most famous series is later adapted to meet this purpose. The Triumph of the Eucharist. It is widely considered to Rubens's successful debut in tapestry design was marked epitomize of his revolutionary new style. The inventiveness by his series called The History of the Roman Consul Decius of his compositions is coupled with the technical bravura of Mus, who voluntarily laid down his life for the sake of his the weavers, extending the illusionistic boundaries of Flem­ troops and homeland. The painter interpreted this as an ish tapestry production further than ever before (see Del­ 200 Studies in the Decorative Arts/Fall-Winter 2009-2010 marcel, "Tapestry in the Spanish Netherlands," pp. 203-17, cept of the exhibition, it might be in representing this cat. nos. 19-24). The Eucharist series was commissioned in extremely productive artist by only two works: the early, still 1626 hy Archduchess Isabella Clara Eugenia for the convent largely conventional Maidservant with a Basket of Fruit from of the Descalzas Reales (Barefoot Clares) in Madrid. The an eight­piece series Scenes of Country Life and the splendid ambitious series consisted of twenty tapestries. It was woven and witty composition Creation of the Horse from an eight­ in the workshop of Jan Raes II in Brussels and sent to Spain piece series titled Horsemanship, woven between 1665 and in 1628. The tapestries hung in the convent church in two 1666 by Everaert Leyniers III in Brussels for Emperor rows arranged one above the other, border touching border. Leopold I (see cat. nos. 25, 26). In order to achieve a unified impression, Rubens replaced The well­organized presentation of the last phase of the conventional ornamental borders with an ingenious Flemish Baroque tapestry production in a distinct section of framing device: illusionistic architectural borders, inside of the exhibition may have been an eye­opener for many which the scenes are shown on trompe-l'oeil tapestries un­ visitors (see Koenraad Brosens, "Flemish Production, 1660­ furled and held in place by diligent putti (p. 219, and see figs. 1715," pp. 441­53). The artistry of the lively colorful designs 19­21). A playful intellectual concept and inventive spatial by Phillippe de Hondt and the richness and quality of formula were thus created which were entirely new, at the weaving by the Judocus de Vos workshop in Brussels were time. The painter carefully studied the visual effect of this unexpected. The tapestries created for John Churchill, Duke arrangement in small bozzetti (painted sketches) (see cat. no. of Marlborough, the great military adversary of Louis XIV, 22). included allegorical armorials as well as an eleven­piece Two pieces from the series were exhibited at the Met­ series representing the duke's victories in battle. Among ropolitan Museum, the magnificent Triumph of the Church these, the tapestry illustrating the third Siege of Bouchain over Ignorance and Blindness, the thematic centerpiece of the traveled to New York and together with the dramatic Naval series, and the smaller, secular Hierarchy in Adoration (see Battle from the Art of War series offered ample visual proof cat. nos. 21, 24). There Ecclesia appears enthroned upon het in favor of their outstanding artistic rank (cat. nos. 55­57). triumphal carriage, the embodiment of the Catholic church Among the exile countries, France undoubtedly vested with all the insignia of papal authority, effortlessly adopted a leading role and hence three chapters of the pushing aside its powerless enemies. This was a particularly catalogue are dedicated to the developments there. Isabelle instructive highlight of the exhibition, and, together with Denis discusses the first of the groundbreaking cartoon de­ the accompanying exhibits, it let one follow step by step the signs by Rubens and the heyday of the various early Parisian preceding design process, including the tapestry designs workshops of 1590­1650 shaped by Simon Vouet (pp. 123­ (drawn in mirror image to the desired orientation of the 39), to which the beginnings of the workshop in the Hotel finished tapestry). At the beginning lay a small bozzetto, des Gobelins, later the leading workshop, belonged. The painted the right way around, designed quickly with a thin preeminence of native French manufactories in European application of color, with which the painter established the tapestry production was achieved under the patronage and fundamental figure groupings. A far more careful, detailed, protection of the Sun King, Louis XIV. By his order, Jean­ and colored modello followed, which conclusively resolved Baptiste Colbert, superintendent of the Batiments du Roi, the spatial relationships and already showed the mirror im­ established the famous Manufacture Royale des Gobelins age of the composition, so that a full­scale cartoon could be between 1662 and 1664. There he gathered together an drawn according to it. As tapestries are woven from the exemplary group of artists and craftsmen, not only weavers, back, the finished image appeared once again in its original but also painters and cartoon designers (see Pascal­Francois orientation (see cat. no. 19). The final tapestry designs Bertrand, "Tapestry Production at the Gobelins during the documented to be definitively by Rubens for the History of Reign of Louis XIV, 1661­1715," pp. 341­55). The extraor­ Achilles were not represented in the exhibition. It is reason­ dinary achievements of the Gobelins workshop were in large able to suppose that they were commissioned for the busi­ part due to the vision and artistic skill of the court painter ness of his father­in­law, Daniel Fourment. Charles Le Brun, who was one of the most prolific and In addition to Rubens, Jacob Jordaens, who was an innovative tapestry designers of the time. Three works by industrious and inventive tapestry designer, is known to him are thus duly acknowledged: first, Water from his four­ have drawn no fewer than seven complete series and to have piece series The Four Elements (cat. no. 39), and, second, the collaborated in many more. If one wished to fault the con­ impressive Battle of the Granicus from his five­piece series Book Reviews 201

Story of Alexander the Great (cat. no. 40).9 The chapter's the Gobelins, this workshop was the second­most keenly most detailed and sophisticated discussion is dedicated to Le supported by Louis XIV, and it became known in particular Brun's strikingly ambitious fourteen-piece series The History for its inventive tapestries illustrating exotic themes (cat. of the King, celebrating Louis XIV's talents as statesman, nos. 50­52). warlord, and patron of the arts (cat. nos. 41-47). Two The editorial supervision of this catalogue, with its tapestries, each representing a key moment of Louis's still comprehensive bibliography and authoritative index, is ex­ young political career, The King's Entry into Dunkirk and The cellent. The new photographs of the works by Bruce White Audience with Cardinal Chigi, were displayed together adja­ are of his usual exquisite quality, and the general standard of cent to preparatory studies by Le Brun and to Adam Frans the images is pleasingly high. van der Meulen's preliminary watercolor View of the City of The result is that Thomas Campbell's book is an ex­ Dunkirk. Moreover, Louis XIV was well known for his great cellent example of how public appeal and a high academic interest in the manufacture of tapestries. His regular visits to standard need not be mutually exclusive. the Gobelins workshops are legendary and as such became one of the major topics of the series. Le Brun's preliminary drawing of this event was also shown in the exhibition. Hanns Hubach The discussion of developments in France is completed Assistant Professor, Department of Early Modern Art by Charissa Bremer­David's chapter, "Manufacture Royale Institute of Art History, University of Zurich de Tapisseries de Beauvais, 1664­1715" (pp. 407­19). After (Translated by Nicola lmrie)

NOTES

1. See the review by Pascal­Francois Bertrand of Thomas P. Campbell, marcel, "L'histoite de la tapissetie, 1500­1700. Tiente­cinq ans de recherche," Tapestry in the Renaissance: Art and Magnificence, exh. cat. (New Haven and Perspective: La Revue de I'/NHA 2 (2008): 227­50. London: Yale University Press for The Metropolitan Museum of Art, 2002), in Studies in the Decorative Arts 11, no. 1 (Fall­Winter 2003­2004): 111­13. 7. Jeremy Wood recently argued that Rubens's stylistic development as a draftsman is best understood through his possible study of Raphael's original 2. Fortunately, the exhibition could be seen this time not only in New York cartoons in Brussels before 1600. See Jeremy Wood, "Rubens and Raphael: but also, in a partially altered formar, in Madrid, at the Palacio Real, Match The Designs for the Tapestries in the Sistine Chapel," in Munuscuh amico- 12­June 1, 2008. A Spanish edition of the catalogue was also published: rum: Contributions on Rubens and His Colleagues in Honour of Hans Vlieghe, ed. Thomas P. Campbell, ed., Hi/os de Esplendor. Tapices del Barroco, exh. cat. Katlijne van der Stighelen, 2 vols. (Tumhout, Belgium, 2006), 1: 259­82. (Madrid: Patrimonio Nacional, 2008).

3. This applies not only to the authors of the individual chaptets but also to 8. Rased on meticulous consideration of the various arguments, Koenraad the catalogue entries for the individual exhibits, which were frequently taken Brosens recently argued in favor of Coomans and van der Plancken, who on by the tesponsible curators at the lending institutions, who wete of course­ might have commissioned the series as an important part of their attempt to experts on the pieces. prosper in a highly complex and competitive market. See Koenraad Brosens, 4. See Lucia Meoni, ed., La nascita dell'arazzeria medicea. Dalle botteghe dei "Who Commissioned Rubens's Constantine Series.' A New Perspective: The maestri fiamminghi alia manifattura ducale dei "creati fitmutW," exh. cat. (Flo­ Enttepteneurial Sttategy of Marc Comans and Francois de la Planche," rence: Palazzo Pitti, 2008). Simiolus 33, no. 3 (2007­2008): 166­82.

5. See Rottaud Bauer, "Flamische Weber im deutschsprachigen Raum," in 9. This series has, in the meantime, had an exhibition dedicated to it recently Flemish Tapestry Weavers Abroad: Emigration and the Founding of Manufactories in Paris: "Alexandre et Louis XIV: Tissage de gloire." See Jean Vittet, in Europe, ed. Guy Delmarcel (Proceedings of the International Conference, Philippe Beaussant, Pascal­Francois Bertrand, Jean­Jacques Gautier, and Ar­ Mechelen, October 2­3, 2000), S>mholat\ Facuitatis Litterarum Lomniensis, nauld Brejon de Lavergnee, La tenture de I'Histoire a"Alexandre le Grand, exh. Series B, vol. 27 (Leuven, Belgium: Leuven University Press, 2002), 63­89. cat. (Paris : Galerie des Gobelins, 2008); Jean Vittet, "Un chef­d'eeuvre des 6. On the developments and current standing of international tapestry re­ Gobelins: La tenture de I'Histoire d'Alexandre par Charles Le Brun," search in general, see the report by Pascal­Francois Bertrand and Guy Del­ L'EstampiOe: L'Objet d'Art 440 (November 2008): 70­71.