Title: 
Tapestries For Wall Art

Word Count:
508

Summary:
Usually large size looms have been used to weave tapestries on. Several types of threads have been used to make laces like gold, silk and silver threads weaving numerous pictures of subjects as well as those of the peasant scenes after Teniers, Biblical history, mythology, etc. Tapestries have been used as wall hangings yet unlike needlework, it was woven on a loom. It was also erected in proportions much larger than would mostly be used in hand-stitched embroidery; tapestry ...


Keywords:
tapestries, wall decor, wall art, wall hanging


Article Body:
Usually large size looms have been used to weave tapestries on. Several types of threads have been used to make laces like gold, silk and silver threads weaving numerous pictures of subjects as well as those of the peasant scenes after Teniers, Biblical history, mythology, etc. Tapestries have been used as wall hangings yet unlike needlework, it was woven on a loom. It was also erected in proportions much larger than would mostly be used in hand-stitched embroidery; tapestry panels ranging from ten or twelve feet in height and twenty feet long are relatively standard. The chief medium was wool, but in special models silk was additionally used. In some of the finest works the use of gold and silver can be seen. The primary heart of tapestry weaving from the year 1500 has been Brussels. But the outputs during the years have greatly varied in quality. Biblical and Roman history, peasant, mythology and scenes subsequent to Teniers were some of the subjects.

A good number of seventeenth-and eighteenth-century works are let down by the truth that within the years a murky brownish image has faded their red dyes. Brussels tapestries normally own a mark with a shield with the letter 'B' on either side. At times weavers add their names or initials, in the work. There were two significant factories in France. Both the Gobelins and Beauvais were based in the second half of the seventeenth century. Although the former was a private worry with State support, the latter was a Royal factory and it was only in the late eighteenth century when one could buy any of its productions. Although both did work of the highest quality, Beauvais was mainly celebrated for a sequence of panels centered on the Fables of La Fontaine, and for several sets of settee covers and chairs. The former was also made at Gobelins, where about 1775 they made beautiful and exemplary sets of furniture covers and matching wall hangings.

Example of these types of decorative harmony is to be seen in a room produced by Robert Adam, remains at Osterley Park, near London. A set of furniture (shorn of its wall-hangings but even now intact Gobelins covers) made for Moor Park in Hertfordshire, is housed in the Museum of Art in Philadelphia. A couple of of these rich ensembles are intact even now, but a collection of tapestries that had been made for a store at Croome Park in Warwickshire has been sold off for a sum of £50,000, and is now seen in the New York, Metropolitan Museum of Art. Once more in France at Aubusson, tapestry panels, chair covers and also tapestry carpets were made.

Most of the output belongs to the nineteenth century, though the pattern of work is similar to an earlier era. Philip and Michael Wauters, supplying to global markets, they wove their tapestry in Antwerp. Works popularized by additional plants were copied here with achievement, these Flemish tapestries were also at times confused with the English productions they copied. Brussels was the center head of tapestry weaving.