Academic literature on the topic 'French tapestry'

Abstract This article discusses the literary and visual symbolism in Armand Point’s The Princess and the Unicorn. Point composed several versions of this mysterious legend in pastel, enamel, and bas-relief. Under the artistic influences of the medieval tapestry of the Lady and the Unicorn, the French painter Gustave Moreau, and the Italian Renaissance painter Alessandro Botticelli, Point unveils a spiritual creation that in its form, content, and medium seeks to evoke the ‘soul’ in a work of art.

To Mr Thomas Neale and his wife, my loving son and daughter, for a poor token of remembrance, a pair of great French candlesticks and one great brass pot… a fair table of walnut tree standing in the great parlour… two pieces of Arras wrought in pictures with silk and gold, six tapestry cushions and the bedstead of walnut tree wherein I used to lie at Warnford … To Joan Knight, daughter of my son Mr John Knight, my diamond ring of gold and a pair of bracelets of gold which were given unto me by my … husband.

The Canadian Language Museum creates exhibits to introduce the public to Canada’s rich linguistic heritage: over 60 Indigenous languages, the official languages of French and English, and hundreds of languages brought by immigrants from around the world. To create these exhibits, the curators grapple with the challenge of making exhibits about languages interesting and accessible, both to those who speak the language described and to those who have no familiarity with it. This article focuses on three traveling exhibits: Cree: The People’s Language; Speaking the Inuit Way, and A Tapestry of Voices: Celebrating Canada’s Languages. It outlines topics broached and techniques used to simplify complex linguistic issues and to involve audiences of various ages and backgrounds.

Abstract The prominence of chiaroscuro in late eighteenth-century French oil painting posed significant challenges for tapestry weavers, which led artisans and chemists to seek chemical solutions for replicating in textiles the style’s high contrast between light and dark. Textile manufacturers struggled to reproduce the intense gradations of painters like Jacques-Louis David, and innovations in dye technology were driven by the need to match the naturalism and Enlightenment symbolism of contemporary paintings. Napoleon’s investment in dye chemistry and the establishment of a dyeing school aimed to standardize colorants and rebrand traditional arts with political imagery. The integration of scientific expertise in the decorative arts led to advancements that laid the groundwork for future developments in synthetic colorants.

The author published different short studies and stories about József Rippl-Rónai’s biography and his works. An obscure document was also published about the origin of his house which known in Kaposvár as Róma villa. It is the first time to compile Lazarine’s biography, French-born wife of the painter in which her tapestry of artistic activities was reviewed. Due to the modern style innovations, „Fifty draw-ings” titled and published by Rippl-Rónai in 1913 was also reported. In these studies, the English Fenella Lowell ap-peared as a model, who inspired nude women oil-paintings of Rippl-Rónai. An unknown letter from Rippl-Rónai’s daughter, the German-born Amélie Feigl was documented. An Rippl-Rónai’s counterfeiting pastel was storied which was hap-pened at the end of the artist’s life (1927) during his illness.

Novelist Fatou Diome, Senegalese migrant to France, in 2019 reached the twenty-fifth year in her adopted country. Silver-anniversary motives encouraged the author to chart the quarter century of progress of this “megaphone of migritude,” as Lila Azam Zanganeh notably called her. Moving from the rich exegeses of the liminal, haunted, frequently abjected, migritude conditions of her fictional—and often autobiographical—heroines, Diome has now arrived inside the Hexagon, where her words harmonize with a sizable chorus of interior-left establishment voices. However, she has not abandoned her powerful interest in the complexities of migritude’s pains and difficult opportunities. On the contrary, in Marianne porte plainte! Identité nationale: Des passerelles, pas des barrières! (Marianne Complains! National Identity: Gangways, Not Barriers!) (2017), Diome takes up the many threads of the migritude tapestry so fully depicted in her novels and reweaves them into a portrait of an ideal new multicultural French identity.

For Paris, the 19th century is unique and precious. The changing regimes, the establishment of capitalism, and the progression of industrialization reshaped the city's landscape and society. As these changes led people into modern society, new challenges appeared accordingly, and the most significant one was the decline in birth rates. New lifestyles and issues altered people's thinking and focal points. Consequently, transformations in artistic expression emerged. In the vibrant tapestry of 19th-century French art, the new mother-child paintings, born to solve population problems of the industrialization process, witnessed the career paths of female artists and their feminine movements. Female artists like Berthe Morisot used this theme to gain professional recognition in the patriarchal society and to reflect and redefine their complex social roles as women in the transforming society, subtly challenging the conventional gender norms. This paper delves into how societal transformations influenced Berthe Morisot and the theme of her paintings, examining her works as a lens to explore her accomplishments.

Abstract: Wool from the Massina sheep was used to create a dozen or so kinds of textiles patterned by extra (supplementary) weft and tapestry weave in the Niger Bend region. This constellation makes the region the foremost center of technical and visual diversity in West African treadle-loom weaving traditions. Two major categories of wool textiles can be identified: kaasa and arkilla , both heavy covers of different sizes. Whereas the visual appearance of kaasas changed greatly over the twentieth century, that of the ceremonial marriage covers, arkilla, stayed the same. A third category, with wool ornamentation on a cotton ground, was woven in the northeastern part of Burkina Faso. The history of these woolen textiles is intimately linked to the social system of the Fulani people who own the sheep. Highly specialized male weavers called maabuuɓe, who form a kind of “caste,” made the kaasas and arkillas. The wool-cotton covers were made by weavers of enslaved status. The abolishment of slavery by the French in their West African territories in 1905 had profound consequences. A generation or more later, weaving traditions started to change in the Niger Bend: formerly enslaved weavers versed in traditional techniques started their own weaving businesses supported by women who bought industrial threads. New cover types came into being, with new combinations of colors and patterns, which were woven in the same techniques as with handspun wool. This is how extra-weft patterns and tapestry weave were slowly introduced to the huge region to the east, stretching from the eastern part of the Niger Bend to Lake Chad, and also how the rich Zarma weaving of the Republic of Niger came into being and Hausa weavers in Nigeria “discovered” tapestry weaving. Another, albeit much older, line of influence goes straight into Ewe weaving of Togo and Ghana. For several hundred years, these so-called wool covers were traded to the Akan kingdoms of southern Ghana and Côte d’Ivoire, 1000 kilometers to the south, where they were called nsaa : there, they were reused and attained great ritual significance. This article seeks to correlate loom and weaving technologies with terminology to better reveal this diffusion of pattern weaving throughout important parts of West Africa. As most weaving was originally done with cotton—but mostly without extra weft—the tradition of wool weaving might shed new light on ornamentation in other West African weaving traditions.

Sous la Troisième République, les quatre administrateurs successifs de la manufacture nationale des Gobelins, Alfred Darcel, Edouard Gerspach, Jules Guiffrey et Gustave Geffroy, cherchent à imprimer, chacun à leur manière, un renouveau à l’art de la tapisserie. Si les trois premiers cherchent à retrouver la vraie nature de la tapisserie, dont les principes peuvent être découverts en étudiant le passé, pour lui redonner une vigueur nouvelle dans le présent et augmenter ainsi son indépendance vis-à-vis de la peinture, le dernier cherche, au contraire, à faire entrer les Gobelins dans la modernité en rapprochant la tapisserie de la peinture. Cette thèse cherche à comprendre, de façon aussi complète que possible, la création artistique à la manufacture des Gobelins pendant cette période, qui se caractérise par une activité extraordinaire. Grâce à l’analyse du contexte intellectuel, il a été précisé les idées qui ont permis de donner l’impulsion et la direction à ce renouveau en détaillant également les conditions matérielles, institutionnelles et économiques qui permettent d’étudier les moyens dont dispose la manufacture. Ainsi sont révélés les impératifs imposés par les conditions matérielles et l’organisation du processus créatif impliquant un nombre d’acteurs et de procédures important, ralentissant et rendant contraignante toute démarche. Surtout il a été montré dans quelle mesure les moyens économiques étaient en totale inadéquation avec les objectifs de la manufacture. Malgré ces difficultés, la manufacture joue un rôle central dans le renouveau de la tapisserie. Si les progrès sont lents à émerger en raison de la nature même du fonctionnement des Gobelins, ils donnent une impulsion formidable à l’industrie privée grâce à son intense activité intellectuelle et artistique et le rayonnement international qu’ils exercent, et ceci malgré les critiques portant sur le choix des modèles. En effet, si les efforts de la manufacture sont justement reconnus, les choix esthétiques sont souvent remis en cause. Ainsi, la seconde partie de cette thèse étudie la politique artistique de chaque administrateur afin de comprendre comment cette dernière se concrétise, et quelles sont les principales lignes de l’action artistique de chacun des administrateurs. Ce travail s’appuie sur un catalogue exhaustif fait de notices approfondies et d’une iconographie abondante, retraçant l’historique des tentures murales en haute lisse et au point noué de Savonnerie réalisées à la manufacture des Gobelins, leurs cartons et maquettes mais aussi d’un nombre important de projets non aboutis, dessinant ainsi le panorama le plus complet sur la création à la manufacture des Gobelins dans les années 1870-1925
During the French Third Republic, the four successive administrators of the National Gobelins’ manufactory, Alfred Darcel, Edouard Gerspach, Jules Guiffrey and Gustave Geffroy, sought to give an impulsion, each in his own way, in order to provoke a tapestry revival. The first three administrators seek to rediscover the true nature of tapestry, the principles of which can be discovered by studying the past, in order to give it new vigour in the present and increase its independence from painting. Geffroy, on the contrary, seeks to guide the Gobelins to modernity by imposing the tapestry to follow the paths of painting. This thesis makes understand the artistic creation at the Gobelins’ manufactory during this period of extraordinary activity. It specifies not only the intellectual context and ideas which give its direction to the tapestry revival, but also it takes into consideration the material, institutional and economic conditions of the manufactory. Thus are revealed the imperatives imposed by the material conditions of creation, its organization involving a large number of actors and highly restraining procedures, but, above all, economic means revealed to be in total inadequacy with the goals of the manufacture. Despite these difficulties, through intense intellectual and artistic activity, the manufactory plays a central role in the revival of tapestry. If progress is slow to emerge due to the very nature of the Gobelins' functioning and despite criticism of the choice of models, Gobelins gives a tremendous boost to private industry thanks to the international influence that the manufactory plays into tapestry field. Indeed, if the contemporary critics recognized the efforts of the manufacture to be in the right direction, very often this is not the case for the models. As in most of cases they are still unknown to modern art historians, the second part of this thesis studies the artistic policy of each administrator in order to understand how it was carried out and what were the main lines of the artistic action of each administrator. This work is accompanied of an exhaustive catalog records and images retracing the history of the conception of wall hangings in haute lisse (high-warp loom) and Savonnerie murals woven at the Gobelins’ manufactory and also their cartoons and preparatory models including abandoned projects, thus drawing a most complete panorama on artistic creation at the Gobelins manufactory from 1870 to 1925

Recalling Marx’s dictum that history enacts itself ‘the first time as tragedy, the second time as farce’, Michel Houellebecq’s 2015 novel Soumission can be read as a double farce: one political, one literary. The first parodies the mission civilisatrice in the ‘sous-mission’ to the loss of France’s standing as Empire, and its farcical conversion to Islam by means of a sham Napoleon. Rather than a symbol of alterity or a tapestry of decadent exoticism, Houellebecq’s caricatured version of Islam becomes a means to attain the same bourgeois comforts that the nineteenth-century decadents decried. The second parodies literary decadence in the conversion of the decadent extremes of J. K. Huysmans’ À Rebours into the soumission of Houellebecq’s literature of banal neutrality. That is, the novel’s ‘neutralized decadence’ lacks the traditional descent into degeneration: it is a straight line involving no euphoric ascents — Mallarmé’s nouvelles ivresses — and no Baudelairian descentes aux enfers. This infinite flatness reveals the disturbing implication behind the novel’s last line, which evokes a ‘neutral’ state of having ‘rien à regretter’, implying that there is nothing more to lose.

Inclusive access to culture for all people in institutions, such as museums, is an important issue specified in French laws and is also recognized internationally. This article investigates inclusion of blind and partially blind visitors in museums. The pilot study conducted involves blind, partially blind, and sighted people and observes their perception of audio descriptions and different tactile representations within a museum. 12 participants were asked to experience three different conditions for 3 scenes of the Bayeux Tapestry using inclusive and co-created audio descriptions, simplified swell paper representations, and high relief representations. Overall, a high level of interest was found across all conditions, with multimodality through audio and tactile stimulus found to have enriched participants’ experience. However, more guided tactile exploration would be better. From participants’ feedback, some observations have emerged which could be explored for the development of new technologies to better respond to museum visitors’ expectations.

Anton von Werner’s Im Etappenquartier vor Paris (In quarters before Paris) is based on a sketch done by the painter during the German military campaign against France in October 1870. German soldiers amuse themselves with songs at the piano in a requisitioned manor house near Paris (Brunoy). Attracted by the music, the French concierge and child appear in the doorway. Some mundane activities to further enhance the atmosphere are in progress: lamps are lighted and a fire is kindled in the fireplace. We even know the song that is performed: Schubert’s “Am Meer” (By the sea), with words by Heinrich Heine. Nothing yet anticipates the disillusioned statement of George Steiner that became characteristic of late-twentieth-century reflection on war and culture: “We know now that a man can read Goethe or Rilke in the evening, that he can play Bach and Schubert, and go to his day’s work at Auschwitz in the morning.” In Werner’s painting, war still seems to be an innocent affair that first of all produces mud-stained boots. These boots and the sphere of fraternization that even encompasses the French housekeeper were meant to evoke the impression of sincerity in German soldiers, according to a German art historian. Ultimately converted into a painting, the picture became really popular when it was sold on the German market as a small tapestry after 1895. As the German writer and critic Ludwig Pietsch wrote at the time, “[Such pictures show] the good-natured and sentimental nature of the national character [. . .] which even in the rough and wild times of war and in the midst of an irreconcilable enemy cannot be denied.” Not surprisingly, the French reading of this picture (once or twice on exhibition in Paris) is somewhat different: “The attitudes of the lumpish soldiers with their blusterous posture, their heavy mud-stained boots, are completely in contrast to the refinement of the furniture. The conquerors behave somewhat like vandals. At the right in the doorway, the maid, on whom an officer seems to have designs, watches the scene accompanied by her daughter, who is hardly able to hide her fear.”

Abstract If you were to ask enthusiastic mathematicians whether or not they thought that mathematics was a golden thread in life's rich tapestry, then the chances are that they would say that it was the whole tapestry, together with most of the room in which it is displayed. Mathematics is amazing in its power and beauty and the way that it has applications in so many areas of human endeavour. Mathematics is also central to much of modern technology and its applications to this will become increasingly important in the new millennium. But mathematics is ever changing and growing, and it will only continue to develop and thrive if fresh minds and new ideas are applied to it. The need to stimulate young people to become interested in mathematics led to the creation of the Royal Institution Mathematics Masterclasses.

While immigrating to the United States of America, ethnically Chinese immigrants faced many challenges. However, many found the best way to America's heart is through her stomach, creating American-style Chinese food. Learning about such cross-cultural cuisine exposes CSL students to their own culture and the colorful tapestry of Chinese food culture. This chapter will delve into the origins and development of Chop Suey (雜碎), General Tso's Chicken (左宗棠鷄), and Gua Bao (刈包), along with food's relation to cultural identity in The Search for General Tso (2015) and Fresh Off the Boat (2014-present). By exploring the cross-cultural link between Taiwanese, Chinese, and American dish variations, CSL teachers could gain insight on teaching with media and designing food culture lesson plans for American CSL classrooms.

In the digital landscape, where innovation knows no bounds, generative artificial intelligence (Gen AI) emerges as a true virtuoso, orchestrating a seamless symphony of creative wonders. Artificial intelligence that can generate fresh and plausible images, texts, and motion graphics rapidly is called Generative AI. It possesses the remarkable ability to effortlessly transform prompts into a rich tapestry of visual art, evocative prose, dynamic videos, and an array of captivating media. This chapter embarks on an exploratory journey, delving deep into the profound influence that Generative AI wields across a diverse spectrum of industries. Through an immersive exploration of these remarkable used cases, this chapter offers a glimpse into the boundless potential and the promises that Generative AI holds, positioning itself as a versatile catalyst for progress within the expansive industrial landscape.

Throughout all periods, the significance of ecosystems' biodiversity and the strategies employed in their management has consistently remained important for those engaged in the study of nature. Within the pages of this book, readers will encounter an in-depth exploration of these facets, delivered from a professional perspective. The brilliant curator of this anthology, Dr. Hasrat Arjjumend, takes readers on a trip that skilfully combines the wonders of nature with human cunning. This book would not be possible without the combined efforts of many people, to whom we are sincerely grateful. Scholars, writers, and experts have kindly contributed their knowledge, improving our understanding of alpine ecosystems. We especially thank the peer reviewers whose thorough assessments guaranteed the academic integrity of every chapter. We would like to express our gratitude to the editorial and production teams for their hard work in creating and perfecting this manuscript. Heading innovative programs like the Summer Field School on Mountain Ecosystems & Resources Management, Dr. Hasrat Arjjumend is the Founder, President, and CEO of The Grassroots Institute, demonstrating a dedication to international cooperation and information sharing. Dr. Sining Zhang, an assistant professor at Southwest Jiaotong University in China, addresses the intricate issues at the nexus of urban and natural ecosystems by doing research on landscape planning, design, ecosystem services, and climate adaptation. This book is a rich tapestry that integrates practical resource management applications with theoretical underpinnings. With its distinct perspectives, approaches, and case studies, every chapter makes a substantial contribution to our understanding of mountain ecosystems as a whole. The first portions introduce the topic and set the stage for talks about mountain ecosystems and the complex interactions between human activity and environmental protection. The parts that follow provide in-depth analyses, delving into concepts, classifications, and relationships between ecosystem services and landscape services in order to lay the groundwork for future discussions. In order to facilitate a fuller understanding of the fragile balance between human activity and the natural world in mountainous regions, readers are invited to immerse themselves in the richness of knowledge offered by contributing authors. The goal of this book is to further current debates, facilitate decision-making, and stimulate fresh lines of inquiry into the sustainable management of mountain ecosystems. In this chapter "Mountain Biodiversity in Romania," Daniela Antonescu, a specialist at the Romanian Academy's Centre of Mountain Economy at the National Institute of Economic Research, explains the vital connection between biodiversity and mountainous regions. Every chapter presents a different angle that deepens our understanding of these crucial settings. The editor, Dr. Hasrat Arjjumend, has put together a collection that will be an invaluable resource for academics, policymakers, and anybody with a keen interest in the delicate balance that exists between human activity and the preservation of biodiversity in the mountains. Alone like majestic sentinels, mountain ecosystems shape landscapes and have an impact on the basic building blocks of life. "Navigating the Peaks" explores the complex interrelationship between biodiversity and mountains, explaining the difficulties these magnificent regions encounter and offering solutions for their preservation. Mountains, which make up around 25% of the planet's surface, are thriving hubs of life that sustain a wide range of plant and animal species as well as human communities. We must face the devastating fact that these unique ecosystems are being threatened by a variety of man-made stressors as we investigate the intricacies of mountain biodiversity. The purpose of this book is to provide light on the difficulties that mountain biodiversity faces. We piece together the complex web of interactions between human activities and delicate alpine ecosystems via painstaking research. Every chapter functions as a lens, concentrating on certain problems like the effects of mining, forestry, agriculture, tourism, and climate change. But our story is not depressing; rather, it is an appeal to action. We outline conservation strategies based on moral development, environmentally sound practices, and global collaboration within these pages. Given the interconnectedness of mountain regions, a comprehensive plan that crosses national lines and involves local populations in the protection of their natural heritage is imperative. We extend our gratitude for your insightful feedback, a catalyst in refining "Navigating the Peaks" to offer a more inclusive and nuanced portrayal of our distinctive global landscapes. Embarking on the expedition delineated in “Navigating the Peaks”, we intricately explore the folds of untamed landscapes and seek shelter under the protective canopies of ancient forests. This undertaking constitutes a comprehensive inquiry, elucidating the intricate interplay between wildlife and human engagement within mountainous terrains. The ensuing chapters unfurl a myriad of narratives that collectively form a vibrant tapestry, revealing the diverse ecosystems characterizing our continent. Notably, the scenic landscapes of Asian nations, including China, India, and Nepal, are progressively garnering heightened attention. The narrative evolves through a meticulous examination of these regions, where dedicated chapters delve into their distinctive attributes. Acknowledging the importance of a global perspective, we ensure the prominence of Asia in the narrative while also appreciating the broader context. Two chapters are dedicated to the captivating highland vistas of Africa, adding a layer of intricacy to the overall narrative. Europe, with a particular focus on the Carpathians, sustains a comprehensive and profound representation. The Carpathians, the protectors of Romania's and Ukraine’s landscapes, need special attention where a wide variety of species live in a patchwork of ecosystems that echo the ages-old murmurs of the natural world. We examine the steps and initiatives made to protect these priceless ecosystems, realizing the intricate relationship between sustainable development and conservation. We are constantly reminded as we go through the book of how vital it is to safeguard and maintain these natural treasures. These breathtaking landscapes bear the scars of climate change as well as the marks left by human activity. However, these difficulties also present chances for cooperation and peaceful coexistence that will guarantee the survival of these essential ecosystems for future generations. This book is an investigation and a tribute to the mountains that influence the globe. It is an invitation to explore the unspoiled wilderness, to be in awe of life's tenacity, and to acknowledge our common duty to preserve the complex network of biodiversity that adorns the mountains of Europe and Asia. I hope that reading these pages will inspire a love of the environment, a dedication to sustainable living, and a profound respect for the wonders of our alpine regions. May this book be a resource for comprehending, valuing, and protecting the distinctive ecosystems that adorn the lofty summits of our planet. I invite readers to delve into the following chapters, where experts from around the world contribute their knowledge to unravel the complexities of mountain ecosystems and resources management. Together, we navigate a terrain where ecological sensitivity meets the demands of human development, seeking sustainable pathways for the future.