Week 11, Locating Renaissance Art, Chapter 3, Tapestries as a transnational artistic commodity.

Introduction

Carol Richardson states that 'no works of art better sum up the international and transnational background to so much of the art produced in Europe than tapestries' CB2,p101). Tapestries were some of the most costly works of art, and also because of their flexibility and transportability the most versatile. Present in courts across Europe they were statements of status, associated with high rank.

Elizabeth Cleland introduces us to some of the patrons, purchasers and users of tapestries such as Cosimo I d' Medici and pope Leo X. She informs us that '15,000 people in Brussels, almost one third of the towns population, were involved with the production and trade of tapestries' (CB2,p103). This section will explore the place of tapestries as leading Renaissance art objects.

1. The significance of Brussels.

This section whilst focusing on the activities in Brussels covers the design and production of cartoons by painters, and subsequently how cartoons were held, copied and adapted by weavers' workshops for other tapestry productions. There is particular mention of designs by Rogier van der Weyden and his workshop and how they were repeatedly used and disseminated through tapestry, painting, sculpture and even pottery. The section explains methods of production and the control of the weavers by the guild in Brussels. There is discussion of the way in which many tapestries were produced without a commission for sale on the open market, and of how weavers and dealers became involved in the Europe wide trade of these objects. With the wide dissemination of these tapestries there was an obvious spread of artistic ideas particularly from the Netherlands, but equally different ideas were introduced to the weavers by cartoons from commissions throughout Europe.

2 Supply and Marketing

This section discusses the ways in which tapestries were sold, exported and supplied. The role of agents and dealers. The way in which virtually every court had tapestry specialists to maintain and repair tapestries. Also the way in which a number of craftsmen travelled to other parts of Europe often at the invitation of various Courts to establish production centres. Tapestries were very expensive highly prized items and as well as new and commissioned tapestries there was a significant market in second-hand items which were often adapted to include the armorial devices of the new owners.

The traditional production sequence was for the patron to commission a local artist to produce a cartoon to the liking of the patron, for this to be sent to a weaving centre such as Brussels, and for the weavers to produce the tapestry to this likeness, which was exported back to the patron. Often the cartoon remained with the weavers and joined their store of designs. This gave increased accessibility to artistic styles from Italy to a wide audience in Northern Europe as opposed to the limited number of viewers who may have seen a painting.

3 The appeal of tapestries.

This section deals with how and why tapestries were popular.

* aesthetic appeal of object itself. Made from expensive and exquisite materials and displaying such intriguing and beautiful designs of flora and fauna alongside appropriate themes of history, myth, religion etc. these objects intrigued and captured the interest and imagination of the viewer.

* status objects. Ownership and displaying of tapestries was a statement of position, wealth and power.

* multifunctional and portability. Originally acting as insulation these objects whilst still fulfilling this function in the North of Europe also became portable decorations and creators of ambiance and mood, both indoors and outdoors (courtyards, often for weddings).

* tapestries commodities of 'conspicuous consumption'.

* tapestries could be based upon original designs or copies of existing paintings frescos and sculpture.

Conclusion

The exploration of tapestry reveals the transnational attraction of Southern Netherlandish taste. It reveals an art form dominated by northern craftsmen and designers, but one open to innovation and re-interpretation. It reveals the wide appeal it had with the highest circles of rulers, secular and ecclesiastical, and how it became a 'must have' commodity. Although Brussels was at the centre of tapestry production, this chapter shows there were many other places of production as Flemish weavers moved across Europe.