THE ART CORNER.

New Zealand Graphic, Volume IX, Issue 19, 7 May 1892, Page 480

THE ART CORNER.

ABOUT FRENCH TAPESTRY PAINTING. The modern process of producing painted tapestries by applying liquid dyes, afterwards fixed by the action of steam to a canvas manufactured in imitation of that woven in the Gobelin looms, has come to us within the last few years from France. Like so many of the decorative arts of to-day, it is a revival, from a much earlier period, of an industry which has since fallen into disuse and been forgotten. The present method, by means of which the most wonderful effects can be obtained, often hardly distinguishable from the genuine tapestries, is very recent, and was perfected by a number of French artists who for some years worked and experimented together. One of this band, M. Grenie, after holding an exhibition of painted tapestries—the result of their labours—with great success in London, came over to this country, where some five or six years ago he first started to introduce his fascinating art, which will always continue to hold its own, in spite of the numerous worthless productions, claiming to be tapestry painting, which have frequently threatened to bring into disrepute work which rightly takes its place amongst the industrial arts. But true art can always stand on its own merits. The genuine method in the hands of an artist has unlimited possibilities; the colours are uneoualled for softness and brilliancy, besides being absolutely permanent. To architects and decorators, or to the artistic householder of not unlimited means, it has the further recommendation of its small cost in comparison to woven tapestries. Moreover, there is no attempt to create a monopoly, or to withhold the work from any who wish to undertake it for themselves. The proper dyes are now obtainable in the market, and for the encouragement of the amateur let it be well understood, that the method is simple, the colours few, and that, even to the inexperienced, good and effective results are much more easily and quickly obtained than with either oil or water colour, and a much shorter time is required to master the principles of the art. Naturally, therefore, tapestry-painting has quickly become very popular amongst ladies of artistic taste or ability, and numbers of them, many with very little previous knowledge of art, have made most, successful decorations for their homes. Even large portieres and wall hangings have proved themselves to be not beyond the capabilities of the average amateur, especially when assisted at the outset by a few practical lessons. The materials required are few, the most expensive being the canvas which must be all wool. The right make is imported from Paris, wt-ere it is manufactured by M. Binant. There is an inferior kind sold, sometimes for the same price and sometimes cheaper, coming from Belgium, in the preparation of which the best wool is not employed. This should never be used, as it does not take the dye's well, and is therefore very unpleasant to paint upon. As the tapestries practically last forever, it is folly to use any but the best canvas. The rib may be allowed to run up and down, or across, according to taste or convenience in cutting the material, since the woven originals were also made either way. The dyes are sold in a concentrated form, requiring dilution with a special medium and water. They should all have Grenie’s name clearly printed upon the label. There are twelve of them, and they are so strong that one set, with the renewal of one or two of the colours, such as yellow — of which a great deal is used generally—will paint several large pieces. The list of dyes is as follows : Indigo, ultramarine, ponceau (vermilion), rose, cochineal, sanguine (which answers to burnt sienna), Indian yellow, emeraldgreen, gray-green, gray, brown, and violet. The last named colour is not to be greatly recommended, the mixture of ultramarine and ponceau forming a preferable substitute. The medium must be used freely. In comparison to oil colours these dyes are very inexpensive. The brushes are of a special make, very stiff, in order to facilitate the scrubbing of the dyes into the canvas. For ordinary work, about ten of selected sizes are sufficient, with the addition of a good-sized varnish brush, of which the bristles have been cut down somewhat shorter with a pair of scissors, for laying in the skies. A palette formed of a piece of glass about 14 x 18 inches in size, coated on the back with white paint, and several small jars in which to mix the washes, will complete the outfit.