The Minotaur in Tapestry

The story of Theseus and the Minotaur can be found in Plutarch's The Rise and Fall of Athens. Theseus was the illegitimate son of Aegeus, ruler of Athens. Athens had been defeated by Minos of Crete and every nine years Athens was ordered to pay tribute in the form of seven young men and seven young women (anybody spotting the inspiration for The Hunger Games?). On their arrival on Crete, the youths were sent into a labyrinth which was inhabited by the Minotaur a vicious beast half-man half-bull. When Theseus first arrived in Athens (as a young man) tribute was due and he volunteered to go. Though Plutarch wrote that the details of the story differ from author to author, it is said that Theseus defeated and killed the Minotaur and led the other 13 tributes back to Athens safely.

Le Minotaure (1928) Pablo Picasso, black chalk and paper on canvas, National Museum of Modern Art, Pompidou Centre, Paris. Donated by Marie Cuttoli 1963.

The minotaur first features in a twentieth century tapestry in 1935. Marie Cuttoli owned a picture by Picasso of Le Minotaure and commissioned a tapestry of it from an Aubusson workshop. Picasso's image does not reflect a specific point in the story of the minotaur. The artist visited the subject of the minotaur repeatedly in his prints and drawings; this particular image is thought to be the first and is concerned with the grotesque combination of bull and man. It is an uneasy image, as if the legs of the man are struggling to escape from the head of the bull. It is an unlikely image for tapestry: it has a plain background and the central figure is executed as a line drawing.

Theseus and the Minotaur (1943-44) designed by Marc Saint-Saens, woven Aubusson, 284 x 478 cm, National Museum of Modern Art, Pompidou Centre, Paris

The subject of the Minotaur appears again almost a decade later in a tapestry designed by Marc Saint-Saens. Saint-Saens chose to focus on the moment that the minotaur was killed by Theseus. It is a bloody image as theseus plunges his sword into the bull's neck. His treatment of the subject and its translation into tapestry is in keeping with French tapestries of this period. Saint-Saens and his colleagues (includign Jean Lurcat and Dom Roberts) employed bold bright colours and plentiful detail to create weavings that took advantage of the unique nature of tapestry. This is in contrast to the Picasso piece which is essentially a drawing enlarged and copied into tapestry. Interestingly, the Minotaur is no longer half-man but is all-bull. It is reminiscent of bull fights and we may think this was the tapestry's subject were it not for Theseus' ancient dress. Given the political situation in France at this time, it is not surprising that Saint-Saens chose to focus on the moment of the Minotaur's defeat. Theseus takes on the role of France overcoming the fascist occupation of the Nazis.

Theseus and the Minotaur (1956) designed by Sax Shaw, weavers unknown, woven at Dovecot Studios.

detail of Theseus and the Minotaur

A Dovecot tapestry of Theseus and the Minotaur was woven in 1956 and designed by Sax Shaw, then artistic director. Shaw was very influenced and inspired by French tapestry designers and often adopted their imagery. However, he used these images and motifs in very different ways. His version of Theseus is more simplified and less violent that Saint-Saens'. Theseus' arm is raised, about to strike. Movement is suggested by the swirling patterns of solid colour, typical of Shaw's design style. This work makes the most explicit reference to the story as 14 tributes can be seen in the background (though it really ought to be 13).

Topics like this are one of my favourite parts of research: selecting a particular theme, image or effect and tracing its origins and development in the woven medium. I'm sure there will be many more to come.

Making Connections

There hasn't been much blog activity recently. Not because my research has ceased or the weavers have stopped weaving, but because I am in my third (and final) year - a time when editing and writing overtake active research.

I have been struggling with this stage - its doesn't involve looking at or feeling tapestries, delving into archives or visiting interesting places. It involves sitting at my desk staring at a screen or hundreds of files day after day. It is at times very solitary and frustrating, but I am also trying to remember how fortunate I am to have the space to think. I remind myself that when I am back at work I will not have such a luxury!

One real benefit of the editing process is that I am beginning to better understand the connections that can be made across my thesis, cutting through the chronological divisions of its chapters. For example, the issues of church decoration that influenced West's design for the Gould Memorial Tapestry are the same ones that Joyce Conwy Evans had to think about in the Canterbury Cathedral Altar Frontal. Both tapestries needed to feature religious iconography, fit in with the surrounding interior design and be visible to a large audience from a distance (both pictured above).

Numbered cartoon for Cycle of Life (1957-8) designed by Sax Shaw

The shadow (or light?) from French tapestry weaving was a constant presence throughout 1945 to 1970 in Dovecot's practice. Immediately after the war French tapestry became popular in Britain thanks to a major exhibition at the Victoria & Albert Museum in 1947. The successful resurgence of contemporary tapestry weaving under the guidance of John Lurcat was one of the influencing factors in Dovecot's decision to collaborative with living artists. Lurcat's influence continued into the 1950s when Sax Shaw was Artistic Director. Shaw adopted the French artist's methods - including the creation of full scale cartoons numbered with the corresponding colours to be used (images above). Tapestry by numbers indeed. By the 1960s, French tapestry was not so much an influence, but a parallel. The Lausanne Biennales, begun in 1962, enabled to Dovecot to promote its tapestries on an international level and develop its communication with international tapestry weavers.

On another note, I have two new reviews on RIO Magazine: Scotland Can Make It! (on at the People's Palace, Glasgow) and the annual Scottish Furniture Makers Association Exhibition. A review of Nuno Japanese Textiles currently on at Dovecot will be up shortly.

RIO Magazine

This post is just to let you know that I am now contributing exhibition and publication reviews to RIO Magazine. Originally published in 2009 as a free bi-monthly magazine, it can now be found online. Founded by Tina Rose, the online magazine is for any with an interest in craft. Happy reading!

I have also updated the Papers/Talks page of the blog.

Bird Yarns

Bird Yarns is a project led by artist Deirdre Nelson as part of the project Sea Change (Tionndadh na Mara in Gaelic). Run by the not-for-profit programme Cape Farewell, Sea Change is a 4 year project designed as part of the London 2012 Festival and the Year of Creative Scotland. Bringing together scientists and artists, individual and collaborative activities have been, and will continue to, explore the issue of climate change on Scotland's western and northern isles.

One such artist is Deirdre Nelson. Working with a community of knitters  on the Isle of Mull, Deirdre devised an Arctic Tern knitting pattern. The birds were knitted with local Ardalanish yarns and in July 2012 they were displayed on Tobermory Pier. As well as those knitted on Mull, terns were sent from all over the UK and further afield. 

Image via Bird Yarns

For two days in September the arctic terns landed at Dovecot before heading to The Lighthouse, Glasgow for the month of October. There is something very inspiring about seeing these hand-knitted birds all together. Though all made to the same pattern, knitters were required to improvise the beak, eyes and feet themelves, and to use whatever stuffing they liked. This has resulted in a varied mix of styles and reflects the very personal nature of hand knitting. As I spent some time in the room with them, they began to develop their own characteristics. This top one is very pensive, gazing out of the window at Calton Hill.

This next one looks like superman - flying through the air with a determined look on his face and an especially streamlined beak.

This little man looks like he's wearing a helmet a few sizes too big.

In order to allow as much public involvement as possible, a knitting set has been created. These are available to purchase at Dovecot and online here. The kit comes with knitting needles and two shades of Ardalanish yarns. I'll update this post once I've knitted mine!