CLOTHES MAKE THE PICTURE j
KLEIDER MACHEN BILDER
TABLEAUX VIYANTS D'ÉTALAGE
'I
1) Georges de la Tour (1621-52):
UAdoration des Bergers
The interpretations of masterpieces of French
painting reproduced here (international textile ex
hibition at Lille, 1951) are the work of the Parisian
window-display and theatre designer Slavik, whom
we introduced to our readers in our last number
with a few typical productions. The modelling
work on the figures was done by Darnat. The
mannequins were dressed by Madame Faure, the
themes chosen by Rossillon. The whole picture gal
lery was under the artistic direction of Jean Adnet.
0 Die hier gezeigten Interpretationen von Mei-
sterwerken der französischen Malerei (internatio
nale Textilausstellung in Lille, 19 51) wurden vom
PariserSchaufenster- und Theaterdekorateur Slavik
geschaffen. Die Modellierarbeiten der Figuren sind
von Darnat. Die Mannequins wurden von Ma
dame Faure bekleidet, die Themen von Rossillon
gestellt. Die gesamte Bildergalerie unterstand der
künstlerischen Leitung von Jean Adnet.
Les présentes interprétations de tableaux cé-
lèbres (exposition internationale du textile a Lille,
1951) sont l'oeuvre du décorateur de mode et de
théatre Slavik, que nous avons déja présenté dans
le dernier numéro de Graphis. Les figures ont
été modelées par Darnat, les mannequins habillés
par Madame Faure. Les sujets ont été choisis par
Rossillon, et l'ensemble de cette galerie de ta
bleaux fut réalisé sous la direction artistique de
Jean Adnet.
462
[Texte francais: page 464]
Lille, the former capital of Flanders, where even in the
Middle Ages British and Florentine wool merchants came
and went, was last summer the scene of an international exhi
bition of textiles. One of the sights of the exhibition which
earned the appreciative notice of art lovers and proved a great
success with the general public were the plastic reconstructions
of masterpieces of French painting, presented in cloth by a num
ber of French textile and fashion houses. A few of these inter
pretations are illustrated here. Composed almost entirely of
textiles, they contrive to re-embody with the media of window-
display art pictures with which almost everybody is familiar
from museums or reproductions.
French painting has never been at a loss for handsome
clothes or elegant drapings. It can serve, if called upon, as a
fashion catalogue of the last five centuries, as one realised in
the past summer at the Centre of Arts and Costumes in the
Palazzo Grassi at Venice (see graphis No. 37). Aesthetic
humanism and stylish realism permitted fashions to be in
corporated in a picture as a thoroughly respectable element and
even an embellishment of the composition. Conversely, it was
