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

Graphis de | 1951 | | page 90