Jean Lurçat (1892-1966), who directed his energy into promoting tapestry, was not a weaver at all, but a French painter.
In the late 1950s he became interested in tapestry after visiting the fourteenth-century “Apocalypse” set in the castle at Angers, which was woven by Nicolas Bataille between 1375-79. Lurçat was immensely impressed by the skill and creativity of this tapestry.
Following his visit he became deeply involved in tapestry design and manufacture, his intention being to return to the style and technique of weaving that had existed before Raphael.
This is the technique used most frequently for the flat-woven rugs and hangings called “kilims”. This technique is also used for
Natural dyes from plants were the only dyes used until the 19th century; they produce attractive shades and, have good fastness characteristics and to light, if properly cared for.
Tapestries were ubiquitous in the castles and churches of the late medieval and Renaissance eras. At a practical level, they provided a form of insulation and decoration that could be easily transported. In addition, the process of tapestry weaving, where every stitch is placed by hand, enabled the creation of complex images on an enormous scale.