Aubusson is a town in central France where they wove and knotted fabrics since the fifteenth century. The organized manufacturing in laboratories across, was unified in 1743, when it began to produce textiles, tapestries and carpets, "the Turkish fashion" for the palaces of the royal house. The factory became famous for a kind of working "Rusticus" grosser, from drawings to "verdures (foliage, flowers and shrubs with fruit, landscapes and forests). In the second half of the eighteenth century Rococo style imposes terms of elegance, grace and joyfulness and brightness. Towards the end of the century the style became more austere, simple and bombastic as the neo-classicism.
These are two styles to create the luck of the production of Aubusson: the grace of the decoration set in a classical architectural setting and simple, in some cases moved and broken. The pictures show the central topic of pastoral themes, Oriental (the chinoiserie) and military. Other sources of inspiration are the corbeilles of Dutch and French painting of flowers and still lifes various decorative elements (horns of plenty, vases, shelves, musical instruments or weapons).

Aubusson is a town in central France where they wove and knotted fabrics since the fifteenth century. The organized manufacturing in laboratories across, was unified in 1743, when it began to produce textiles, tapestries and carpets, "the Turkish fashion" for the palaces of the royal house. The factory became famous for a kind of working "Rusticus" grosser, from drawings to "verdures (foliage, flowers and shrubs with fruit, landscapes and forests). In the second half of the eighteenth century Rococo style imposes terms of elegance, grace and joyfulness and brightness. Towards the end of the century the style became more austere, simple and bombastic as the neo-classicism.
These are two styles to create the luck of the production of Aubusson: the grace of the decoration set in a classical architectural setting and simple, in some cases moved and broken. The pictures show the central topic of pastoral themes, Oriental (the chinoiserie) and military. Other sources of inspiration are the corbeilles of Dutch and French painting of flowers and still lifes various decorative elements (horns of plenty, vases, shelves, musical instruments or weapons).

Aubusson is a town in central France where they wove and knotted fabrics since the fifteenth century. The organized manufacturing in laboratories across, was unified in 1743, when it began to produce textiles, tapestries and carpets, "the Turkish fashion" for the palaces of the royal house. The factory became famous for a kind of working "Rusticus" grosser, from drawings to "verdures (foliage, flowers and shrubs with fruit, landscapes and forests). In the second half of the eighteenth century Rococo style imposes terms of elegance, grace and joyfulness and brightness. Towards the end of the century the style became more austere, simple and bombastic as the neo-classicism.
These are two styles to create the luck of the production of Aubusson: the grace of the decoration set in a classical architectural setting and simple, in some cases moved and broken. The pictures show the central topic of pastoral themes, Oriental (the chinoiserie) and military. Other sources of inspiration are the corbeilles of Dutch and French painting of flowers and still lifes various decorative elements (horns of plenty, vases, shelves, musical instruments or weapons).

Aubusson is a town in central France where they wove and knotted fabrics since the fifteenth century. The organized manufacturing in laboratories across, was unified in 1743, when it began to produce textiles, tapestries and carpets, "the Turkish fashion" for the palaces of the royal house. The factory became famous for a kind of working "Rusticus" grosser, from drawings to "verdures (foliage, flowers and shrubs with fruit, landscapes and forests). In the second half of the eighteenth century Rococo style imposes terms of elegance, grace and joyfulness and brightness. Towards the end of the century the style became more austere, simple and bombastic as the neo-classicism.
These are two styles to create the luck of the production of Aubusson: the grace of the decoration set in a classical architectural setting and simple, in some cases moved and broken. The pictures show the central topic of pastoral themes, Oriental (the chinoiserie) and military. Other sources of inspiration are the corbeilles of Dutch and French painting of flowers and still lifes various decorative elements (horns of plenty, vases, shelves, musical instruments or weapons).

Aubusson is a town in central France where they wove and knotted fabrics since the fifteenth century. The organized manufacturing in laboratories across, was unified in 1743, when it began to produce textiles, tapestries and carpets, "the Turkish fashion" for the palaces of the royal house.
The factory became famous for a type of treatment called "Rusticus" grosser, from decorations to "verdures" generically floral (forests, landscapes, flowers and shrubs with fruit). In the second half of the eighteenth century Rococo period imposes the terms of elegance, grace and joyfulness and brightness. Towards the end of the century the style became more austere, simple and bombastic as the neo-classicism.

The principles are the colors ivory, cream, beige, brown, light green, old rose, light blue and the other yellow never strident. In this palette of pastel shades glad you put the red burgundy is so dear to the Empire style with a blue load more.
The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.

The principles are the colors ivory, cream, beige, brown, light green, old rose, light blue and the other yellow never strident. In this palette of pastel shades glad you put the red burgundy is so dear to the Empire style with a blue load more.
The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.

The principles are the colors ivory, cream, beige, brown, light green, old rose, light blue and the other yellow never strident. In this palette of pastel shades glad you put the red burgundy is so dear to the Empire style with a blue load more.
The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.

The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.

The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.

The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.

The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.

The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.

The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.

The workshops produced these Aubusson tapestries to cover the floors of the stately mansions and the new rich and middle class, but in the nineteenth century requirements drop significantly. The activity is partly reborn, like the other two factories manufactures historic Gobelins and Beauvais, in collaboration with modern and contemporary artists. We continue to weave pieces of classical inspiration for a small niche market, given the high costs.
In the antiques market driven many pieces produced during the nineteenth century.