In the early 1940's, Jean Lurçat (1892-1966) set out to revive the art of tapestry which had fallen to a low point following the French revolution. He took up residence at Aubusson and introduced a sober palette and a robust weaving at broad point. Under Jean Lurçat, tapestry regained solid values to become once again a great and powerful art to be celebrated by numerous artists, such as, Le Corbusier, Léger, Matisse, Picasso, Dom Robert, Picard-le-Doux, Marc Saint-Saens.

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Marliese Scheller joins the rank of catalyzers that fashioned this Renaissance and contributed to the revival of the arts and crafts of Zouk (Lebanon), once renowned for its weaving tradition. In the mid-1950s she gradually enlarged the hand looms and introduced wool. After two years dedicated to training the weavers of Zouk on “basse lice” looms, the first exhibition of tapestries entirely woven in wool opened. Under her guidance, Zouk was once again invigorated and began to compete with some of the tapestry centres of Europe. Picard-le-Doux, a friend of the artist, encouraged her in her quest. If the weaving remains true to the medieval tradition, the implementation of a technique by Marliese Scheller led to a weaving without adjustment, or camouflage. Contrary to current trends, each tapestry is woven in a single exemplar and based on a full-sized cartoon either painted or numbered indicating the composition and colors.

“La corbeille de fleurs” (1965) is the first tapestry ever woven entirely in silk. This achievement superseded all expectations and the weaving centre at Zouk remained active for another decade.