Les Tapissiers de Saint-Henri

Les Tapissiers de Saint-Henri
C o n t a c ts : l e s t a p is s i e rs @ t o ta l l y - h o o k e d . c o m
Exposition du Printemps 2008
Spring 2008 exhibition
Été 2008
Summer 2008
Volume 4, No. 1
Dans ce numéro
Inside this issue:
Expo annuelle
2008
Exhibition
1, 3
Membreship
1
L ‘Offrande du
coeur
Jocelyn Guindon
2
Cours et ateliers,
3
Automne 2008 2008
Classes and workshops Fall 2008
Site Web
Web Site
3
Le Rug Story:
Grampy’s Oxen
Adventure,
4, 5
Annonces /
Classified
6
Calendrier
6
2008-09
Calendar 2008-09
Notre troisième exposition annuelle s’est
tenu du vendredi 18 avril au samedi 26
avril 2008 au Centre Récréatif, Culturel et
Social Saint Zotique à Saint Henri.
La directrice artistique de l’exposition était
Susan Alain, artiste peintre qui a une longue expérience des arts textiles et membre
fondatrice des Tapissiers de Saint-Henri.
Judith Dallegret a offert une formation aux
Tapissiers
sur
l’art
populaire
dans les
tapis crochetés.
Judith,
venant
d’une longue lignée
de TapisScène de Clarence Gagnon
sières du
Conçu et exécuté par Mary Guay
Québec et
de la Nouvelle Écosse, a étudiées les beaux arts aux
Musées des Beaux Arts de Montréal et de
Boston.
L’exposition nous a aussi permis de voir les
18 pièces de notre exercice d’interprétation
sur une maison québécoise de Clarence
Gagnon. (page 3)
Our Third annual exhibition took place
from 16 to 26 of April 2008 at the Centre
Récréatif, Culturel et Social Saint Zotique à
Saint Henri.
The show director was Susan Alain, a visual
artist with a long experience of fibre arts.
Susan is also a founding member of the
Tapissiers
de
SaintHenri.
Judith
Dallegret,
a fourth
generation Québec-Nova
Scotian
r u g
Tumbling Houses, Conçu et exécuté
h ooke r,
par Terry Ballantyne
offered a
training
session on folk art in rug hooking. Judith
studied fine arts at both the Montreal
Musée des Beaux Arts and the Boston Fine
Art Museum.
The exhibition also presented 18 rugs that
were completed in the Maison Québécoise
interpretation exercise based on a house
painted by Clarence Gagnon. (page 3)
Membership
Un rappel, notre membership couvre l’année académique, de septembre à août.
N’oubliez donc pas de renouveler votre
carte de membre le plus tôt possible. Ces
Exécutif des Tapissiers de Saint quelques dollars nous permettent d’organiHenri:
ser des événements spéciaux et de s’offrir
• Lucie G. Lambert, Présidente, quelques outils de travail en partage. Nous
[email protected]
ne sommes pas riche, au 31 juillet nous
• Mary Guay, Vice Présidente
avions $845 en banque. Les frais de [email protected]
bership vont aussi cette année nous permet• Jocelyn Guindon, Secrétaire
tre d’avoir des professeurs invités et des
trésorier, [email protected]
conférenciers (voir page 3).
A reminder that our membership covers
the academic year from September to August. Please renew as early as possible.
These few dollars allow us to organize special events and to acquire for the group a
few basic tools that can be shared. We are
not wealthy, at the end of July 08, we had a
grand total of $845.00 in the bank.
This year, your membership dollars will
also allow us to have guest teachers and
speakers (see page 3).
Notes de voyage: L’Amour romantique et les tapisseries du Moyen Age
Par Jocelyn Guindon
Cet été, Québec célèbre son 400ième anniversaire. Un événement phare des célébrations de cet été est l’exposition des
trésors du Louvre au Musée national des Beaux-Arts du
Québec. La Tapisserie « L’Offrande du cœur » (Fig. 1) y est
présentée. J’ai eu le bonheur de voir cette oeuvre au Louvre
quelques jours après avoir vue « La Dame à la licorne »
(Fig. 2) au Musée national du Moyen Age à Paris. Ces deux
œuvres représentent pour les arts textiles ce que Tristan et
Iseult, Roméo et
Juliette et
la
Chanson de Rolland représentent
pour les littératures germaniques,
anglaise et française. On assiste a
cette époque à une
évolution importante dans les représentations par
rapport aux périodes précédentes.
Ces œuvres cristallisent un glissement vers une
représentation de
Fig. 1 : L’Offrande du cœur, vers 1400- l’amour idéalisé
1410, Paris.
vers l’amour galTapisserie laine et soie, 247 x 209 cm.
Musée du Louvre, département des Objets lant et plus tard
vers le romand’art. Photo : RMN / © Droits réservés.
tisme plutôt que
des représentations guerrières ou encore des œuvres amplifiants les pouvoirs politique et religieux.
En effet, plusieurs œuvres de très grande dimension telle
que les 12 tentures de « Les chasses de Maximilien »
(représentant les 12 mois de l’année tissées pour Louis XIV)
exposés au Musée du Louvre, ou encore l’immense Tapisserie d’Artémise reconstituée récemment au Musée des Gobelins, permettaient de magnifier le pouvoir des commanditaires.
Le cœur (siège de l’âme) est à cette époque perçue comme
un sixième sens. Cette « Offrande du cœur », cet amour,
n’est donc pas seulement un amour charnel mais aussi un
amour chevaleresque. Ce sens supérieur que représente le
cœur permet d’appréhender ce qui est noble, immatériel,
divin. On comprend mieux ici le conflit que révèle la trahison d’Ivanhoé et de Gwendoline, qui cèdent au plaisir charnel en dépit du devoir chevaleresque et de son obligation
d’amour idéalisé.
On retrouve les même thèmes dans les six panneaux de la
« La Dame à la licorne » qui représentent dans les cinq premiers tableaux les sens du toucher, du goût, de l’odorat, de
Page 2
l’ouïe et de la vision. Le sixième tableau « A mon seul désir » révèle toute l’ambivalence de cette époque où « ...
l’idée selon laquelle il s’agit ici en même temps d’une apologie de la beauté et du désir, et d’une mise a distance par
rapport au plaisir des sens, double signification caractéristique d’une culture de l’équivoque dont on connaît maint
exemples à l’automne du Moyen Âge. » (Jean-Patrice Boudet)
« L’amour est miel que cuer desire »
Proverbes pour escoliers de Gerson
Détail intéressant concernant les couleurs et les teintures.
Lorsqu’on observe les panneaux de « La Dame à la li-
Fig. 2 : La Dame à la licorne,
« A mon seul desir » , circa 1450.
corne » on s’aperçoit que les teintes de rouge sont moins
éclatantes au bas des tapisseries. Lorsque George Sand redécouvre ces pièces au XIXième siècle, les pièces avaient été
endommagées par une inondation. Elles ont été retissées
avec des laines teintes avec des pigments chimiques alors
que le reste de l’oeuvre a été réalisée avec des pigments naturels qui étrangement ont mieux résistés aux passage du
temps.
J-P Boudet, « La Dame à la licorrne », Collection L’esprit
curieux no. 3, Le Pérégrinateur éditeur, Paris, 2005.
J-P Jourdan, Le sixième sens et la théologie de l’amour,
Journal des savants, 1996, pp. 137-153é
« La dame à la licorne » est décrite au
http://www.insecula.com/salle/MS00985.html
« Les chasses de Maximiliens » sont décrites au http://www.
insecula.com/salle/MS00187.html
Les Tapissiers de Saint-Henri
Exposition du Printemps 2008
Spring 2008 exhibition
(Suite de la page 1)
L’exposition a été un succès grace au dévouement des bénévoles, des félicitations et des remerciements à tous sont donc de
mise.
Le catalogue de l’exposition a été produit en collaboration
par :
Carolyn Ells
Conception et production du catalogue
Susan Alain
Direction artistique
Graeme Welch Photographie
Christiane Lavoie Traduction
Carolyn Mungall Traitement de texte
Le CD est disponible auprès des Tapissiers de Saint—Henri
au coût de $10.00.
(From page 1)
The exhibition was a success thanks to the attention and support of numerous volunteers. Congratulation to everyone is
in order.
The exhibition catalogue benefited from the support of the
following individuals:
Carolyn Ells
Catalogue design and production
Susan Alain
Artistic Director
Graeme Welch Photography
Christiane Lavoie Translation
Carolyn Mungall Word Processing
The CD is available for $10.00 at the Tapîssiers de SaintHenri.
Site Web pour les Tapissiers / A Web Site for our group
Cette année nous voulons développer un site web dédié aux
Tapissiers de Saint Henri. Une présence sur le web est des
plus importante pour nous faire connaître et recruter de nouveaux membres. Maria et Margaret ont toutes deux offert de
nous aider a développer cet outil. A ce moment-ci les noms
de domaine « tapissiers.info, .org, .net et .ca » ainsi que les
sites « lestapissiers.com, .info, .org, net et .ca » sont tous disponibles. Si vous avez d’autre suggestion de nom de site, n’hésitez pas a nous le laisser savoir.
This year we would like to create a web site dedicated to the
Tapissiers de Saint-Henri A presence on cyber space is essential for us to promote rug hooking and attract new members.
Maria and Margaret both offered to help us with site development. At this point, the following domain names are
availabe, “tapissiers.info, .org, .net or .ca” as well as
“lestapissiers.com, .info, .org, .net and .ca”. If you have suggestions for other domain names, please do not hesitate to
drop a line and let us know.
Cours et ateliers pour l’automne / Courses and workshops for the Fall
Cours pour débutants
Une session pour débutants sera offerte les samedis de 13 à
16 heures les 20 et 27 septembre et les 4, 11(hookin) et 18
octobre.
Beginners classes
Beginners classes will be offered on Saturdays from 1 to 4
pm on September 20 and 27th and October 4, 11 (hookin)
and 18.
Frais $85.00 plus matériel (incluant le membership).
Kit entre $45 et $65
crochet et métier (vous pouvez utiliser ce que vous
avez déjà) $35 et plus selon vos choix.
Fees are $85.00 (includes membership)
Kit between $45 and $65
Hook and frame (you can use your own) $35 or
more according to your choices.
Atelier : Événement spécial
Special Event : Workshop
Atelier sur les Kilim avec Anne Boissinot
Les 21 (soirée), 22 et 23 Novembre 2008
$130.00 avant le 30 septembre, $150.00 après
+ matériel.
maximum 15 participants.
La soirée du 21 consistera en une présentation
par Mahin Shafei sur les Kilims
Réservez tôt avec un dépôt
Wokshop on Kilim with Anne Boissinot
November 21 (evening), 22 and 23, 2008
$130.00 before September 30th, $150.00 after
+ supplies,
maximum 15 participants
The Friday night will consist of a conference on
Kilims by Mahin Shafei.
Reserve your place early by sending a deposit
Volume 4, No. 1
Page 3
Le Rug Story: Grampy’s Oxen Adventure
Drawing was never something that I felt inspired to do. Nor
have I painted, or sculpted, or even coloured outside the
lines. So, when I wanted to challenge myself by hooking a
pictorial mat, drawing my own design or even starting from
someone else’s design intimidated me. A photograph of a
simple landscape seemed easier. The details in the photo-
Figure 1 : Grampy’s Oxen Adventure
December 1973.
In front, Floyd Ells (Grampy) and from left to right on the Wagon Cameron, Carolyn, Joshua and Rufus
And the Oxen Lion and Bright
By Carolyn Ells
From photo to linen
The pictures from those early years are in my parents’ photo
albums. One day when I was visiting, I asked Dad to scan a
copy of the photo and send it to me by email. On my own computer, I inserted the picture on a Word document and adjusted
its size to 8 by 10 inches. The central image of my grandfather
in front of the oxen and the wagon load of grandchildren, along
the front edges of the field, was perfect. But the field itself was
too large and the horizon too small and too far away. I used the
options on the “drawing” toolbar to blot out the top part of the
field and redraw the same shape of the lines for the back of the
field and the edge of the woods. Taking my artistic license further, I added some extra ridges to the North Mountain, and
added more sky. I printed this altered version of the photograph
on regular letter size paper.
I made a simple line drawing of the revised photo by putting a
blank page over what I had printed. Then I held them against
the window, and traced the main lines onto the blank page on
top. I included some dominant lines from the field and the grass
that showed through either because they were much darker or
lighter than what as immediately beside them. Then I traced
over all the pencil lines with a black marker (medium width
tip). I took the line drawing to a printing shop and had it
enlarged to 4 times the size. (The cost for that service was less
than a dollar!)
graph could provide the main lines of the mat as well as
guide colour, value and texture choices. A photograph from
my childhood showing my grandfather with his oxen and
some of us grandchildren on a wagon called out to me:
“pick me, pick me”.
The story in the rug
I have many fond memories of visits to my grandparents’
farm in the Annapolis Valley, Nova Scotia. One afternoon
my grandfather, Floyd Ells, created a special adventure for
us grandchildren. He hitched his oxen up to a wagon, loaded
on four of us grandchildren and an axe, and off we went to
the woods to chop down a Christmas tree. It was a slow
plod for Lion and Bright up the dirt road, along the grassy
edge of the field, to the woods. We jumped down in delight.
There was some running around and then the careful selecFigure 2 : Grampy’s Oxen Adventure
tion of a suitable Christmas tree. Grampy had us step back
Line drawing.
to a safe distance as he swung the axe. Soon after we were
loaded back on the wagon with our prize, and the oxen took
us back to the farmhouse. Later we helped to decorate the
tree and on Christmas day there was a gift for everyone un- To transform my mat-sized paper design to linen required a
derneath it.
similar process. I first traced it (using a pen) onto red dot transfer material, lining up the outer borders of the design along a
row and column of red dots. I then drew (with a pen) the outer
Page 4
Les Tapissiers de Saint-Henri
borders of the design on the linen. (By putting a ballpoint pen
into a hole (space) between the linen fibers, and dragging it
down the row firmly, a straight line resulted. I measured with a
ruler for how long the edge should be and marked the corner. I
repeated this for all 4 sides.) It was tricky to line up the red dot
pattern with the marker border of the linen. I used a few pins to
hold it in place, so that the design would be straight when it
was transferred. With a thick black marker I slowly traced the
design, letting the ink of the marker bleed through the red dot
material onto the linen below. Because the linen didn’t pick up
the ink as easily as other material does, periodically I folded
back a small section of the red dot—while holding the
neighboring sections firmly against the linen—and drew over
the image on the linen to darken it and make it easier to hook. I
proceeded in this way until the whole pattern was transferred. I
then looked over what was drawn on the linen and filled in a
few lines that were missed or not dark enough.
Hooking the mat
I was impatient to start hooking, and once I started I could
hardly stop. I had planned to hook the mat in a 6 cut, but was
strongly discouraged by others who pointed out that the details
would be very difficult to hook in a 6 cut unless I made the
design larger. Having already put the pattern on the linen, I
reluctantly decided to hook in a 4 cut. My disappointment didn’t last though. Once I started hooking I was thrilled at how
easy it is to pull a strip of 4 cut wool through the linen, and
how easy is was to hook a row of loops in all sorts of directions to give the impression of wavy clumps of grass.
at the bottom of the mat that were the same value as what I had
hooked in already. The result was a duller, darker, more sedate
version of the grass in the foreground. Until you look very
closely, you might not believe that all but one of the wools in
the back section of grass is also found in the front section of
grass.
The wool for the distant mountain ridges, the sky, and the border were all chosen with the assistance of Tony Latham, from
wool he had dyed. Here I wanted the wool itself to quietly signal an unknown world beyond Grampy’s oxen adventure
(something over those hills) and frame our adventure to hold it
in our memory (the antique gold and dark walnut border).
I mention the image of Grampy, the oxen, the children, and the
wagon last. These I hooked with trepidation. I pulled out and
rehooked much of it. The wagon and the faces gave me the
most trouble. I tried to hook a pole wagon like it was in the
photograph, but it always got lost in the field (just like it does
in the photo!). Finally I gave up and painted the wagon. The
yoke, the wagon, decorations on the oxen, and faces were all
simplified, much to the distress of my family who prefer realism to impressionism. I don’t miss these features when looking
at the mat from a distance; when I look at it up close I focus on
the landscape part of the mat. At any distance, I take pleasure
in the purple snowsuit. While it isn’t the actual colour of my
childhood snowsuit, by hooking the mat I was able to give it
the colour I always wished that it was.
One of my goals with this mat was to mix different wools together to give the effect of “painting” with different strips of
wool. My impatience to start, and my skimpy wool stash,
meant that I started hooking the grass with more gold and olive
green tones than I would have otherwise chosen. It was fun to
hook, but I worried that the effect was too drab. I had only a
small amount of bright yellow to brighten it up. I also added
some purple that seemed to help. Since I was including small
amounts of many colours, I realized that I would need to
spread these out across the whole grass surface to give it a balanced look. I hooked the dark green lines in the grass where
there were black marker lines on the linen. Then I hooked
strips of other wools in a sort of echo higgily piggily style to
suggest movement and texture in the grass.
The plowed field behind the oxen includes many different
brown pieces of wool. To suggest the plowed furrows in the
field (waiting for spring planting), I hooked longer, straighter
rows. Some shorter, brighter pieces help to suggest the unevenness of the field.
The section of grass between the plowed field and the tree line
was much more difficult than I expected. Here my lack of
knowledge of how to add depth in a picture showed itself. After many failed attempts and much grieving about it at hookins, a friend gave me the remaining strands of perfect wool
from one of his projects. As I did earlier, I hooked it in here
and there across that whole section of grass to spread its look
as far as I could. Then I chose pieces of wool used in the grass
Volume 4, No. 1
Figure 3 : Grampy’s Oxen Adventure
Hooked and designed by Carolyn Ells, 2007.
Page 5
Petites annonces
Classified
Métiers pour tapis crocheté
Rug hooking frames
(514)937-9458
[email protected]
Dates pour les rencontres en 2008-2009 Hookins dates
Métiers $120.00, Supports $150.00
Les deux ensemble $250.00 for both.
13 septembre / September 13
18 octobre / October 18
8 novembre / November 8
13 décembre / December 13
17 janvier / January 17
14 février / February 14
14 mars / March 14
18 avril / April 18
16 mai / May 16
Classes ouvertes les dimanches aprèsmidi avec Tony Latham. Instructeur
McGown. Vente de matériel.
Sunday afternoon open classes and
supplies or by appointment.
RSVP (514)937-9458
[email protected]
RUG HOOKING Classes (en français aussi)
with Judith Dallegret, certified Nova Scotia
rug hooking Teacher.
Studio: 353 Prince Albert, Montréal
Day and Evening classes, all levels .
For Information call 514 486 2483.
Les samedis de 10:00 à 15:30 /
Saturdays from 10AM to 3:30 PM
Stitches and Strands
Unique punch needle kits and accessories
Contact: Kathleen Menzies
242 Fairfield St., Greenfield Park,
QC. J4V 1Z7
[email protected]
CREATIONS LBM CREATIONS
Rug hooking kits for the beginner and not so
beginner. Using only Scottish even weave
burlap and pre-cut and packaged new wool.
450-692-5853 weekdays 613-273-8347
weekends
[email protected]
Finition de tapis crochetés
Rug finishing
I can whip and bind the edges of
your rug for you.
Tarif: $20.00 le pied linéaire /
$20,00 per foot.
[email protected]
514-482-4883
Site Web :
http://www.
bolivarcutter.
com/
Pour devenir membre / To become a member
Les Tapissiers de Saint Henri - Saint Henri Rug Hookers
Carte de membre annuelle - Annual Membership Card
Nom / Name
Adresse / Address
Tarif/Price
Tarif régulier - Regular membership
$15.00
Tarif étudiant / Student
$10.00
Age d’Or - Seniors
$10.00
Cours et Ateliers / Courses and Worshops
Téléphone - Phone
Courriel - Email
Contribution volontaire - Voluntary contribution
Paiement / Payment
Comptant / Cash
Chèque / Cheque
Total:
Signature
Date
Envoyez votre chèque - Mail to : Les Tapissiers de Saint-Henri
567 rue Thérien
Montréal, Québec
Canada H4C 3N5
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Les Tapissiers de Saint-Henri