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14.01.2011
Toile de Jouy: Making
Indiennes, Mulhouse
In 1746, four young men from Mulhouse, Samuel Koechlin, Jean-Jacques Schmaltzer, Jean-Henri Dolfus et Jean-Jacques Feer, founded the city's first textile printing works. This modest venture proved to be the precursor to many others, and the effects of this industry can still be seen today.
During the 18th Century the city of Mulhouse grew rapidly, largely due to the implantation of numerous textile printers. The 19th Century, with its Industrial Revolution, led by the Textile Industry, saw the advent of Mulhouse and the Alsace area as world leaders in the manufacture and marketing of printed cloth. This heritage weaves the art, design and production of printed textiles intrinsically into the living history of Mulhouse and it's people.
As well as being a decorative art form, through which the variety of the innumerable motifs can be said to reflect the collective taste of over three centuries, the art and craft of printed textiles is also a complex industrial process which has had to expose itself to radically new processes, different forms of mechanization, and to constant research and development.
From the most homely and familiar design to the prestigious symbol of luxury, printed textiles for both home and apparel wear are all around us. Looking closely through their history, the habits and tastes of over three centuries of European private lives can be identified.
The "Indiennes"
The origins of European textile printing can be traced back to India, as long ago as 2000 years before the birth of Jesus Christ. From generation to generation, Indian craftspeople handed down their secrets. Long and complicated processes using mordents, or metallic salts fixed the dye onto the fabric. The luminosity of the Indian color palette was due to the discovery of red from the garance plant, blue from indigo, and yellow, obtained by using gaude.
The brightness and fastness of the colors, the lightness of the cloth, together with the lively and varied patterns, quickly seduced the European taste for all that was new and exotic.
Commercial relations between Asia and Europe intensified throughout the 17th Century, and it was due to the foresight of the Portuguese merchants that the Indian calico prints were imported into a Europe, hungry for an alternative to the heavy silks and woolens, or the rough linens of the times. Success was triumphal, and the merchant traders of the "East India Company" flourished.
The rich, decorative designs of Indian origin were often elaborated, even totally changed to suit the particular wishes of European clients. This was a deliberate marketing strategy put into action by the East India Company that gives well defined general instructions for the cre ation of decorative designs adapted to the european market. Stylized flowers in two dimensions, undulating stems, natural or imaginary geometrical vegetals. All these elements create a ornamental botany with a lot of elegance in graphism and a real balance of the fast colors. European engraving circulate all over the world and are used as models. Heraldic figures are placed on Indian hangings : The various sensibilities ensure the economical success.
Detail of a hanging ( temple's veil), Persan factory, Wood block printing on cotton, India, around 1850
Detail of the hanging in the temple of the sect of the "Radha worshippers" southern India, cloth painted and printed using mordents, southern India, end of 18th century.
Cotton square with Florals, Wood block printing and handpainting on cotton,India by 1790
Printed Textiles from the 18th Century
The fashion for Indian calico prints grew so rapidly that the East India Company was unable to meet the European demand. The obvious solution was to start reproducing the printed cloth in Europe. In 1640, Armenian merchants, armed with the secrets of the Indian techniques, introduced Textile Printing into Europe; The French Port of Marseille was the starting point for European Printing, closely followed by England, around 1670 and Holland in 1678. In France, the phenomenal success of the first Textile Print works was soon to be challenged. The well established wool and silk manufacturers objected strongly to this unexpected rivalry from the Indian continent. As well as the French home market, the revenue gained from the exportation of woolen and silk cloth was considerable. In order to protect the status quo, the importation, manufacture, and usage of any Indian Calico Printed cloth was forbidden by Royal Ordinance in 1686.
In spite of the heavy penalties including imprisonment and banishment, the fashion for Indian Prints carried on growing. Faced with such a strong resistance prohibition was gradually relaxed, and in 1759, textile printing based on the Indian techniques was proclaimed legal in France. A new industry grew throughout France. Nantes, Paris and Rouen in the North, Lyon and Marseille in the South became important manufacturing sites. Mulhouse was a Free City until 1798, thus allowing the development of printing onto textiles early. The first manufacturer based in Mulhouse dates from 1746. England, Holland and Switzerland quickly followed the French lead, and the European textile printing industry was launched.
Until the end of the 18th Century, design ideas were limited. Motifs were directly copied from original Indian works, some geometric designs were used. However the large majority of designs were floral. Flower painters were commissioned by manufacturers to produce intricate designs, adapting their art to the demands of this new and exciting industry. The famous landscapes with figures best known as "Toiles de Jouy", were an exception to this, and were almost exclusively destined for furnishing purposes. Allegorical, literary and historical references were numerous, as were hunting scenes and views of everyday life.
Most often monochrome, drawn in perspective and using delicate "chiarascuro" techniques, the composition of these designs was masterful, and the end result with it's three dimensional aspect pleased as much at this time as it still does today. As always art and technique were combined. The delicate line quality, and the exceptional end result were due to the invention of printing using an engraved copper plate.
Detail of Venus bathing. Copper roller and wood block Printing on cotton, Nantes, 1790
Chinese design, Copper plate printing on coton, Oberkampf factory in Jouy, 1785
"L'Offrande à l'Amour" (detail), Copper plate printing on cotton, Oberkampf factory in Jouy, around 1785
During the 18th Century the city of Mulhouse grew rapidly, largely due to the implantation of numerous textile printers. The 19th Century, with its Industrial Revolution, led by the Textile Industry, saw the advent of Mulhouse and the Alsace area as world leaders in the manufacture and marketing of printed cloth. This heritage weaves the art, design and production of printed textiles intrinsically into the living history of Mulhouse and it's people.
As well as being a decorative art form, through which the variety of the innumerable motifs can be said to reflect the collective taste of over three centuries, the art and craft of printed textiles is also a complex industrial process which has had to expose itself to radically new processes, different forms of mechanization, and to constant research and development.
From the most homely and familiar design to the prestigious symbol of luxury, printed textiles for both home and apparel wear are all around us. Looking closely through their history, the habits and tastes of over three centuries of European private lives can be identified.
The "Indiennes"
The origins of European textile printing can be traced back to India, as long ago as 2000 years before the birth of Jesus Christ. From generation to generation, Indian craftspeople handed down their secrets. Long and complicated processes using mordents, or metallic salts fixed the dye onto the fabric. The luminosity of the Indian color palette was due to the discovery of red from the garance plant, blue from indigo, and yellow, obtained by using gaude.
The brightness and fastness of the colors, the lightness of the cloth, together with the lively and varied patterns, quickly seduced the European taste for all that was new and exotic.
Commercial relations between Asia and Europe intensified throughout the 17th Century, and it was due to the foresight of the Portuguese merchants that the Indian calico prints were imported into a Europe, hungry for an alternative to the heavy silks and woolens, or the rough linens of the times. Success was triumphal, and the merchant traders of the "East India Company" flourished.
The rich, decorative designs of Indian origin were often elaborated, even totally changed to suit the particular wishes of European clients. This was a deliberate marketing strategy put into action by the East India Company that gives well defined general instructions for the cre ation of decorative designs adapted to the european market. Stylized flowers in two dimensions, undulating stems, natural or imaginary geometrical vegetals. All these elements create a ornamental botany with a lot of elegance in graphism and a real balance of the fast colors. European engraving circulate all over the world and are used as models. Heraldic figures are placed on Indian hangings : The various sensibilities ensure the economical success.
Detail of a hanging ( temple's veil), Persan factory, Wood block printing on cotton, India, around 1850
Detail of the hanging in the temple of the sect of the "Radha worshippers" southern India, cloth painted and printed using mordents, southern India, end of 18th century.
Cotton square with Florals, Wood block printing and handpainting on cotton,India by 1790
Printed Textiles from the 18th Century
The fashion for Indian calico prints grew so rapidly that the East India Company was unable to meet the European demand. The obvious solution was to start reproducing the printed cloth in Europe. In 1640, Armenian merchants, armed with the secrets of the Indian techniques, introduced Textile Printing into Europe; The French Port of Marseille was the starting point for European Printing, closely followed by England, around 1670 and Holland in 1678. In France, the phenomenal success of the first Textile Print works was soon to be challenged. The well established wool and silk manufacturers objected strongly to this unexpected rivalry from the Indian continent. As well as the French home market, the revenue gained from the exportation of woolen and silk cloth was considerable. In order to protect the status quo, the importation, manufacture, and usage of any Indian Calico Printed cloth was forbidden by Royal Ordinance in 1686.
Original textile design on paper , Thierry Mieg Factory,
Mulhouse, around 1880
Panel for skirt, painting decoration with mordents
India, end of 18th century
Original textile design on paper , Thierry Mieg Factory,
Mulhouse, around 1880
Mulhouse, around 1880
Panel for skirt, painting decoration with mordents
India, end of 18th century
Original textile design on paper , Thierry Mieg Factory,
Mulhouse, around 1880
In spite of the heavy penalties including imprisonment and banishment, the fashion for Indian Prints carried on growing. Faced with such a strong resistance prohibition was gradually relaxed, and in 1759, textile printing based on the Indian techniques was proclaimed legal in France. A new industry grew throughout France. Nantes, Paris and Rouen in the North, Lyon and Marseille in the South became important manufacturing sites. Mulhouse was a Free City until 1798, thus allowing the development of printing onto textiles early. The first manufacturer based in Mulhouse dates from 1746. England, Holland and Switzerland quickly followed the French lead, and the European textile printing industry was launched.
Until the end of the 18th Century, design ideas were limited. Motifs were directly copied from original Indian works, some geometric designs were used. However the large majority of designs were floral. Flower painters were commissioned by manufacturers to produce intricate designs, adapting their art to the demands of this new and exciting industry. The famous landscapes with figures best known as "Toiles de Jouy", were an exception to this, and were almost exclusively destined for furnishing purposes. Allegorical, literary and historical references were numerous, as were hunting scenes and views of everyday life.
Most often monochrome, drawn in perspective and using delicate "chiarascuro" techniques, the composition of these designs was masterful, and the end result with it's three dimensional aspect pleased as much at this time as it still does today. As always art and technique were combined. The delicate line quality, and the exceptional end result were due to the invention of printing using an engraved copper plate.
Detail of Venus bathing. Copper roller and wood block Printing on cotton, Nantes, 1790
Chinese design, Copper plate printing on coton, Oberkampf factory in Jouy, 1785
"L'Offrande à l'Amour" (detail), Copper plate printing on cotton, Oberkampf factory in Jouy, around 1785
Toile de Jouy
Die echte Toile wird sowohl durch das Druckverfahren als auch durch ihr charakteristisches Dessin bestimmt. Oberkampf war in Frankreich der erste, der Kattun mittels gravierter Kupferplatten bedruckte, was - eine genügend feine Oberflächenstruktur des Stoffes vorausgesetzt - es erlaubte, sehr feingliedrige und sehr anspruchsvolle Muster wie etwa detaillierte figurale oder florale Darstellungen zu drucken. Das Dessin der Toile-de-Jouy ist zweifarbig: auf weißen Stoff wird entweder rot - das ist die typische Farbstellung - oder blau gedruckt. Die Motive sind subtile chinoise oder auch pastorale Szenen, die mit zahlreichen feinsten Ranken- und Blütenarrangements verbunden werden. Die Wirkung entspricht etwa der des typischen Chinaporzellans, wo feine blaue (selten rote) Dekore auf weißen Grund aufgebracht werden. Es dürfte, neben der Verwendung der damals modernen Motivthemen, gerade diese Wirkung gewesen sein, die der Toile-de-Jouy ihren durchschlagenden Erfolg verschaffte. Obschon es in Jouy selbst keine Textilindustrie mehr gibt, werden heute zunehmend die Oberkampfschen Dessins wieder aufgelegt und finden Eingang sowohl in die Oberbekleidung als auch in die (Raum-)Dekoration.
Toile de jouy originated in France in the 1700’s and literally means “cloth from Jouy-en-Josas,” a town in north-central France.
This type of monochromatic pictorial cotton, toile de Jouy, takes its name from the village near Versailles where the first printed textile factory in France was founded. Started by Christophe-Philippe Oberkampf (1738–1815), who had been brought up in the textile industry, the factory began work in 1760. Located in Jouy-en-Josas near the court, it attracted an affluent clientele that appreciated the quality of Oberkampf's fabrics.
Printed multicolored patterns on cloth were achieved at first by use of carved wood blocks. By the 1770s, reproductions of finely drawn engravings of pictorial prints and floral and geometric patterns were made possible through copperplate and cylinder printing. Copperplate printing allowed for designs with a larger repeating pattern than that of block prints, although only in a single color; cylinder or roller printing soon provided the advantage of greatly increased production, although with a narrower repeat on the cloth. Oberkampf introduced these techniques into France and they were adopted by other manufacturing centers such as Mulhouse and Nantes.
Patterns for printing on cotton were created by draftsmen in the early days at the Jouy factory. But in 1783, the year in which Oberkampf acquired the royal license, he employed a Parisian painter, Jean-Baptiste Huet. Responding to general interest in Egyptian civilization stimulated by Bonaparte's expedition, Huet designed this pattern, Les monuments d'Égypte, in maroon on white cotton. Alternating scenes of Alexandria's harbor with the Maison Consulaire de France, the obelisk of Cleopatra with the ruins of the library, the obelisk de la Matharée with the waters of the Nile, and interpretations of other temples and sculpture are interspersed with figures and camels, all dispersed against a latticed ground punctuated by stylized lotus flowers. The motifs (printed in reverse) are derived from eight engravings after drawings by the painter and traveler Louis-François Cassas. The engravings come from a series of 330 by Cassas and published in Gabriel de La Porte du Theil's Voyage pittoresque de la Syrie, de la Phoenicie, de la Palaestine et de la Basse Aegypte (1799).
Source: Jean-Baptiste Huet after a drawing by Louis-François Cassas: Toile de Jouy: Les monuments d'Egypte (X.404) | Heilbrunn Timeline of Art History | The Metropolitan Museum of Art
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