My husband Nazim Artist created this beautiful graphite and mixed media drawing on watercolor paper this week. Here he expresses the urge that compelled him to make this 22 x 30 inch art work!
“This drawing is a graphic exploration of ancient myths. Here the Lady and the unicorn is offered an abstract dynamism in form eluding to the rhythms and themes found in Medieval tapestries.”
~ Nazim Artist
I loved the book the Lady and the Unicorn, by Tracy Chevalier so much that when I was in Bruge in Belgium I purchased a small tapestry which is a reproduction based on one of them from the famous Unicorn Tapestry collection. My husband Nazim and I listened to the book on audio together on a trip last year.. we never know what it is that sparks an artist to create a new image and whatever it was that sparked it I am eternally grateful to it as I now have Nazim’s beautiful drawing to look at every day and I like it even better than my little tapestry!
“I didn’t move. I’ve learned from years of experience that dogs and falcons and ladies come back to you if you stay where you are.”
― Tracy Chevalier, The Lady and the Unicorn
Wikipedia offers us this: The Lady and the Unicorn (French: La Dame à la licorne) is the modern title given to a series of six tapestries woven in Flanders of wool and silk, from designs (“cartoons“) drawn in Paris in the late fifteenth century, The suite, on display in the Musée du Moyen-Âge, is often considered one of the greatest works of art of the Middle Ages in Europe.
Five of the tapestries are commonly interpreted as depicting the five senses – taste, hearing, sight, smell, and touch. The sixth displays the words “À mon seul désir“. The tapestry’s meaning is obscure, but has been interpreted as representing love or understanding. Each of the six tapestries depicts a noble lady with the unicorn on her left and a lion on her right; some include a monkey in the scene. The pennants, as well as the armor of the Unicorn and Lion in the tapestry bear the arms of the sponsor, Jean Le Viste, a powerful nobleman in the court of King Charles VII.
The tapestries are created in the style of mille-fleurs (meaning: “thousand flowers”).
The tapestries were rediscovered in 1841 by Prosper Mérimée in Boussac castle (owned at the time by the subprefect of the Creuse) where they had been suffering damage from their storage conditions. Novelist George Sand brought public attention to the tapestries in her works at the time. The cycle is currently held in the Musée de Cluny (Musée du Moyen-Âge), Paris (France), where it has resided since 1882.