Andre Maurice
Maurice André (1914-85, France) settled in Aubusson for the duration of the second world war. A founding member of the group “Tapisserie de France” and a member of the A.P.C.T. (Association des Peintres-Cartonniers de Tapisserie), he developed a personal style, different from that of Lurçat, characterised by rigorous, cubist-influenced flat areas of colour, often using a limited palette ; he received large-scale public commissions for the Council of Europe in Strasbourg (“L’Europe unie dans le Travail et la Paix”) or for the French pavilion at the Brussels Exhibition in 1958 (“La Technique moderne au service de l’Homme”). Gradually (as with Wogensky and Prassinos,…) his style evolved towards more abstraction, firstly lyrical and then more and more geometric, in a way very similar to Matégot.
Characteristic of André’s final period, the geometric shapes and flat areas of colour are tempered by hatching, stripes and shading.
莫里斯·安德烈（MauriceAndré，1914-85，法国）在第二次世界大战期间定居在奥布森。 “法国啤酒厂”小组的创始成员和A.P.C.T.的成员（Peintres-Cartonniers de Tapisserie协会），他发展了与Lurçat不同的个人风格，其特征是严格的，受立体派影响的平坦色彩区域，通常使用有限的调色板；他曾在斯特拉斯堡的欧洲委员会（“ L'Europe unie dans le Travail et la Paix”）或法国在1958年的布鲁塞尔展览会的法国馆接受大型公共委员会（“现代技术服务”） ”）。渐渐地（与Wogensky和Prassinos一样），他的风格逐渐演变为更加抽象的风格，首先是抒情的，然后是越来越几何的，这与Matégot非常相似。 安德烈（André）最后一期的特点是，阴影，条纹和阴影会缓和颜色的几何形状和平坦区域。
