linguistic:translation
Jacquard tapestries, colour and the human eye

The term tapestry may also be used to describe large figurative weft-faced textiles made on Jacquard looms. Before the 1990s tapestry upholstery fabrics and reproductions of the famous tapestries of the Middle Ages had been produced using Jacquard techniques but more recently, artists such as Chuck Close, Patrick Lichty, and the workshop Magnolia Editions have adapted thecomputerised Jacquard process to producing fine art. Typically, tapestries are translated from the original design via a process resembling paint-by-numbers: a cartoon is divided into regions, each of which is assigned a solid colour based on a standard palette. However, in Jacquard weaving, the repeating series of multicoloured warp and weft threads can be used to create colours that are optically blended – i.e., the human eye apprehends the threads' combination of values as a single colour.

This method can be likened to pointillism, which originated from discoveries made in the tapestry medium. The style's emergence in the 19th century can be traced to the influence of Michel Eugène Chevreul, a French chemist responsible for developing the colour wheel of primary and intermediary hues. Chevreul worked as the director of the dye works at Les Gobelins tapestry works in Paris, where he noticed that the perceived colour of a particular thread was influenced by its surrounding threads, a phenomenon he called "simultaneous contrast". Chevreul's work was a continuation of theories of colour elaborated by Leonardo da Vinci and Goethe; in turn, his work influenced painters including Eugène Delacroix and Georges-Pierre Seurat.

The principles articulated by Chevreul also apply to contemporary television and computer displays, which use tiny dots of red, green and blue (RGB) light to render colour, with each composite being called a pixel.