Abstract
Made aware of the challenges of mural painting through his exchanges with Fernand Léger, Le Corbusier discovered tapestry in the 1930s, although he didn't really get to grips with the medium until the 1950s, when he had his cartoons made by Aubusson weavers. Finding inspiration in the figures that formed his post-war pictorial language, Le Corbusier made tapestry one of the components of the " synthesis of the arts " that he advocated, and of which he intended to remain the master. In this respect, his contribution, which he theorized as " Muralnomad ", differed greatly from those of the artisans of the " renouveau " of French tapestry, such as Jean Lurçat, Marc Saint-Saens and Jean Picart le Doux. Outside France, it was with Indian weavers that he forged a most fruitful relationship, notably on the occasion of the immense tapestry of the High Court of Chandigarh.
