order for the weaver, who is presumably not the designer, to have no artistic freedom so as for the designer to be able to design a tapestry cartoon and achieve exactly what they had envisioned as a result. In essence, Lurçat recommends a non-interpretive code in which the weaver would have no question as to what the designer requires of them. Additionally, Lurçat makes it very clear that the idea of fashioning a tapestry after a painting, especially one that had originally been painted with no intention of becoming a tapestry, was to Lurçat misrepresentative and disrespectful to the art form. Expositions in the USSR In 1934, Lurçat returned to New York where he participated in the creation of new decoration and costumes for a choreography of Balanchine; which he unveiled in Chicago and Philadelphia. Then he returned to Paris and Vevey for the summer. At summer's end, he departed for Moscow, where he had an exhibition at the Musée Occidental (Western Museum), then at the museum of Kiev. In 1935, he painted the Dynamiteros in Spain; with inspiration from the revolution and the War of Spain. In Paris, he participated in the activities of the Association of the revolutionary authors and artists. Then, he followed, with Malraux and Aragon, the Journées d'Amité pour l'Union Soviétique (The Journeys of Friendship for the Soviet Union). In 1936, he exhibited in London and released his first tapestry, made at La Manufacture des Gobelins (The Gobelins Tapestry Manufactory, Paris), Les Illusions d'Icare (The Illusions of Icare). In 1937, he met François Tabard. Vision of the apocalypse In 1936, Jean Lurçat was inspired when he saw the tapestry L'Apocalypse (The Apocalypse), which was woven in the 14th century. In 1938, Moisson was sewn. In 1939, he exhibited in New York and in Paris. In September, he took up residence in Aubusson with Gromaire and Dubreuil in order to renovate the art of tapestry, which at the time had fallen to a low point. His innovative technique used a simplified palette and robust weaving at broad point. During this period he abandoned oil painting in favour of poster paints. The Musée National d'Art Moderne (National Museum of Modern Art) acquired Jardin des Coqs (Garden of Roosters) and L'Homme aux Coqs (The Man of the Roosters), of which the cardboard would be destroyed by the SS in 1944 in Lanzac. In 1940, he collaborated with André