DOI Heft:
No. 18 (September, 1894)
DOI Artikel:H., C.: The Renaissance of the potter's art in France
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17190#0199
The Renaissance of the Potter s Art in France
designs vied alone in variety and beauty with the reproduce. Both are made of stoneware over
colour effects. M. Massier, who has kindly sup- which red and other coloured glazes are employed,
plied The Studio with some particulars respecting the decoration being modelled in relief in porcelain
his pottery, says that he especially counts for his directly upon the earthenware base. The technical
effects upon the chance results obtained in the difficulties overcome in objects of this nature are
firing. His labour is largely given, as it were, in very great, and all honour is due to M. Dammouse
the anticipation of the for the excellent work
never able (nor desirous, * study of old Chinese
we presume) to produce / . and Japanese art pottery
two pieces quite alike. L. a** has had something to
reproduce a few exam- ^^^^^^^^^^^^^^^^^^^^^^^^^ " Chajin" — are speak-
ples. But it is impos- earthenware jar by a. bigot ing through the medium
sible to do anything like of the objects made
justice in black and white to the beauty of the under their direction in old times to the potter-
originals, which depend so much for their charm artists of to-day, and instilling into them some-
upon the exquisitely fine and reserved colouring thing of that unassuming refinement which was
of the glazes. the very essence of their cult.
The whole of his exhibit, M. Bigot tells us, was This influence may be traced in many of the
modelled by his own hands. He uses a natural objects exhibited at the Salon this year, and we are
earth which requires the temperature of hard por- glad to see it; for it is high time that the potter
celain to vitrify. The general hue of the pieces should take his position as an Art-craftsman
shown by him is of a yellow cast, discreetly height- amongst us, and throw off his servitude to the
ened by touches of white, blue, green and red. painter-decorator.
One of the notable characteristics of M. Bigot's We shall watch with interest—and perhaps with
glazed pottery by a. bigot
work is the application of a new discovery made by some anxiety—the outcome of this new move-
him, consisting of an enamel or glaze possessing ment. We hope it may gather strength with
the property of crystallising in needles of several years, and not become stifled with the commercial-
centimetres in length. ism that has overtaken some similar efforts in
M. A. Dammouse, of Sevres, has sent us sketches England. If we want true Art we must not
of two vases which formed portion of his recent expect to get it from machinery, either mechanical
exhibit in the Champs de Mars, and which we here or human. C. H.
181
designs vied alone in variety and beauty with the reproduce. Both are made of stoneware over
colour effects. M. Massier, who has kindly sup- which red and other coloured glazes are employed,
plied The Studio with some particulars respecting the decoration being modelled in relief in porcelain
his pottery, says that he especially counts for his directly upon the earthenware base. The technical
effects upon the chance results obtained in the difficulties overcome in objects of this nature are
firing. His labour is largely given, as it were, in very great, and all honour is due to M. Dammouse
the anticipation of the for the excellent work
never able (nor desirous, * study of old Chinese
we presume) to produce / . and Japanese art pottery
two pieces quite alike. L. a** has had something to
reproduce a few exam- ^^^^^^^^^^^^^^^^^^^^^^^^^ " Chajin" — are speak-
ples. But it is impos- earthenware jar by a. bigot ing through the medium
sible to do anything like of the objects made
justice in black and white to the beauty of the under their direction in old times to the potter-
originals, which depend so much for their charm artists of to-day, and instilling into them some-
upon the exquisitely fine and reserved colouring thing of that unassuming refinement which was
of the glazes. the very essence of their cult.
The whole of his exhibit, M. Bigot tells us, was This influence may be traced in many of the
modelled by his own hands. He uses a natural objects exhibited at the Salon this year, and we are
earth which requires the temperature of hard por- glad to see it; for it is high time that the potter
celain to vitrify. The general hue of the pieces should take his position as an Art-craftsman
shown by him is of a yellow cast, discreetly height- amongst us, and throw off his servitude to the
ened by touches of white, blue, green and red. painter-decorator.
One of the notable characteristics of M. Bigot's We shall watch with interest—and perhaps with
glazed pottery by a. bigot
work is the application of a new discovery made by some anxiety—the outcome of this new move-
him, consisting of an enamel or glaze possessing ment. We hope it may gather strength with
the property of crystallising in needles of several years, and not become stifled with the commercial-
centimetres in length. ism that has overtaken some similar efforts in
M. A. Dammouse, of Sevres, has sent us sketches England. If we want true Art we must not
of two vases which formed portion of his recent expect to get it from machinery, either mechanical
exhibit in the Champs de Mars, and which we here or human. C. H.
181