Decorative arts with the museum of Orsay (1848-1889)

To combine the Art and the Industry, to adapt artistic creation to the Mechanization and the increasing Industrialization of the company of second half of the 19th century was one of the big challenges taken up by the decorative arts of this period.

Decorative arts, the period 1848-1889

The objets d'art will be produced according to new procedures in a sphere of activity initially called “fine arts applied to industry”, then “industrial arts”, finally “decorative arts”.

In addition to the use of the Steam engine and electricity, some progress of the techniques determines this evolution: the creation of the Laminated , the invention of the decoration by transfer, processes of precious substance imitation as the scale or leather, improvement of the machine tools in the field of the size of wood, the manufacture of continuous paper in that of the wallpaper and the Galvanoplasty in that of the Goldsmithery. Invented by the English Elkington, taken again by Christofle as of 1842, this technique upsets the uses by supporting the massive production of luxury articles hitherto a41dernier $c-b1, e,10 $c-b26 ce $c-b16 $c-b43, bn,84 reserved for an aristocratic elite and from now on economically accessible to a share increasing from middle-class man nouveau riches.

Conscious of the need for establishing a close relationship between the craftsman and the industrialist to allow Paris to fight against foreign competition, author of a famous report/ratio on the World Fair of 1851 entitled Of the union of arts and industry appeared in 1856, Leon de Laborde (1807-1869) underlines the democratic virtues of mechanization:

The intervention of the machines was, in this propaganda of art, one time and the equivalent of a revolution; the average reproducers are the democratic auxiliary par excellence.

Mechanization the advantage of putting to the luxury at the range of a larger number amateurs, but can one offers reconcile the quality of a series production mechanized with that of the single manufactured specimen of the craftsman?

The reaction of the “Arts and Crafts founded Exhibition Society” in 1887, is in this respect significant: to the denounced mediocrity of the industrial production of series, John Ruskin and William Morris want to oppose know-how and excellence exits of the medieval guilds.

Does the industrial design have to be subjected to artisanal esthetics or can it generate induced new forms by the novel modes of production?

This question is in the middle of the concerns of the manufacture of the Frères Thonet which develop a method of working plywood by the vapor as of the Années 1830 (Brevet ée in 1856). But this practical and original furniture is confined with public space and to cross the threshold of the middle-class houses, Michel Thonet must conform to the esthetic codes into force, to introduce ornamentation into its functional pieces of furniture.

Under the impulse of the ideas of the count de Laborde, the question of education to the taste of the citizens, artists and students of art is put, the drawing becomes obligatory discipline in 1878. A teaching of the applied arts to industry develops under the Second Empire and matures under the Third Republic: as of 1877, the National school of decorative arts (become ENSAD in 1925) accommodates its students; then, the school Swell, university of the applied arts, opens its doors in 1886 to train the skilled workers and of the executives in the fields of furnishing, the ornaments and interior decoration.

Historicism and eclecticism

Under the Second Empire, being opposed to a critic affirming that the Opera of Paris (1862-1875), does not have identifiable style, its architect, Charles Garnier, would have claimed that it was of Style Napoleon III. Today, the historians of architecture qualifies it rather floret of eclecticism, a creation based on the quotation of other styles and the loan at other times.

The eclectic step consists in taking in each system what there is the best, to invent, by synthesis, a new form. Is it necessary to fustigate a defect of invention there? It would be to forget that creation, resting on a network of filiations and influences, at all times nourished loans, of copy, references, and quotations. It would be also unjust not to rent the panoramic knowledge eclectic artists at one time when the exposures of collections and the retrospectives multiply. As it would be unjust not to recognize the freedom of these creators ever locked up in a process and always inventive so much the combinative one of the styles is infinite. The néo-styles (neo-gothic, néo-reappearing, néo-rococo,…) openly asserting the genesis of their production by frankly indicating the roots of the history of the styles which feed their steps, a long time lent the side to criticisms of those which practice the worship of new breaking with the past and which reject the néo-styles denounced like pastiches of the past, incompetents to invent an art nouveau. In addition, the will of restoration of the royalty bores through the survival of the styles Louis XIV, XV and XVI, one prefers the tradition with the innovation, perpetuation with the renewal. One does not establish either a difference between the original and the copy, one privileges the authenticity of the style to that of the object. Should one see in the néo-styles only one step passeist and nostalgic?

The contours of the style Louis XV like the persistence of an attraction for the style rubble, in particular with Nancy, for this made rococo of arabesques and curves announce the volutes of the Art nouveau. The nervous lines of the armchairs Louis XV of the Lyons carpenter Pierre Nogaret (1718-1771) Undoubtedly carry in germ the expensive line “whiplash” with Article is necessary it to avoid reducing the movement historicist to the Pastiche, and considering it finally as a crucible where a stylistic rebirth through reactualized forms and of renewed techniques is worked out. The advance of Galle is in this respect specimen.

Orientalism and Japonisme

Continuing its taste for the universal one and the encyclopedic scholarship that the multiplication of the Dictionnaire S, the learned societies attests and the Musée S, the eclectic step overflows logically the borders. Because the attraction of the Occident for the Orient is sharpened by the interest carried to the Moorish Spain, discovered building sites of archaeological excavations, the development of the Colonialisme and the creation of the World Fairs in 1851 which, accommodating about fifty States and a score of colonial countries, appease the curiosity of million visitors.

The first exposure of the kind takes place with London with the Crystal De luxe hotel, the second with Paris in 1855. The political, industrial and economic competition from the England and the France, two powers which are posed in universal models, will also appear in the field of the “applied arts to industry”. England, cradle of the industrial revolution, wants to consolidate its dominant position, and Paris intends to remain at the very least the capital of the luxury goods industries.

The interest carried by the Westerners with Eastern esthetics, in particular at the 18th century, reappears in 1854, when the Japan opens in the world after a two centuries insulation. The Print S, but also the objects, ranges and folding screens, sold until in the Parisian department stores, become popular. It is the vogue of the japonism. In 1862, Japan takes part in the World Fair of London. In 1863, the Impératrice Eugenie installs with the Chinese museum of the Château of Fontainebleau a collection made up of parts plundered in the Palate of summer (1860) and gifts of the ambassadors of Siam (1861). In 1869, a transitory museum Eastern sees the day under the aegis of the central Union of the Art schools applied to the Industry founded in 1864, which becomes the Central Union of Decorative Arts in 1882.

Manufactures

Far from the structure of the workshops of craftsmen, manufactures of artistic industry, also called “houses”, bring together artists and craftsmen in impressive manpower: thus in 1867, the Parisian firm of Racault cabinet work & Kriger count to 500 employees! The house Wheat-Meurice is composed of almost a hundred to employees and as many subcontractors.

active Wheat-Meurice jewellers and goldsmiths of 1794 to 1907 This house is characterized by excellence from its know-how to the World Fairs, in particular in 1851 with the monumental one and invaluable Toilette of the duchess of Parma (1847-1851). For Théophile Gautier, François-Desired Wheat-Meurice (1802-1855) is that which " inspired and led a whole world of sculptors, draftsmen, ornemanists, engravers, enamellers and jewellers… ". Emile Wheat-Meurice (1837-1913), his son, succeeds to him in 1859.

Barbedienne founded in 1839 Ferdinand Barbedienne (1810-1892), bronze editor of art specialized in the counterpart of famous sculptures, owes its fortune with the exploitation of the Colas patent which allows the reduction of volumes out of bronze, their mechanized edition and thus their diffusion with large scales. Barbedienne and Christofle provide the typical examples of a luxurious and inaccessible production made up of exceptional parts being used the image of the house combined with abundant marketing of a series production combining the beautiful one for the useful one, which makes it possible to satisfy the middle-class customers.

Christofle founded in 1830 Charles Christofle (1805-1863) founds a manufacture located at Saint-Denis, where holy Eloi had founded into 635 the first royal workshop of goldsmithery. This one counts more than fifty employees nine years after his creation, but becomes really prosperous after 1842 and the industrial use of gilding and electrolytic silvering. The galvanic facsimile of the Treasury of Hildesheim carried out by this house is visible room 9. Already goldsmith of the king under Louis-Philippe, Christofle sells from now on his goldsmithery to middle-class customers before being supplier of the emperor Napoleon III who orders sets of table linen to him.

Manufacture of Sevres The company Charles Adam, founded in 1738 with the castle of Vincennes, transferred to Sevres between 1753 and 1756, takes the name of Royal Manufacture of Sevres. Become state-owned property in 1793, the radiation of manufacture, specialized in the parts of pageantry, extends under the direction from the chemist and mineralogist Brongniart during first half of the XIXe century.

Manufactures of Limoges The localization limousine of many manufactures is explained by the discovery, in 1768, of an important kaolin layer of great quality in a locality close to Limoges. This component confers on the porcelain whiteness, hardness and translucidity. With the beginning of the year 1850 begins the golden age, about thirty manufactures produce a crockery considered in particular for its white and its technique of the large fire authorizing chromatic subtleties.

Crystal manufacture of Clichy (1842-1895) This crystal manufacture of the Paris region, founded in 1844 per François Rouyer and Louis-Joseph Maës, excellent chemists, competes during second half of the XIXe century with Lorraine crystal manufactures of Baccarat and Saint-Louis, older.

the faience manufacture of Creil and Montereau Founded in 1797, the manufacture of Creil in Paris region, quoted by Gustave Flaubert in sentimental education , develops especially at the XIXe century. After fusion with the faience manufacture of Montereau, the production is estampillée Creil and Montereau.

Painters, sculptors and draftsmen with the service of decorative arts

Which place did one grant to decorative arts at the 19th century relative with the fine arts?
Victor Hugo (1802-1885) section in a poem of the Contemplations entitled “has Mr. Froment Meurice” (1841). Which posture the artists did they adopt vis-a-vis industry at one time when the gap between major arts and minor arts was not so large that it today is affirmed?
Some painters and the recognized sculptors refuse to compromise themselves, others lend an occasional contest while some, such Sévin for Barbedienne or Reiber for Christofle, become the appointed collaborators of a manufacture. What is it then statute of these creations?
Does the Napoleon III of Paul-Charles Galbrunner or the Guerrier Tartar with horse of Antoine-Louis Barye (1855) concern decorative arts or the sculpture?
Their constitution, use of invaluable materials similar to those of use in decorative arts, and their dimensions, that of the objets d'art, make decorative objects of them.

The association of the fine arts and industry appears in the collaboration of the sculptor Emmanuel Frémiet (1824-1910) and of the cabinetmaker Charles Diehl (1811-1885) for the Médailler (1867). Known as animalist sculptor naturalist, Young elephant taken with the trap (1878), Frémiet, raises François Rude, fits in a neo-classic vein when it produces patriotic works, the such Jeanne d' Arc (1874) of the place of the Pyramids in Paris. This equestrian statue is a gilded bronze, like the Saint-Michel embanking the dragon (1897) Mont Saint-Michel or like was the visible elephant on the square of the museum. For the médailler, bronze is this time silver plated. The sculptor Albert-Ernest Carrier-Belleuse associated with Jules-Etienne Dalou decorates the hotel with Païva, Console (1864-1865). The sculptors Jean-Jacques Feuchère and Adolphe Geoffroy-Plows the stubble take share with the realization of the washstand of the duchess of Parma . Antoine-Louis Barye, famous animalist sculptor, produces the mantelpiece ornament Roger and Angélique and Tartar Warrior with horse . The painter and engraver Felix Bracquemond, near to the impressionists and precociously marked by Japanese art, explore the fields of furniture, the tapestry, the embroidery, goldsmithery, glass, of the binding, but it is especially known for the decoration of the set of table linen published by Eugene Rousseau since 1866. The painter Charles Midoux works under the direction of Bracquemond in the workshops of Auteuil of the manufacture of Haviland & Co. The draftsmen, not always resulting from fine arts, trained by the Small school in particular, are important actors of industrial creation.

Fields of decorative arts

Enamel: Vitreous paste - opaque or transparent applied hot to a support of metal, ceramics or glass, the enamel is worked according to three principal processes. The champlevé enamel is obtained by deposit in the hollow parts of a metal, after cooking the unit is smoothed. The partitioned enamel is obtained in the same way but, in this case, the enamel fills of the spaces closed by a band of metal posed song. The painted enamel is carried out on a plate of metal enamelled beforehand in white.

Art of metal: The work of metals (iron, bronzes, copper, brass…) bear the name of goldsmithery when it is practiced on a noble metal (gold, money or platinum). Metal is worked according to some decorative techniques: pushed back (from embossings, the furrows or the reliefs are obtained on a malleable metal), engraving or chiselling (one withdraws matter, by engraving for the lines, in champlevés for surfaces), browning or polishing (realized to obtain effects of chechmate/shining), the gilding and silvering (initially obtained by plating, then by the use of mercury, finally by galvanoplasty an operation who indicates the deposit by electrolysis of an invaluable metal salt in suspension in a bath on an ordinary metal surface with an aim of reproducing medals, currencies, photographic stereotypes, or to obtain the silvering of covers, the gilding of decorative coins and the protection of metals against corrosion), the incrustation (damascening consists in including a wire in another metal), enamelling (niello is a black enamel recovering of the money).

Glass: Two techniques will be opposite at the XIXe century, that of cut glass, traditional and luxurious production, and that of pressed glass, which authorizes the series production by the use of moulds to the complex drawings masking their lack of transparency due to the brutal cooling of a hot paste on a cold mould. Ceramics: This field indicates the production of objects per moulding or modelling of an argillaceous paste cooked later on. Three pastes must be distinguished: tender pastes (terra cotta and pottery), hard pastes (earthenware and sandstone) and translucent hard pastes (porcelains). Manufactures (Sevres, Limoges and Paris) industrialize their production at the XIXe century.

Cabinet work: This field indicates the techniques of assembly of pieces of wood with an aim of carrying out a piece of furniture of value, at the ebony origin realized, an invaluable wood. Wood can be massive, plated or encrusted. Marquetry consists in generating decorations starting from juxtaposed pieces of wood. At the XIXe century, the Saint-Anthony suburb, stronghold of the Parisian cabinetmakers, had a European reputation.

Currents

Orientalism

The Occident convenes the World with the World Fairs while extending its domination on the sphere and by adapting the cultures of last or extra-Western. The denominations which qualify the contemporary artistic production, badly known today, confusedly mix various places, various cultures or times. It is advisable to define them to find clear reference marks. When the term of orientalism is evoked, to which geographical or historical reality does it correspond? About which East does speak one? Undoubtedly this is there the occasion for the teacher of history and geography to bring precise details. Let us note that the East, singularly southernmost, many artists of the XIXe century often indicates the countries of North Africa. Let us notice that the painters orientalists are holding them of the official art, such Gérôme or Gleyre, and that on the other hand, they are the artists rejected by the Living room who develop Japonisme; let us observe that the academic painters use the imagery of the real East or phantasm, while the artists japonisants modify their practices.

Japonisme

Japonisme leads us directly to the Empire of the rising sun. Undoubtedly it is not useless to recall as a preliminary that it is necessary to distinguish the terms from “chinoiseries” and “japonaiseries”, sometimes to pejorative connotation when they are employed to indicate exotic curiosities, term of “Japonisme”. Japan closes itself in the Occident at the time Edo, of 1639 until the middle of the XIXe century. Only Korea, China and Holland preserve contacts with this nation. These two centuries poke the curiosity of the Westerners with regard to a country become relatively secret, the Dutchmen letting filter only rare information and objects, lacquers which the English indicate at the XVIIe century by Japan and ceramics by China. When the era Meiji (1868-1912) begins, the enlightened government of Mutsuhito decides to insert its country the international community and modernity. Why? Probably, the situation of reduced close China in colony pushes it the Emperor not to be undergone but rather to compose with the imperialism of the Western countries. To even imitate it. Because to this period corresponds an expansion colonialist of Japan doubled of a world diffusion of the Japanese culture. The Japanese seduction operates then not only in the field of the forms (styles, reasons) and of the techniques or, more deeply, in that of esthetics.

Japonisme with the museum of Orsay

Theodore Deck (1823-1891), which was director of the manufacture of Sevres initially inspired by orientalism, turns then to the japonism. He has as a pupil Felix Bracquemond appears major of the japonism within decorative arts with Eugene Rousseau, represented by the Fantin-Latour painter in Hommage to Delacroix (1864). The artist, upright with the right-hand side of Manet, overhangs Baudelaire. Object of a malevolent criticism of Edmond de Goncourt, Bracquemond is in fact inspired of Manga d' Hokusai, of prints of this last and Hiroshige to prolong former research intended to bind the decoration to the support. This point of view of Western artist experienced in his research by the discovery of Japanese art is expressed by Pissarro. Because the influence of Japanese art is felt also in painting, as testify some in particular Emile Zola and the lady with the ranges to Edouard Manet, the Beautiful Angele of Paul Gauguin, and the layer of a folding screen dismembered the child with sandpie of Pierre Bonnard, the nabi japonard. Claude Monet and Vincent van Gogh collect the prints which they sometimes put in scene in their tables. Several painters carry out ranges, Maurice Denis for his future wife, the Range known as of Engagement , or paintings in the shape of range: Maximilien Luce Louvre and the New Bridge, the night .

Correspondences with other museums The museum of decorative arts, the Museum Carnavalet and the museum of the fine arts of the Petit Palais.

A visit of the collections of the museum of Orsay: list of 19 works and localization

13 of enter they are the subject of a note at the end of the article

Eclecticism

Charles Diehl and Emmanuel Frémiet, Médailler (World Fair of 1867) room 52 House Wheat-Meurice, Toilet of the duchess of Parma (1847-1851) Room 9 Antoine-Louis Barye, Mantelpiece ornament including/understanding Angelica and Roger assembled on the hippogriffe and the candelabra of the Three Graces (1855-1857) room 52 Crystal manufacture of Clichy, Large vase of ornament (about 1867) room 52

Néo-rebirth

Albert-Ernest Carrier-Belleuse, Jules-Etienne Dalou under the direction of Pierre Manguin, Console of the large living room of the hotel of Païva (1864-1865), room 53 Fannière Brothers, Ewer and basin (1878), room 9

Modern Greek

Pierre-Eugene-Emile Hébert, house Being useful, Table of modern Greek syle (before 1878) room 53 Louis Constant Sévin, Barbedienne House, Rhyton with head of fox (about 1862) room 9

Néo-Byzantine

Louis Constant Sévin, Even House Ferdinand Barbedienne, of large vases of ornament (1862) room 52

Néo-Louis XV

Emile Galle, winter Flora (1879), room 53

Orientalism

Jules flat Old man & Co, Vase-bottle and (about 1878) room 54 Edmond Lachenal, Flat , kind Iznik (1885) room 54

Japonisme

Emile-Auguste Reiber, Christofle & Co, Coffee machine (about 1867) room 53 House of jewelry and goldsmithery E. Strong Wire, Seven parts of goldsmithery (about 1878-1889) room 53 Emile Reiber, Japanese and even Clock of candelabra (1869 -1873) room 53 Theodore Deck, Garden suspended (about 1878) room 54 Fernand Thesmar, Barbedienne House, Cut of ornament (about 1880) room 53 Manufacture Havilland & Co, Paire of vases " billette" (about 1878) room 53 Felix Bracquemond and Eugene Rousseau, Manufacture of Creil and Montereau, Flat round (created in 1866) room 53

Course decorative Arts (1848-1890) with the museum of Orsay - Selection of works

House Wheat-Meurice, Toilet of the duchess of Parma (1847-1851), room 9

under the Wheat-Meurice 1847-1851 direction François-Desired with the collaboration of the Duban architect, of the Feuchère sculptors and Geoffroy-Plows the stubble, the ornemanist Liénard, of the Sollier enamellers, Grisée, Meyer-Heine

Toilette of the duchess of Parma

1847-1851

Paris, museum of Orsay

Ordered in 1845, completed in the 1851 and presented same year to the World Fair of London, the Toilet of the duchess of Parma is a complex unit composed of a table, a mirror, a pair of candelabra, two boxes, a ewer and its basin. Offered by the ladies legitimists of France at the time of the marriage of Charles III, future Duke of Parma, and Louise-Therese de Bourbon, little girl of the king Charles X, this present policy must at the same time evoke marital alliance and the permanence of monarchy. The house Wheat-Meurice answers it in manner symbolic system - faithful ivy Marie to the flower of lily and the pink of France - by associating magistralement the architect Felix Durban (overall concept), the sculptors Geoffroy-Plows the stubble and Feuchère, the draftsman Liénard (engravings, the ewer and of its basin), the Sollier brothers and in Meyer Heine (work of enamels). Ten portraits of famous Frenchwomen represented on each box, in particular White of Castille and Jeanne d' Arc, call on Louise-Therese the talents which one lends to the future duchess. The eclectic unit, associates influences Eastern or reappearing, and the boxes take as a starting point the mountings mosanes by XIIe century and the candelabra by models by the XVIIe century out of bronze.

House Fernand Barbedienne, Constant Sévin, Rhyton with head of fox (between 1860 and 1870), room 9

OAO 1425

Louis-Constant Sévin

House Fernand Barbedienne

Rhyton with head of fox

between 1860 and 1870

money melted, pushed back and engraved

H. 0,19; L. 0,215 Mr.

Paris, museum of Orsay

A rhyton (of the Greek rhuton) is an ancient form, a vase with drinking in the shape of horn or head of animal (cow, ox, lion, wild boar…). In this repertory naturalist, the plant appears by the sheet of acanthus of the Corinthian capitals and the vine evoking Bacchus. Sévin, the sculptor ornemanist inspired here by the modern Greek style, knows well late hellenistic goldsmithery, in addition reproduced by Ferdinand Barbedienne, contractor with whom it maintains the professional and friendly bonds lasting more than thirty years. This invaluable object is not intended for the everyday usage, but dedicated to Béla Wenckheim (1811-1879), Prime Minister of Hungary to his death, the crafty one fox undoubtedly evokes his love of hunting, perhaps even a feature of his character. This object made out of money melted, pushed back and engraved probably knew the hand of the engraver - ornemanist Désiré Attarge (1820-1878) with the service of Barbedienne since 1855 and very appreciated of Sévin.

Fannière Brothers, Ewer and basin (1878), room 9

OAO 1320 and 1321

Fannière Brothers

Ewer and basin

1878

H. 0.419 m (ewer)

D. 0.386 m (basin)

money pushed back and engraved partially gilded

Paris, museum of Orsay

The Fannière brothers, draftsmen, modellers and engravers, are goldsmiths who, contrary to Christofle manufacture turned towards an industrial art, continue to perpetuate an artisanal production with the irreproachable completion. For Ewer and basin, marked by the reappearing models, Auguste and François-Joseph also draw from a broad formal repertory, Islamist, with the vegetable decoration of hellenistic inspiration or rubble. This objet d'art to the naturalism moose, impeccably worked, was one of the noticed masterpieces of the World Fair of 1878.

Louis Constant Sévin, Even House Ferdinand Barbedienne, of large vases of ornament (1862) room 52

OAO 1296 1

Louis Constant Sévin, Even House Ferdinand Barbedienne,

of large vases of ornament

1862

copper, bronzes gilded and champlevé enamel,

H.: 0,787; L: 0,282 m

Paris, museum of Orsay

The art of the enamel, which knows a renewal of favor to the apogee of the Second Empire, fits in the wire of the polychrome ornamentation developed by the industrial arts. The composition of Constant Sévin takes as a starting point the Byzantine decoration. Almost the whole of the surface of the vases is covered by enamels deposited according to the technique medieval with champlevé, but industrialized: the network which partitions the coloured reasons is obtained at the time of the cast iron of the bronze which supports them, which makes it more regular and precis that if it had been formed manually. The stand of the Barbedienne house creates sensation with the World Fair of London.

Antoine-Louis Barye, Charles Cordier, the Boyer founder, the enameller Charles Dotin and the engraver Bolted, Angélique and Roger assembled on the hippogriffe (1855-1857), room 52

OAO 1374

Antoine-Louis Barye, Charles Cordier, the Boyer founder, the enameller Charles Dotin and the engraver Bolted

Angélique and Roger assembled on the hippogriffe

1855, model 1844

bronzes gilded, silver plated and enamelled, marble-onyx

H. 0,59; L. 0,67; Prof 0,37 Mr.

Paris, museum of Orsay

The poet Italian Ludovico Ariosto, known as Arioste, gives to the 16th century, the name of Angelica to the heroin of his poem epic Orlando furioso. Roland likes Angélique, queen of Cathai (China). When this one is removed and threatened by a monster, it is the Roger knight who flies to his help, assembled on the hippogriffe, half horse, half bird of prey. This act of chivalrous bravery starts the fury jealous of Roland. The topic very in vogue of Book X will be in particular put in music by Vivaldi at XVIIIe, then taken again in painting by Ingres and Delacroix. The carved group associated with two candelabra appearing the Three Graces, initially ordered to Barye by the duke of Montpensier, wire junior by Louis-Philippe, composes a mantelpiece ornament. This bronze goldsmithery is the fruit of an ordering of Emile Martin, director of a foundry and associated with the sculptor during twelve years. One notes the collaboration of Charles Cordier, sculptor famous for his polychrome works.

Crystal manufacture of Clichy, Large vase of ornament , about 1867, room 52

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Crystal manufacture of Clichy

Large vase of ornament

crystal and bronzes gilded

H. 0,79; L. 0,415 m

Opening: 0,397 m

Paris, museum of Orsay

Acquired by dation

The crystal manufacture of Clichy-the-Garenne, initially famous for its production of balls greenhouse-paper, becomes one of the florets of the French industry of luxury: the excellence of its crystal coloured competition famous English factories, gipsies and Austrian. The intensity and the purity of the garnet-red color of mineral exempt it of any decoration. The corolla of the flower of bindweed inspires the twinge and the opening of this vase. The gilded bronze mounting, summary procedure with the style rubble in vogue in the years 1860-1880, perhaps produced by the Barbedienne house, watch of the child-tritons and the reeds while appearing of the watery undulations.

Charles Diehl and Emmanuel Frémiet, Médailler (World Fair of 1867), room 52

OA 10440

Charles Diehl, Emmanuel Frémiet

Médailler

1867

cedar, marquetry of drowning, ebony and ivory on frame of oak; bronze and plated copper

H. 2,38; L. 1,51; Prof 0,6 Mr.

Paris, museum of Orsay

Presented to the World Fair of 1867, this piece of furniture, solid mass and monumental, intended to arrange medals, in the section mérovingienne Museum of the Sovereigns created in 1852 by Napoleon III could have been allowed. Indeed, the central low-relief commemorates the victory of the Roman general Aetius to the head of a coalition of Francs and Burgondes over Attila into 451 with the Catalauniques Fields, a battle in which would have taken part Mérovée. The surprising and contrasted reasons abound: two fantastic lizards left a medieval bestiary côtoient detailed oxen, the invaluable marquetry of Diehl runs up against the warlike repertory - trophy of franques weapons and triumph of the winner - put in scene by the Frémiet sculptor.

Felix Bracquemond, Rousseau Service (created in 1866), room 53

OAO 1397

Felix Bracquemond

manufacturer: Creil and Montereau,

Manufacture of Eugene Rousseau (Editor)

Flat round

between 1876 and 1884, model created in 1866

fine earthenware decoration printed and painted under glaze

H. 0,043; L. 0,694; Prof 0,27 Mr.

fine earthenware, decoration printed and painted under lid

Paris, museum of Orsay

Crossing the modes, a set of table linen, known as Rousseau service, fruit of the collaboration of two men, Eugene Rousseau, merchant and editor, and Felix Bracquemond, painter and engraver, gain a success which is prolonged during seven decades. In this round dish, the vegetable and animal reasons, drawn from the Japanese print of the ukiyo-e, in particular of wood engraved of Hiroshige (1797-1858) and Hokusai (1760-1848), compose a repertory of 24 engraved boards with strong water. These forms are the subject of combinative quasi infinite obeying a simple ternary rule: a principal reason, almost systematically, is associated with two secondaries in an asymmetrical way. The reason for lobster was created by Hiroshige in the years 1830. The dwarf eggplants have a choice place in the Japanese gastronomy.

Albert-Ernest Carrier-Belleuse, Jules-Etienne Dalou under the direction of Pierre Manguin, Console of the large living room of the hotel of Païva (1864-1865), room 53

OAO 1323

Albert-Ernest Carrier-Belleuse, Jules-Etienne Dalou under the direction of Pierre Manguin

Console of the large living room of the hotel of Païva

1864-1865

bronzes gilded and patinated, red marble, onyx and alabaster

H. 1.10; L. 1.61; P. 0.58 m

Acquired by dation

Paris, museum of Orsay

This console was in the reception room of the private mansion of a famous courtesan of the Second Empire, the marchioness of Païva, located at the 25 of the avenue of the Fields-Elysées. Built by Pierre Mangin and arranged between 1856 and 1866, this building sheltered, before its dispersion, a furniture carried out with the assistance of the largest artists of the moment and very representative of the interior decoration of the time. Bronze telamones of néo-reappearing inspiration support the onyx and alabaster, marble console. This table of bracket is one of the parts of a decorative unit in which it fitted harmoniously, answering the red marbles of a chimney and developing the cartridges of a skirting against which it rested.

Emile Galle (1846, 1904), winter Flora (1889), room 53

OAO 873

Emile Galle

winter Flora

window: to drown, magnifying glass of amboine, varied wood incrustations, engraved and gilded copper, pane engraved with diamond: H. 2,555; L. 1,28; P. 0,63 m

Paris, museum of Orsay

This invaluable window, whimsical apotheosis of the winter, is one of the pieces of furniture of luxury presented by Emile Galle to the World Fair of 1889. The cabinetmaker composes and cuts down the walnut tree to appear the Lorraine reasons, reserving the amboine, wood of Southeast Asia, with the exotic reasons for magnifying glasses exploited in plating. Galle, already known as ceramist, refers to the style Louis XV. By doing this, it reduces the risk of rejection by its customers of a recent production resulting from its workshops of cabinet work open to Nancy since 1884. In addition, the choice of this style precedes the attraction carried by the artists of the Art nouveau to the curvilinear one. The flora naturalist is declined in the low part in a low-relief of branches of houx and of fir tree which dissimulates a toy drawer, while, facing bragged them, the hellébore, pink of Christmas, appears capping the window or integrated into the marquetry of the various panels. “Tale of hyver/a merry tale? /A sad tale? ”, a free quotation extracted the Tale of Winter of Shakespeare governs the exposure of illustrated publications suitable for the Nativity behind the engraved ices of an artificially frosted window.

Emile Reiber, Japanese and even Clock of candelabra (1869 -1873), room 53

OAO 1360

Emile Reiber, Christofle & Co

Japanese and even Pendule of candelabra

bronzes and coppers patinated, gilded and silver plated, enamel partitioned

H. 0,642; L. 0,572 Mr.

Paris, museum of Orsay

This two candelabrum and mantelpiece ornament made up of a clock created sensation with the World Fair of Vienna in 1873. Of Eastern inspiration, evoking in turn China, Japan and India, this " japonaiserie" or " chinoiserie" is in fact the assembly of a free transcription of the panels of Chinese table, decorative reasons inspired of the Japanese repertory and Indian statuary. It is also a testimony of ambivalent fascination/competition which the Western decorative artists towards their Eastern counterparts test. Moreover the architect decorator Emile Reiber appears in the row of the japonisants of the first hour. The excellence of the founders, enamellers and goldsmiths of the Christofle manufacture been useful by the invention of the galvanic process of damascening authorizes Reiber to develop luxuriant polychrome decorations.

Theodore Deck, Garden suspended (about 1878), room 54

Garden

OAO 1382

Theodore Deck

suspended

towards 1878

earthenware with polychrome decoration

H. 1,075; L. 0,315; Prof 0,14 Mr.

Paris, museum of Orsay

The assembly of this flower stand is of origin. Its form derives from Chinese or Japanese bronzes of the Cernuschi collection observed with the Palate of Industry in 1873 per Emile Reiber, close collaborator to Emile Deck who with the idea to transpose them out of ceramics. With these Asian influences, Deck associates a polylobée cutting evoking the Islamic architecture which points out its former sympathies. The reasons mix the decorative one stylized with the naturalism japonisant with the flowers with chrysanthemums, the flowered branches and the butterflies, with the manners of Japanese ceramics of Kutani. The colors return to the pallet and the technique of partitioned enamels.

Old man and Co, Vase-bottle (about 1878), room 54

OAO 1357

Old man and Co

Vase-bottle

towards 1878

earthenware with enamels in relief

H. 0,57; Diam. 0,31 Mr.

Paris, museum of Orsay

This vase-bottle, which has as a model a bottle out of glass enamelled of XIVe century of Syrian or Egyptian origin, gains a gold medal with the World Fair de1878. Conceived according to a compilation of graphic statements of Adalbert de Beaumont published in Collection of drawings for art and industry, this object was carried out according to the technique of enamels in encircled relief whose manufacture of Bordeaux Vieillard had been made a speciality. It is a testimony of the vogue orientalist which animated the production of the ceramists and glass French of the time.

Elements to prepare a school visit

Objective

This document is a resource making it possible to prepare or exploit the visit. The teachers who reserve a visit with a lecturer of the national museums must consider this card and the proposal of course who accompanies it like indicative, it does not exclude any other course. It belongs to the professors (of the schools, the colleges and the colleges), who wish to take up the duty of lecturer by reserving a free visit, to adapt the contents of this card to the level of their class. The visit must make it possible to the visitors to identify the characteristics stylistics of the period (eclecticism, orientalism and japonism), to discover the particular fields (furniture, goldsmithery, glassmaking and ceramics), to know some major creators and some famous manufactures. The multiplicity of the possible angles of study of this artistic production agrees with a concept of topicality: transversality. A college of professors (applied arts, visual arts, history, letters) can familiarize the pupils with objects which bring into play techniques, forms and matters, falls under the history and nourishes sometimes literary accounts. It is important besides to stress that the objects created required the contest of many know-how. This conjugation of several forms of creation results from association from artists and craftsmen brought together sometimes in a manufacture or house. General objective: to lead the pupil to looking at work and its trust well, to locate works in the history for better including/understanding and appreciating the objets d'art which compose their visit. Particular objectives: to show the strong bond which exists between the production of objets d'art and the developments of industry, to show the stakes (aristocratic artisanal production and democratic serial production; traditional esthetics and industrial design; production of objet d'art like assertion of the cultural or technical superiority of a nation).

teaching Tracks

In class: A point on the state of the colonies and their geographical location, a preliminary knowledge of the historical period concerned are desirable so much the development of decorative arts is related on the industrial revolution in progress, the place occupied by the great powers in the world and to the international relations. In the museum, for each work: To ask the pupil a visual analysis. After screening of the trust: to identify the matters and materials, to indicate the recognized forms, the reasons or the characters, to name the identified styles. After reading of the trust: location of materials on the object, comprehension of the role of each creator in the execution of complex objects.

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