As in the other arts, after the introduction of the Renaissance, France imitated Italy in the making of pottery and porcelain, but native talent soon asserted itself and a truly French character became noticeable.
The earliest of the famous French potters was Bernard Palissy (1510-1502), a great designer and painter on glass who first made pottery in imitation of metal work and later originated designs in fantastic and grotesque forms, using reptiles, masks, leaves, (flowers, fossil shells and other rustic forms which were modeled in relief on plates, pitchers and useful articles.
He spent many years of his life in discovering and improving enamel which he considered a satisfactory coating for the rustic pottery which was so remarkably modeled. This pottery is very rare and only found in museums. It is often found to be reminiscent of the design of early wood burning fireplaces.
Italian majolica was first introduced into France about 1692, and reproductions of it were known as French faience. In the city of Nevers the Italian pottery was indifferently copied, and gradually Persian and other Near Eastern influences were seen in the decorative motifs. Another locality of early faience was in the city of Rouen, where manufacturing was started about 1644.
The faience made in this city became more delicate and refined in quality and also in the character of the designs used. Many of the designs for platters were arranged in a graceful radiating pattern of small blue, green or yellow flowers on a cream background. We also find arabesque, Lambrequin, cornucopia and sheath and arrow patterns. Rouen pottery had a great influence in the popularizing of this material for household use.
During the latter part of the 18th century, faience was also made at Mousliers, Marseilles. Sceaux. Strasbourg, and St. Cloud, all of which reflected the decorative designs of the day, particularly in the naturalistic flower patterns rendered in the Louis XVI manner. The supreme effort of the French porcelain makers, however, was centered in the factory of Sevres situated on the outskirts of Paris.
This factory received financial support from the French kings beginning about 1756 under the reign of Louis XV. To thoroughly appreciate Sevres porcelain, we must think for a moment of the glorious days of the court life of France. It was Madame de Pompadour, the favorite of the King, who assisted so much in producing its brilliant results.
It was she also who encouraged the artists and urged the chemists to experiment with various local clays which ultimately led to the discovery of kaolin in Germany, the missing element that was necessary to make true porcelain in Europe. After the discovery of this new material, the secret soon spread over all Europe, and. from this period on, we find that the production of pottery and soft-paste porcelain decreases and the making of true hard porcelain increases, which in turn made porcelain fireplace design ideas more feasible.
The designs and decorations on Sevres porcelains during the reign of Louis XV show the subtle curves that are seen in other contemporary forms of art. Delicate pastoral scenes in pastel shades and chinoiserie designs painted in miniature were framed in the most exquisite background colors of bleu du roi, turquoise, canary yellow, apple green, Rose Pompadour, and a profusion of gold. The Sevres factory is still in operation under French Government control, and is now introducing a great variety of porcelain forms in design and craftsmanship in a modern decorative character.
Sarah Martin is a freelance marketing writer based out of San Diego, CA. She specializes in home improvement, interior design, and fireplace design ideas. For the best in hardwood moulding on wood burning fireplaces, please visit http://www.ferche.com/.
