Enamels Of Limoges

Treasuries of France, and other sources. The works of Limoges were created for important ecclesiastical and royal patrons. The wealth of enameling preserved from the Treasury of the abbey of Grandmont, just outside Limoges, is due chiefly to the Plantagenet patronage of Henry II and his queen, Eleanor of Aquitaine. Enamels created during their reign resonate with the elegant style of the court, and the dramatic history of Henry's monarchy is evoked by such works as the.

The collection of enamels in the Los Angeles County Museum of Art comprises forty-five works by many of the major enamel painters of the Renaissance.The museum's collection is catalogued in detailed entries that include photographic documentation of all decorated surfaces, as well as comparative illustrations of the printed sources from which the images were derived.

It is very hard not to be seduced by the allure and magic of the enamels of the Art Deco period, particularly by the art that came out of the Fauré workshop: whether blooming flowers in their brazen natural state or detailed geometric patterns, it is always a pleasing experience. The hard, shiny surface of enamelled metal, the intensity of its colours, and the technique of sculpting volumes and geometrical forms in the enamel itself - a technique for which the Fauré workshop was famous - are all expressions of the vitality of Art Deco. Limoges has been the centre of enamelling for centuries, with workshops in existence since the end of the 12th century. During the early 20th century the Art Deco style was embraced by enamellers; at the forefront of this style revolution was the workshop of Camille Fauré, which produced some of the finest enamelled art objects of the period. The superb quality of the Fauré creations gave the firm a reputation that has lasted for decades. For Fauré, workmanship was the most important factor in the atelier. Great effort was given to detail, composition and beauty. Time was of no importance. The end product was paramount. If a piece was allowed to leave the Fauré workshop and be offered for sale, one could be sure that it was absolutely perfect. With over 200 colour images of collectors' pieces, Camille Fauré, Limoges Art Deco Enamels, The Geometry of Joy lavishly illustrates the vibrancy and brilliance that emanated from the Fauré Atelier. Painstakingly researched, as well as detailing Camille Fauré's biography, his family life and the history of his famous company, this beautiful book explains many of the enamelling techniques, lists and displays the various vase shapes and illustrates original patterns. A half-century has gone by since Camille Fauré's death, and almost twenty years since the Fauré enamel workshop closed its doors for good. Yet today, Fauré enamels are more sought-after than ever. They are prized for their beauty, for the superb quality of their workmanship and their quintessential embodiment of the Art Deco aesthetic. And at the heart of their unique vibrancy, their bold harmonies of colour and form, their generous volumes and dancing rhythms, lies the essence of the Fauré style: the geometry of joy. Illustrations of over 200 vases and other objects, including those from never-before-seen private collectionsIllustrations of over 200 vases and other objects, including many from never-before-seen private collections Unique insight into Fauré's records, which were kept by the family and artists who worked at his studio 320 col., 45 b.&w.

A sumptuously illustrated book featuring 46 examples from The Frick's remarkable collection of French fifteenth-, sixteenth and seventeenth century enamels.

* The tryptichs, that for the occasion have undergone extensive conservation work, will be housed from June 2022 in a new air-conditioned showcaseThe French city of Limoges was world famous for the production of champlevé enamels during the Middle Ages. During the Renaissance a revival of Limoges enamels took place, but the technique employed was that of painted enamel. Triptychs with a sacred subject, conceived as a painting but shining like jewelry and built with durable materials, became popular. The three works held at the Bargello National Museum in Florence are attributable to Nardon Pénicaud (1470-1542), a primary artist with an active workshop. The three enamel paintings came from the famous collection of Louis Carrand, a Lyon antiquarian, who donated them to the Bargello in the 19th century. Their story is told in Ilaria Ciseri's essay. Paola Venturelli analyses the historical and artistic aspects of the works and places them in the context of contemporary enamel production. The final contributions from the Opificio delle Pietre Dure address the conservation of the three delicate enamels and analyzes materials and pigments.