FRENCH SCHOOL of the second half of the 19th century,...

FRENCH SCHOOL of the second half of the 19th century, in the style of the Limoges enamels
Francis I in profile
Portrait, enamel painted in grisaille on black ground with gold highlights and polychrome enamel on copper plate
On the background cardboard, an inventory number " R. 189 ".
Size : 33 x 38 cm, in a frame : 52 x 59 cm
Related literature:
- Anne-Dion Tenenbaum, " La Renaissance de l'email sous la Monarchie de Juillet ", in Bibliotheque de l'Ecole des Chartes, 2005, n� 163-1, pp.145-164.
- Daniel Alcouffe, " La Renaissance des differentes techniques de l'email sous le Second Empire ", in Metiers d'art, July 1978, p.40-47.
- Anne Dion-Tenenbaum, Chapter 4 : " La Renaissance de l'email au XIXe siecle ", Isabelle Biron dir, Emaux sur metal du IXe au XIXe siecle, histoire, technique et materiaux, Paris, Editions Faton, 2015, pp.103-106.
Under the July Monarchy, a new generation of artists sought in the neglected techniques of past centuries a renewal of forms for their creations in the field of decorative arts. The art of enamel, abandoned since the Renaissance, is again showing its colors. It becomes visible thanks to historical research and the desire for a better technical understanding. It also became desirable thanks to the growing interest of collectors of medieval and Renaissance art as well as the revival of forms inspired by these two periods in the creations of goldsmiths, such as Charles Wagner (1799-1841) or Desire Froment-Meurice (1801-1855). In 1845, this enamel fashion even led to the opening of a painted enamel workshop in the famous Sevres factory. The diffusion of this art and its full visibility flourished under the Second Empire, all the factors are present to give this art of fire a place of choice in the field of decorative arts. Until 1900, the production of enamels, triumphantly exhibited at the various Salons and international exhibitions, was characterized by a great variety and high technicality. This magnificent unsigned portrait of Francois I in profile illustrates the magnificence of this art, the predilection for the Renaissance style and the newly identified works of Leonardo Limosin (circa 1505-1575), the most famous Limousin enameller of the 16th century.