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483:, this service was a great success. It was in the third group "furniture and other objects for the home", Class 17 "porcelain, earthenware, and luxury pottery" no. 58, installed on Louis XIII shelves in old oak with velvet stands. Above the counter, the name Rousseau is enameled with fire on a plaque. The jury awarded him a bronze medal (because Rousseau was merchant and not manufacturer). The gold medal was awarded to the manufacturers Lebeuf and Milliet. The service also boasted two novelties: the first was that everyone was free to compose his service according to his tastes and personal use. Rousseau suggested "the barnyard for meat, Crustaceans for fish and flowers for dessert." The second was that the service was adapted to wider circles: "for its sumptuousness to the bourgeoisie, and for its aspect serving as a hunt for the nobility."
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admirable and unique service, decorated by
Bracquemond with Japanese motifs borrowed from the poultry yard and the fish ponds, the most beautiful crockery I have ever known. Each piece, the plates even, wants its special description. I am satisfied, one last time, to claim the priority of Parisian work, picturesque and spiritual on British plagiarism..." . Mallarmé quoted Deck, Collinot and Rousseau, who had "totally renewed French ceramics": "I should particularly mention, as a translation of the high Japanese charm made by a very French spirit, the table service asked, boldly, for the master Aquafortiste Bracquemond: where struts, enhanced with joyous colors, the ordinary hosts of the poultry yard and fish ponds." Mallarmé himself possessed pieces of the service, published during the period 1866–1875.
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476:. Bracquemond made the etchings and the engraved planks used by the manufacture. The proofs were cut and put on the clay to receive the decoration. In the oven, the heat made the paper disappear, leaving only the imprint of the drawing. Then it was painted over and the piece was placed in the large oven.
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The service was then completed (tea cups, coffee, etc.) and the manufacture left to the Creil and
Montereau factory. Barluet, Lebeuf's successor, re-edited it in the early 1880s. In 1885, Eugène Rousseau sold his business to Ernest-Baptiste Leveillé, who continued to publish the service under his own
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notably, noted a "visible decadence" since the
Restoration in the French furniture, testifies to his appeal for this service. He lingered on ceramics for a special praise of Rousseau, whom he defended against his English imitators: "I had refused all allusions necessarily too briefly to this
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and etching about 1853, and played a leading and brilliant part in the revival of the etcher's art in France. Altogether he produced over eight hundred plates, comprising portraits, landscapes, scenes of contemporary life, and bird-studies, besides numerous interpretations of other artist's
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brand. Many reissues or variants followed. Among them, that of the
Manufacture Jules Vieillard in Bordeaux (late 19th century), that of the Crystal Stairs (early 20th century), or even of the faience of Gien
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Unusually for a prominent artist of this period, he also designed pottery for a number of French factories, in an innovative style that marks the beginning of
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In June 1862, he joined the Société des aquafortistes founded by the publisher Alfred Cadart with the help of the printer
Auguste Delâtre. On his advice,
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became close friends with
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woodcuts used as packing around a shipment of
Japanese china, a discovery which helped change the look of late 19th-century art.
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still in reissue. It can also be noted that many pieces of this service are now preserved in various French national museums (
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His work in painting is rather limited. It includes mostly portraits (including that of Dr. Horace
Montegre, and of
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Valérie Sueur, « L’éditeur Alfred Cadart (1828-1875) et le renouveau de l’eau-forte originale », in
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In 1874 Bracquemond participated in the first exhibition of impressionist painters in the workshops of
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in Paris. The latter commissioned him the motifs for a table service, for a project destined for the
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Many artists of the time celebrated the poetry of this service and praised its exceptional decor.
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worked from this date on "The Thirty Six Views of the Eiffel Tower", from 1888 to 1902. In 1891,
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68 pièces de céramique (en août 2015) sont présentées de façon détaillée dans la base
Joconde.
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One or more of the preceding sentences incorporates text from a publication now in the
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Weisberg, Gabriel (September 1976). "Félix
Bracquemond and the Molding of French Taste".
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1867, for the editor François-Eugène Rousseau, is credited with the first expression of
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Eugène Rousseau was convinced and ordered two hundred pieces to be manufactured in
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Félix Bracquemond was born in Paris. He was trained in early youth as a trade
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Bouillon, Jean-Paul (1980). "Remarques sur la Japonisme de Bracquemond".
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423:. Bracquemond then proposed a model which appropriated the themes of the
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began to practice engraving. He greatly helped Manet for his etchings of
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and all the elites residing in Nouvelle Athènes. He also was a friend of
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1304:"Musée d'Orsay, "Art, industry and japonism : the "Rousseau" set""
1149:. Vol. 4 (11th ed.). Cambridge University Press. p. 369.
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for a Japanese dinner, to which this service would have been destined.
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of his grandmother, painted by him at the age of nineteen, attracted
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The Great Wave: The Influence of Japanese Woodcuts on French Prints
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and he worked as a self-taught artist for a long time. In 1856,
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in 1870, giving his works a new orientation that preludes the
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In 1860, he returned first to the workshop of the ceramist
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with whom Bracquemond became friends. He also befriended
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In 1888, Auguste Lepère created with Félix Bracquemond,
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Carine, Girac-Marinier (2011). "De Monet à Turner". In
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L'Impressionnisme et son époque – Noms propres A à T
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Gallica, Gazette des beaux-arts, 1905, pp. 142 à 143
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43:; 22 May 1833 – 29 October 1914) was a French
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1442:(in French). Vol. 2. Paris: Robert Laffont.
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1010:The Gallic Cock--Long Live the Czar!
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561:of 1865, destroyed by the artist.
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1607:20th-century French painters
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301:Friend of the Impressionists
230:Terrace of the Villa Brancas
181:Jean-Louis-Ernest Meissonier
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189:Jean-Baptiste-Camille Corot
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40:[feliksɑ̃ʁibʁakmɔ̃]
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1381:Category:Marie Bracquemond
1208:Metropolitan Museum of Art
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96:He was the husband of the
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1544:Three Women with Parasols
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1438:Monneret, Sophie (1987).
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1528:On the Terrace at Sèvres
1270:, accessed 4 April 2014)
208:Jules Barbey d'Aurevilly
67:to use this technique.
1146:Encyclopædia Britannica
812:L'Illustration Nouvelle
573:Du dessin et la couleur
474:Creil-Montereau faience
456:Creil-Montereau faience
327:Boulevard des Capucines
196:Auguste Poulet-Malassis
32:Félix Henri Bracquemond
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543:James McNeill Whistler
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1360:Henri Fantin-Latour,
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1333:Henri Fantin-Latour,
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969:Fables of La Fontaine
594:He was honored as an
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1189:antimuseum.online.fr
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559:Toast with the Truth
242:Jean-François Millet
204:Théodore de Banville
1335:Hommage à Delacroix
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602:Gabriel P. Weisberg
551:Hommage à Delacroix
547:Henri Fantin-Latour
429:Henri Fantin-Latour
275:L'Estampe originale
238:Jean-Baptiste Corot
1342:2018-10-21 at the
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537:A close friend of
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1536:The Lady in White
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1027:L'Estampe Moderne
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810:Frontispiece for
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1399:
1394:, p. 76
1387:
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1328:
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1298:
1287:
1275:
1225:
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1197:
1191:(in French).
1188:
1179:
1160:
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1144:
1110:, p. 75
1091:, p. 74
1061:
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947:Portrait of
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150:
147:Paul Meurice
144:
119:lithographer
116:
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1632:1914 deaths
1627:1833 births
1432:Works cited
1062:Portrait of
1046:Léon Cladel
1043:Portrait of
928:Portrait of
611:He died in
413: [
363:The Willows
250:Edgar Degas
216:Félix Nadar
93:in France.
61:Edgar Degas
1591:Categories
1073:References
751:), 1860–98
468:in France.
377:Ceramicist
359:Les Saules
311:lithograph
161:d'Alembert
113:Early life
53:printmaker
1572:(husband)
1512:Paintings
1256:cite book
1248:866801730
1030:, 1897–99
992:L'Artiste
829:Falguière
775:L'Artiste
598:in 1889.
499:, etc.).
465:japonisme
395:Japonisme
315:Landscape
176:engraving
108:Biography
91:Japonisme
1408:: 64–66.
1340:Archived
1222:Larousse
1168:Archived
997:May 1891
915:ca. 1882
672:1872–80
591:(1888).
587:(1882),
583:(1882),
511:Mallarmé
425:Kachô-ga
391:Kachô-ga
371:The Wall
283:Valloton
141:Engraver
131:portrait
121:, until
100:painter
1563:Related
1406:ARTnews
1309:May 18,
1224:(ed.).
1134::
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881:), 1873
877:(after
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606:Hokusai
527:Limoges
387:Hokusai
309:Colour
287:Gauguin
259:Olympia
169:Hokusai
157:Diderot
83:etching
45:painter
1555:(1887)
1547:(1880)
1539:(1880)
1531:(1880)
1523:(1880)
1446:
1368:Louvre
1364:, 1865
1337:, 1864
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989:, for
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934:, 1882
898:, 1881
879:Turner
862:, 1872
847:, 1870
832:, 1870
814:, 1867
798:, 1865
770:Vernet
711:La Mer
613:Sèvres
545:, and
441:Sèvres
367:Le Mur
351:Ingres
347:Turner
293:while
127:Ingres
85:, 1852
51:, and
49:etcher
1230:Paris
417:]
383:Manga
355:Manet
323:Nadar
25:Nadar
1444:ISBN
1311:2023
1262:link
1244:OCLC
1234:ISBN
557:and
341:and
262:and
252:and
187:and
159:and
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