. A history and description of the old French faïence, with an account of the revival of faïence painting in France. nto partnership with his brother-in-law, Laugiers, andin 1738 they started a factory in which special attention wasgiven to the production of polychrome patterns. Their worksstood at the Pourtau Deis Oulo, or gate of the potteries; aname v,^hich by-the-bye, implies that common potters had longbeen settled on the spot. To Olerys are due the elaborate pieces on which we seemedallions crowded with minute figures, and engarlanded withwreaths of small flowers. The subjects, usually t
. A history and description of the old French faïence, with an account of the revival of faïence painting in France. nto partnership with his brother-in-law, Laugiers, andin 1738 they started a factory in which special attention wasgiven to the production of polychrome patterns. Their worksstood at the Pourtau Deis Oulo, or gate of the potteries; aname v,^hich by-the-bye, implies that common potters had longbeen settled on the spot. To Olerys are due the elaborate pieces on which we seemedallions crowded with minute figures, and engarlanded withwreaths of small flowers. The subjects, usually traced in blue,are coloured with light and dark yellow, a faint purple, and apale green, obtained by a mixture of blue and yellow. Occa-sionally touches of an opaque red, very inferior to the redemployed at Kouen, are sparingly introduced. In these poly-chrome specimens the painting is executed with great deHcacyupon a white glaze as remarkable as ever for its gloss andlimpidity. Nevertheless, owing to the want of power of thecolours at the disposal of the painter, the general effect is |decidedly weak and 0 « g § I 1^ MOVSTIEES. 91 To the same master is also ascribed the introduction ofthe grotesque style. The dishes and jugs, studded all over thegroundwork with comical personages and nondescript creatures,borrowed from the caricatures of J. Callot, or born out ofthe froKcsome imagination of some local artist, appear to havehad a long run of success. They are generally painted incamaieu, either purple, gTeen, or dark yellow; they coincidewith the decline of faience painting. The partnership between Olerys and Laugiers was dissolvedin 1749; from that year Olerys, unable to start again in business,worked as a painter for the chief manufacturers up to 1783, thedate of his death. His mark was an 0 crossed with an L. Asthe ware he marked in that way covers a rather long period, itcomprises specimens of very unequal value, some being of thehighest order, many others of the
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Keywords: ., bookcentury1900, bookdecade1900, bookpublisherlondo, bookyear1903
