Vase ca. 1735 Meissen Manufactory German Very few painters working at Meissen under Johann Gregorius Höroldt (German, 1696–1775) developed a distinctive, recognizable style, in part because the type of chinoiserie decoration implemented by Höroldt in the early 1720s evolved into a factory style in which the hands of individual artists were difficult to detect. Among the few artists whose work stands out from that of his peers is Adam Friedrich von Löwenfinck (German, 1714–1754). His stay at Meissen was relatively short but nevertheless very influential in terms of creating a particular style o

Vase ca. 1735 Meissen Manufactory German Very few painters working at Meissen under Johann Gregorius Höroldt (German, 1696–1775) developed a distinctive, recognizable style, in part because the type of chinoiserie decoration implemented by Höroldt in the early 1720s evolved into a factory style in which the hands of individual artists were difficult to detect. Among the few artists whose work stands out from that of his peers is Adam Friedrich von Löwenfinck (German, 1714–1754). His stay at Meissen was relatively short but nevertheless very influential in terms of creating a particular style of chinoiserie decoration. Löwenfinck joined the factory in 1727 at the age of thirteen to apprentice under Höroldt, and by 1734 he had completed his training.[1] Löwenfinck left Meissen in October 1736, perhaps due to frustration with his compensation as determined by Höroldt.[2] After his departure, Löwenfinck worked for a number of faience factories in Germany, beginning with one in Bayreuth, and it is the few works in faience bearing his signature that provide the basis for attributions to his hand on Meissen his brief tenure at Meissen, Löwenfinck developed a manner of painting that relied strongly on line, with an emphasis on contour, as opposed to the subtle shading that was characteristic of Höroldt’s painting style.[3] The graphic quality of Löwenfinck’s style, coupled with his use of areas of saturated color, gives his work a highly ornamental quality that is immediately distinguishable from Höroldt- style chinoi-series, where volume, a sense of pictorial depth, and atmospheric effects are emphasized. The prints of the Dutch artist Petrus Schenk (1698–1775) have often been cited as an influence on Löwenfinck, who copied some of Schenk’s compositions.[4] and Chinese famille verte (of the green family) porcelains, with their strong sense of pattern and linearity, have been recognized as an influence as well.[5] Stylistic elements fro

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