Émile Gallé. Émile Gallé
nfidential Concepts, worldwide, USA
© Parkstone Press International, New York, USA
Introduction
Pitcher, c. 1878. Faience, yellow flakes, white tin glaze, height: 45 cm, width: 38 cm, depth: 19 cm. Landesmuseum Württemberg, Stuttgart.
“Chasseur et Chasseresse” coffee service, 1882–1884. Faience, yellow flakes, blue tin glaze, coffee pot: height: 26.5 cm, width: 22 cm, depth: 15 cm. Musée de l’École de Nancy, Nancy.
During the end of the 19th century, Western Europe experienced a great rebirth and reinvigoration in decorative arts, with a focus on the imitation of nature. In fact, in the 1860s, vital scientific works (by Haeckel, Kommode, Blossfeldt, etc.) were published, offering the new art a repertoire of forms, and directing it towards a path of modernity. At the same time, a taste for Japanese art started to develop, seen through personalities such as Hayashi Tadamasa, an art dealer, who set up residence in France, enabling Western Europe to discover Japanese modes of production. Japanese art is based on the observation of nature, on the poetic interpretation of natural forms. Science and art displayed a similar move towards renewal during the 19th century.
This went hand in hand with an artistic awakening of nationalities throughout Western Europe. It was no longer a question of the past nor foreign taste. Instead each nation developed its own aesthetic. Above all, functionality became a priority in arts, decorative embellishments were reduced and useful decoration and objects moved to the foreground. Such art was forbidden during the century through various trends: “[this century] had no folk art” said Émile Gallé in 1900. In the 1870s to the 1880s, their forces returned. What was seen as superfluous in the past was revived in the field of arts. All these events occurred in Western Europe at the same time, and led in the late 19th century to the birth of Art Nouveau, a name that perfectly reflected the innovativeness of the art movement. Although an overall stylistic similarity existed, the formal development of Art Nouveau varied from land to land.
The 1889 World Exposition in Paris reflected the scale of the influence of Art Nouveau, exposing a complete image not only of the various areas of production, but also of the national tendencies. Art Nouveau exploded in France in 1895 in a similar way that Alphonse Mucha’s placard for Sarah Bernhardt in the role of Gismonda caused a sensational uproar. In December of the same year, Siegfried Bing, an art dealer with German ancestry but French nationality, opened a gallery entirely devoted to Art Nouveau and played a significant role in the diffusion of the movement.
“Fleurs ornemanisées”, four bowls, “Animaux héraldiques” service, 1884. Faience, grey flakes, blue tin glaze, height: 3.5 cm, width: 22 cm, depth: 19 cm. Landesmuseum Württemberg, Stuttgart.
In the realm of decorative arts Émile Gallé (1846–1904) – a Nancy-born glassmaker, carpenter, and ceramicist – acquired over the decade much fame with his Art-Nouveau-style art pieces. He incorporated his passion for botany in his father’s trade of pottery and glassware in 1877. His inspiration came from nature and from the works of Japanese artists, which he collected. He developed new techniques, filed patents, and directed various steps in the process of development, a legacy in the industrial revolution in his workshops. During the 1889 World Exposition, Gallé received three awards for his entries. He then acquired the epithet homo triplex from the critic Roger Marx.
In 1901, together with Victor Prouvé (1858–1943), Louis Majorelle (1859–1926), and Eugène Vallin (1856–1922), he founded Alliance Provinciale des Industries d’Art, also known as École de Nancy. Their goal was to eliminate the separation between disciplines: there should no longer exist a distinction between experienced and unexperienced artists. Nature is the foundation of their aesthetic, seen through the creation of flower and plant stylisation. After Art Nouveau reached its peak in 1900, he quickly disappeared from the world of art. In contradiction to his major speeches, Art Nouveau is a luxury style, difficult to reproduce on a large scale. The First International Exhibition of Modern Decorative Arts in Turin of 1902 indicated that a new art movement was already underway: Art Deco.
Lover of Nature
Stationery holder, c. 1878. Faience, yellowish flakes, white tin glaze, height: 13.5 cm, width: 34 cm, depth: 20.5 cm. Landesmuseum Württemberg, Stuttgart.
Daisies inkwell, before 1872. Faience, yellow-reddish flakes, white tin glaze, height: 6.5 cm, width: 7 cm, depth: 7 cm. Landesmuseum Württemberg, Stuttgart.
Miniature commode, before 1872. Faience, yellow-reddish flakes, white tin glaze, height: 13.5 cm, width: 23 cm, depth: 14.5 cm. Landesmuseum Württemberg, Stuttgart.
The Best is the Enemy of the Good
The constant need to create something new makes us sometimes forget the rules of taste and aesthetics. Have we not witnessed before, people raving about this nonsense: a green rose! A green rose is not a rose, it is a Brussels sprout.
This desire to innovate, based on commercial requirements, would eventually cause the undoing of nature’s charm, replacing grace with stiffness. Out of this flower called violet, we make a wallflower and we rejoice.
Thus we can see one of our excellent and distinguished colleagues in the horticultural press write the following odd lines, about the bearing of one of the most graceful plants: “If I have one criticism to make about the genus Fuchsia, it would be about the pendulous, ‘tear-drop’ shape of the flowers, which means that we can see them only from underneath, making them unsuitable for bouquets.” Hence, he advocates an old form Fuchsia erecta of which he gives a sample. “Look at these massive rods, swollen, abnormal, these stiff stems, called ‘made of iron’, then you will get a sense of what, sometimes, disturbed by intensive farming, nature had done so well to be seen from the bottom up.” The florist Garo “can obtain something ugly with one of the most beautiful, the most dainty floral arrangements, these tiny threaded bells, these coral and garnet pendants, these ‘earrings’ as pointed out by our good friend Carrière.” Little did he know just how right he was when the famous Parisian jeweller, Lucien Falize, created those earrings one day, with rubies and diamonds, the most exquisite ornaments, for the ears of a princess of the Arabian Nights.
The horticultural selector needs a natural taste originating from a sincere admiration, to be passionate of natural masterpieces. His role is not to alter, to distort in a counter-aesthetic way to unbalance ungracefully the natural characteristics of a genre, but to exalt only those that are decorative, stylish, and to bring them to their supreme beauty. The sower of fruit who would make the other earring, this delightful gem, out of a cherry, from the branch to the lips, an artificial fruit, set up on a tight wire, would it not deserve to be hanged on its tree?
Fortunately, the public is resistant to certain innovations. See how happily they discovered again in the exhibitions, among the collections, natural and simple shapes. Also, the Fuchsia erecta does not scare us. For a long time it will not take down the nice ‘earrings’ that embellish our windows and balconies.
The Symbolic Decor
Acceptance speech delivered at the Académie de Stanislas in the public session of 17 May 1900 and printed in the “Mémoires de cette Compagnie” in the seventeenth book of the fifth series, for Émile Gallé’s election as a member of the Académie de Stanislas in 1891:
At the very moment when I came here to thank the Académie de Stanislas for the honour it has bestowed upon me by public admission, I am aware of what I owe you for the hospitality: almost ten years!
My mentors have not been too harsh towards the parsimony of my contribution to their works. And I am only too well aware of your patience, as well as of the insufficiency of my credentials compared to your favours.
These delays, simply tolerated by you, deprive me today of