Relationship Between Enamel And French King’s Room

From 1630 to 1660, the enamel craftsmanship was a hidden housekeeping technique of goldsmiths in the small town of Blois, France. All the big names in Europe only sent orders here. In 1643, to celebrate the return of Lorraine, which borders Prussia, Germany, to the east, the subjects of the province customized a large-sized enamel gift dedicated to the Grand Duchess Marqheritte. The value of the gift exceeded the weight Of gold. The large number of enamelers and watchmakers had huge influence in all aspects of the province, and even the military and political officials in the provincial capital bowed down to the enamelsmith leader Christopher Morrier ( (Christophe Morlière, 1604-1644) to ask about good policies for governing the state. Born in Orleans, France, Morriet settled in Blois with his parents shortly after his birth. He grew up there and studied teaching, and later joined the enamel making industry, where he soon married Marie Poëte.
    When he got married, in 1630, he became the court goldsmith and sculptor of Archduke Casdon of Orleans. In 1632, he has successfully completed the production of enamel paintings on metal utensils. His growth indicates that French enamel paintings have entered a mature period. Many of his contemporary artisans have reached a very high level, everyone Since each one can win, the works are even more exciting and colorful. The technical exchange between peers has also greatly promoted the improvement of the overall level. Morrier and watchmaker Gugurs Le Mandel are best friends, but they also want to draw what kind of graphics on a watch case. Quarreling flowers. An enamel-painted wall chart collected by the Austrian royal family to this day is confirmed to be his work, while the movement is made by his wife and brother Jacques Poëte. Morrieux’s real competitor seemed to be Isaac Gribelin, who had served as a court goldsmith in 1218, who died in 1631. Another goldsmith, Jean Toutin, replaced Isaac Gribelin and made the most glorious achievement in European enamel history.

  Jean Dudin is ten years younger than Morrier and is the leader of the first generation of enamel micropainters. Prior to him, although the enamel technology has existed for more than a thousand years, the painting method of micro-painting enamel was truly mature and developed in his time. After revolutionizing the enamel color, he truly mastered the stability of the ‘kiln change’ of the enamel color. The layered transparent glaze between the two layers of color glaze) ‘,’ multiple calcinations ‘, completely eliminated the dreaded variegated enamel of different colors in each layer. The method he invented was eventually dubbed the ‘Din calcination method’, a technique that allowed painters to make very realistic micro-painted portraits. Apprentices across the continent have poured in to learn the latest technology under Dudding. After completing his studies, he returned to his own hometown and spread his teacher’s skills to all sides of the European continent. This technique has achieved remarkable success in the UK, especially in the field of portraiture. France’s most traditional watchmakers are even more fond of this technology, and they can’t help getting a finished product from Master Dudin himself. In Switzerland, known as the ‘watchmaking center’, enamelers quickly mastered this technique. The court of King Louis XIII of France immediately became the largest client. Dudin himself painted micro-painted portraits for each member of the family of Louis XIII. The watch industry across Europe is deeply grateful to Dudin. No one has reached the level that Dudin himself reached at the time.
 During the Second Empire, especially at the ‘Sevres’ porcelain and enamel workshop in the French royal family, two leaders Claudius Popelin and Alfred Meyer By vigorously advancing new techniques, the French ‘Limoges’ enamel was able to return to the spring of flowers. Porcelain and enamel are both beautiful, and writer Jean-Henri Demole wrote a special article: between 1875 and 1885, the style of porcelain and enamel was almost the same and they matched. It’s just that the “background color” is more intense, but the characters or utensils are more and more beautiful. This style is what Paris loves, and this craft is also made there. (Text / picture watch home think time)