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拍品专文
cf. Y. Brunhammer, et al., exhibition catalogue, Art Nouveau Belgium France, Houston, Institute for the Arts, Rice University, 1976, p. 268 for an illustration of another charger by Massier.
S. Wichmann, Jugendstil Art Nouveau, Floral and Functional Forms, New York, 1984, p. 45 for an illustration of another charger by Massier.
Clément Massier's remarkable interpretation of nature's splendor, as in this example, often incorporated the spectacular visual effects of copper-lustre, iridescent glazes. These glazing achievements were rediscovered by Massier after seeing the extraordinary surfaces on ancient Islamic vessels and were only achieved with great difficulty and long experimentation. It is interesting to note that the artist's bond with nature and its glory was shared with the great American artist Louis Comfort Tiffany whose own iridescent glass and elegant patinated-bronze mounts were on occasion also combined with Massier's art pottery.
S. Wichmann, Jugendstil Art Nouveau, Floral and Functional Forms, New York, 1984, p. 45 for an illustration of another charger by Massier.
Clément Massier's remarkable interpretation of nature's splendor, as in this example, often incorporated the spectacular visual effects of copper-lustre, iridescent glazes. These glazing achievements were rediscovered by Massier after seeing the extraordinary surfaces on ancient Islamic vessels and were only achieved with great difficulty and long experimentation. It is interesting to note that the artist's bond with nature and its glory was shared with the great American artist Louis Comfort Tiffany whose own iridescent glass and elegant patinated-bronze mounts were on occasion also combined with Massier's art pottery.