Kolekcja | 23.09.2015 The charming and intimate family scene rendered in biscuit earthenware presents perfectly the potential of a material whose assets were put to use by an excellent ceramic artist. It was executed in Sèvres – a centre that initiated the fashion for this type of ceramic ware across Europe. Its production was initiated in about 1750 by Jean Jacques Bachelier, head of the sculpture workshop in Vincennes, already prior to the transference of the local manufactory. It is suggested Madame de Pompadour who, while touring the workshop, was enchanted by unfinished unglazed figurines devoid of colourful decoration, exerted a certain impact on the production. The matte surfaces resembling marble and the impression of extreme fragility generated by meticulously modelled details were the reasons why this material offered, in comparison with glazed porcelain, a much larger field for displaying the talents of the virtuosos of small sculptures. Bisque was ideal for faithful portraits and could meet the need for all sorts of allegorical, mythological, genre or religious depictions, depending on the inventiveness of the artists and the commissions of the patrons. The characteristic properties of bisque were readily exploited during the Classical era, when reduced-scale antique statues were copied in this technique.
Le Riche, the author of the figural group from the Wilanów collection, who in 1757 arrived in Sèvres from Flanders, was one of the most talented students of the outstanding sculptor Etienne-Maurice Falconet. This French exhibit, rare among Wilanów figurines, demonstrates the mastery with which he dealt with the composition, rendition of natural gestures and authenticity of mood. The astonishing details and attention paid to the finish were attained with hand retouching (delicate punctures and fine etchings) to render such subtle patterns as the lace decorating the neckline of a woman’s dress or the broderie anglaise of a boy’s collar and the cap and handkerchief of a female servant. French museum collections feature two preserved figural groups – Toilette and Wet Nurse – which together with Breakfast comprise elements of the so-called surtout de table, a set used for decorating the centre of a laid table.
Barbara Szelegejd