These pieces were adorned with imagery inspired by Viennese Secessionists and Jugendstil artists as well as Japanese art, including blooming plants, exotic birds like peacocks, and the hugely regular femme-fleur, or flower woman. In France, the end luxury commercial pottery S��vres lead the way for brand new glazing recommendations when Joseph-Th��odore Deck took the helm in 1883. His shapes took their concept from the female form, in addition
to Chinese structure and historic Turkish, Persian, and Far Eastern motifs. Vases were usually painted in subtle pastel colors. Deck��s fans included F��lix Bracquemond, Ernest Chaplet, Cl��ment Massier, Pierre-Adrien Dalpayrat, and Taxile Doat. One distinguishing
feature of certain S��vres Art Nouveau vases is the gilt-bronze mount, often known as a plinth, which typically complements the theme of the pot. A vase painted with Monet-esque lily pads, for example, might have golden frogs hugging its base. Cl��ment Massier, who owned a family pottery, also tinkered with glazes, arising a line of iridescent and luster glazes in earthy, somber tones that gave his earthenware the look of glass. His company collaborated with Symbolist painter Lucien Levy Dhurmer, who decorated Massier vases in Art Nouveau styles. Colors were brilliant, taken from red flora, green grass, and turquoise seas. Cl��ment's second cousin, Jean Baptiste introduced a very sculptural best to the family's pots, which regularly featured the narrow and graceful shape of American dancer Lo?e Fuller.