This entry sits within the Decorative and Applied Arts Encyclopedia, a master reference hub indexing design history, materials, movements, and practitioners.
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Émail ombrant, or “shaded enamel,” is a remarkable pottery decorating technique that emerged in France in the 1840s. Combining artistry and innovation, it produced striking three-dimensional effects using carved designs and colored glazes. This blog explores the origins, process, and variations of Émail ombrant, with a focus on its evolution from its development by Baron du Tremblay to its adoption by Wedgwood.
Origins of Émail Ombrant
The technique was pioneered in 1842 by Baron du Tremblay of France and is sometimes referred to as “Tremblay Ware.” Initially, Émail ombrant was associated with flat ceramic items like plates and tiles, which provided the ideal surface for the process. Wedgwood, a prominent English pottery manufacturer, acquired the technique in 1873 by license, adapting it to their earthenware products and marketing it as a form of Majolica.
The Émail Ombrant Technique
Émail ombrant involves impressing or carving designs into the surface of a flat ceramic piece. The steps include:
1. Design and Intaglio
Deep impressions are carved into the center of the piece, with varying depths to create contrast between light and shaded areas.
2. Application of Colored Glaze
The carved design is filled with a translucent colored glaze—commonly green, brown, gray, or blue. Excess glaze is poured off, leaving it to pool in the recessed areas.
3. Firing
The piece is fired again to harden the glaze, creating a three-dimensional, shaded effect that brings the design to life.
The technique worked best on flat surfaces to prevent the glaze from running off unevenly. However, creative experimentation resulted in a variety of shapes, including round, octagonal, and reticulated edges.
Variations and Styles
1. Flat Shapes and Designs
Émail ombrant wares were typically flat, such as plates and tiles, to ensure the glaze remained in place. Designs ranged from simple fruit or vegetable motifs to elaborate landscapes and domestic scenes.
2. Wedgwood’s Adaptations
Wedgwood artists applied the technique to earthenware plates and dishes, carving intaglio-like designs and using translucent glazes in green, gray, or blue. Borders were often decorated with reticulations or highlights for added visual interest.
• Limoges Series: Featured straight cuts radiating outward from the central design.
• Butterfly Series: Included lattice-patterned edges with spaces cut out, adding elegance to the design.
3. Japanese Influence and Champion’s Contributions
French art faïence manufacturer Champion further enriched the technique with Japanese-inspired designs, often incorporating grotesque forms and antique Oriental bronze motifs. These designs highlighted the versatility of Émail ombrant in adapting to diverse artistic styles.
The Allure of Émail Ombrant
The charm of Émail ombrant lies in its ability to blend art and craftsmanship seamlessly. The shading effects achieved through varying glaze depths create a sense of movement and depth that captivates collectors to this day. From simple fruit motifs to intricate landscapes, the technique demonstrates the artistry of 19th-century ceramics.
Sources
Google Free Books, House documents. (1881). (n.p.)
Fleming, J., Honour, H. (1979). The Penguin Dictionary of Decorative Arts. United Kingdom: Penguin Books.
Keefe, D. J. (2005). Wedgwood Ceramics. United States: Schiffer Pub..
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