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of the 1870s. Thanks to unexpected juxtapositions of matte and glossy areas, the vertically arranged feathers border on abstraction and yield a complex figure and ground relationship between the motif and the surrounding space. Such optical complexity challenges the viewer's perception of familiar
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Lachenal first exhibited his Art
Nouveau stoneware at Paris salons in 1904. Period photographs show pieces with organic body forms, looping handles, and incised decoration similar to Edmond Lachenal's work from around 1900. Given the fact that father and son shared an atelier, the question of
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Lachenal's trumpet neck vase wears a remarkable volcanic glaze whose pitted surface is astonishingly fresh, almost contemporary. Here the purposeful juxtaposition of an overall cratered surface and a matte glaze shoulder reveals keen sensitivity to textural effects.
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authorship is murky on several levels, notably those of direct influence and possible collaboration. Nonetheless, the son's stoneware is distinguished by its sophisticated use of conventionalized motifs and layering of high-temperature glazes.
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His whiplash handle vase is a masterpiece of body design and glaze effects, with the handles deftly composed around the piece's lip and shoulder breathing new vitality into an overused Art
Nouveau
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These three vases refute traditional accounts of Raoul
Lachenal's Art Nouveau ceramics as undifferentiated restatements of his father's style from the same period.
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Similarly, Lachenal's treatment of the peacock feather refreshes a motif that harks back to the
English
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and Albert
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ceramics resemble pieces by his father, he also produced distinctive
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