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Case 13. Themes and Variations:
The use of repeating forms, motifs, and materials link Faberge and his competitors. The thousands of objects they made share common approaches to design, combining into an overarching aesthetic guided by the head of each firm. Hardstones, colored enamels, jewels, and varicolored metals constitute the materials from which artisans wrought their magic.
The placement of ornament may be similar even when executed in different materials. Radiating lines surrounding the opening of a picture frame may be engraved under a layer of enamel or applied in a grid over a slab of hardstone. Cast golden ornament is as striking against gray enamel as against blue lapis. Myriad handles and seals present variations on a theme. Pieces in different styles and having different functions often share similar shapes. An undulant vertical form can be a small parasol handle or a large teapot. A circular domed form may be a bell push used to summon servants or a bonbonniere for holding sweets.
Faberge's enamels, unless otherwise noted in the gallery booklet, are rich translucent shades applied as a single field of color (en plein) over a metal ground that has been machine-engraved with complex patterns. One thing that set Faberge apart from his contemporaries was his extraordinary range of almost 150 subtle enamel colors -- far more than any other firm could offer.
Old-Russian-style enamels, sometimes shaded, sometimes plain, rely on traditional techniques. Cloisonne (enamel held within metal-filigree outlines) was used for [various pieces]. Particular in the work of Fedor Ruckert (active 1887-1917), the thin wires that separate the colored enamels form designs of their own. Ruckert's tiny box is further embellished with an image based on a Russian painting. This enameled version has a warm matte finish achieved by rubbing the fired enamel surface with a stone.
Inspired by a traditional Russian drinking vessel or loving cup, an elaborate bratina (from brat, meaning "brother") combines en plein enamel over guilloche metal with large, raised areas of cloisonne. Like many of the pieces in this case, it is studded with gemstones for additional sparkle.
The champleve technique (patterns scooped out of the metal surface and filled with enamel) was used by the first work-masters who revived the Old-Russian style. By the end of the 1880s, however, the cloisonne method was much more popular. |