Īrtisans still benefited from pre-Revolution training and worked according to the standards of a luxury art from the ancien régime, but they had better means of production and organization.Ĭharacteristics Materials and techniques The new factory environment allowed them the opportunity to execute all stages of bronze work including drawing, casting, gilding, assembly, and trade of art objects. Prior to this time, during the ancien régime, they were limited to small workshops and were strictly limited to casting bronze. The freedom of trade initiated by the French Revolution allowed many casters to develop large factories. Some models were architectural (i.e., with no figures) while others displayed classical-style figurines.ĭuring the 1790s, the production of gilded-bronze increased considerably as working conditions improved. In the case of the Louis XVI pieces, stone (usually white marble, alabaster or biscuit) was combined with gilded and/or patinated bronze, although certain cases were completely cast in bronze. The timekeepers manufacturing during the Louis XVI and the French First Republic historical periods incorporated this new artistic language with classical designs, allegories, and motifs. Ĭlocks of this style did without the profuse ornamentation and elaborate designs of the preceding Rococo style so typical of the Louis XV reign. This style in architecture, painting, sculpture, and the decorative arts, that had come into its own during the last years of Louis XV's life, chiefly as a reaction to the excesses of the Rococo movement but also partly through the popularity of the excavations at ancient Herculaneum and Pompeii, in Italy. By the end of the 18th century, from the mid-1770s on, French clockmakers contributed to a new art movement: Neoclassicism.
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