The 1860 - 1880's
The Deck esthetic
They move in 1866 in the passage des Favorites, on the 271 rue Vaugirard where the Deck workshop starts collaborating with many artists already known from the Salon, for the decoration of plates for instance. Among them, we can name Albert Anker (1831 – 1910), Ernest Carrière (1858 – 1908) or even Sophie Schaeppi (1852 – 1921). Théodore Deck also has formed apprentices of which the most known is Edmond Lachenal (1855 – 1948).
The oriental art, for instance, was an important inspiration of the ceramicist, convinced that the Far East has fertilized the principles, decorations and technicals capable to renew the French art of ceramic. Fascinated by the earthenwares of Iznik made in Anatolia between the end of the 15th century and the beginning of the 17th century, he’s inspired by the variety of motifs : animals, scales, scrolls, chevrons, roses, tulips, grapes, etc. that we find on his creations.
Not to be content only with the Iznik earthenwares, he’s also inspired by the islamic, Hispano-moorish or Egyptian art, because of the motifs but also the colors of the earthenwares that we don’t find on the French ceramic, such as turquoise blue, reds or even beige shades.
Japan, by being opened for the first time to International trades in the late 1850’s, creates an esthetic impact on the European arts and especially thanks to the discover of porcelain, fabrics, lacquers, stamps, that Theodore Deck used to collect.
The influence of the Asiatic countries and especially Japan and China is visible on Deck’s production from the 1870’s. Nevertheless, it is not always easy to distinguish among Deck’s decors the one that are inspired by China or Japan. Especially because the art objects from the two countries were not dissociated during the 19th century.