Designed by Emile-Auguste Reiber, director of the design studio at Christofle from 1864 to 1878, this bronze clock illustrates the earliest influences of Japanese art and design on European decorative arts following the reopening of Japan to the Western world in 1854. European artists and designers had their first significant opportunity to study Japanese fine and decorative arts at Japan's pavilion at the Paris International Exposition of 1867.
Reiber's design for this clock combines European and Japanese motifs and styles. The overall form of the clock is derived from an eighteenth century Chinese table screen. The whimsical mythical beast is probably copied from a Japanese shi shi, or mythical lion, netsuke, and the copper inlaid panels depict scenes taken from Japanese paintings, lacquerwork and ceramics.
Reiber had tremendous interest in Japanese motifs as well as techniques imitating Japanese mixed metal and cloisonné work. He spent hours copying Chinese bronzes and Japanese decorative arts, modifying the designs for his work at Christofle, the foremost French firm of silverplating and metalwork during the second half of the nineteenth century.
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<P>Designed by Emile-Auguste Reiber, director of the design studio at Christofle from 1864 to 1878, this bronze clock illustrates the earliest influences of Japanese art and design on European decorative arts following the reopening of Japan to the Western world in 1854. European artists and designers had their first significant opportunity to study Japanese fine and decorative arts at Japan's pavilion at the Paris International Exposition of 1867.</P><P>Reiber's design for this clock combines European and Japanese motifs and styles. The overall form of the clock is derived from an eighteenth century Chinese table screen. The whimsical mythical beast is probably copied from a Japanese shi shi, or mythical lion, netsuke, and the copper inlaid panels depict scenes taken from Japanese paintings, lacquerwork and ceramics. </P><P>Reiber had tremendous interest in Japanese motifs as well as techniques imitating Japanese mixed metal and cloisonné work. He spent hours copying Chinese bronzes and Japanese decorative arts, modifying the designs for his work at Christofle, the foremost French firm of silverplating and metalwork during the second half of the nineteenth century.</P>
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