Gyulai Éva - Viga Gyula (szerk.): Történet - muzeológia : Tanulmányok a múzeumi tudományok köréből a 60 éves Veres László tiszteletére (Miskolc, 2010)

GYŰJTEMÉNYEK - IPARMÜVÉSZET-TÖRTÉNET - Pirint Andrea: Törékeny karrier. Napóleon-jelenetes tányérsorozat magyar gyűjteményekben

LÖRINCIKOVÁ, Silvia 2009 Az Andrássyak betléri és krasznahorkai öröksége. Történeti Muzeológiai Szemle 9. 137-146. MANFRED, A. Z. 1982 Napóleon. Budapest, Kossuth Könyvkiadó MARRINAN, Michael 1994 Historical Vision and the Writing of History at Louis-Philippe's Versailles. In: The Popularization of Images. Visual Culture under the July Monarchy. Princeton 113-143. PIRINT Andrea 2002 Apró tárgyak Napóleon kultuszának jegyében. A Herman Ottó Múzeum Évkönyve XLI. 207-220. VERBOOMEN, Monique-SCHOUTE, Roger van 2006 Dictionnaire des Motifs de la Faience fine imprimée en Belgique. Bruxelles VILLEROY & BOCH 1900 Die Fürsorge der Firma Villeroy & Boch für ihre Beamten und Arbeiter. Mettlach (?) 1985 Villeroy & Boch 1748-1985. Art et industrie céramique. Paris A fragile career Plates with Napoleonic scenes in Hungarian collections The stoneware plates presented in the study come from three collections (the Museum of Applied Ans in Budapest, the Kőszeg Museum and the Betlér Museum in Slovakia). The decorative motifs adorning the rims are discussed first because these reflect an exceptionally purposed artistic concept. The main themes of the black transfer-pictures in the centre of the plates are the following: 1. Passage de Tagliamento, 2. Bataille d'Aboukir, 3. Pardon accordé aux révoltés du Caire, 4. Révolte du Caire, 5. Bataille de Castiglione. 6. Levée du siege de Mantoue, 8. Bataille d'Jéna, 9. La veille d'Austerlitz, 10. Bataille d'Austerlitz, 11. Bataille de Ligny, 12. lie Ste Hélcne. The pottery marks on some of the plates (a shield inscribed with the letters KM and B inside and the words Porzelan above and Steingut underneath) were used in the Mettlach stoneware factory between 1836 and 1855. Discussed in the study are the strong ties and co-operation between the Villeroy&Boch company (Mettlach. Septfontaines, Vaudrevange) and the allied factories (Sarreguemines, La Louvicre), reflected also in the adoption of decorative motifs, illustrated by several examples. Examining the origins of the stencils revealed that the scenes decorating the plates were made in Sarreguemines in the mid-1830s, while the stencil-plates for the rim were probably created in Septfontaines sometime after 1840. most likely in collaboration with Baron Geiger, a well-known Bonapartist. The study examines the international fashion of Napoleon's cult and the visual sources of the cult's iconography as reflected by various artefacts. Two scenes are examined at greater length. The development of the model for the "La veille d'Austerlitz" scene is particularly interesting because the composition was modified and the event associated with it too was changed. Andrea Pirint 243