French porcelain

French porcelain
Chantilly, 1750–1755
Rouen (1673–96) Saint-Cloud (1693–1766) Chantilly (1730–1800) Vincennes (1740–56) Mennecy (1745–65) Sèvres (1756–present) Etiolles (1766–?) Revol (1768–present) Limoges (1771–present) Clignancourt (1775–1790) Dihl and Guérhard (1781–1828) Nast (1783–1835)
François Xavier d'Entrecolles
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French porcelain has a history spanning a period from the 17th century to the present. The French were heavily involved in the early European efforts to discover the secrets of making the hard-paste porcelain known from Chinese and Japanese export porcelain. They succeeded in developing soft-paste porcelain, but Meissen porcelain was the first to make true hard-paste, around 1710, and the French took over 50 years to catch up with Meissen and the other German factories.

But by the 1760s, kaolin had been discovered near Limoges, and the relocated royal-owned Sèvres factory took the lead in European porcelain design as rococo turned into what is broadly known as the Louis XVI style and then the Empire style. French styles were soon being imitated in porcelain in Germany, England, and as far afield as Russia. They were also imitated in the cheaper French faience, and this and other materials elsewhere. This dominance lasted until at least 1830.

Before the French Revolution in 1789, French production was complicated by various royal patents and monopolies restricting the production of various types of wares, which could sometimes be circumvented by obtaining the "protection" of a member of the royal family or senior courtier; this might or might not involve ownership by them.

Throughout the 18th and 19th centuries, France had a vigorous faience industry, making high-quality tin-glazed earthenware that remained in touch with artistic fashion. At least before 1800, this catered to the lower end of the market very successfully, so that porcelain factories concentrated on the top end, in France and elsewhere. Compared to other European countries, French manufacturers have generally concentrated on tablewares and decorative vessels rather than figures, with Mennecy-Villeroy porcelain being something of an exception.^[1] Where figures and groups were produced, these were most often in the French invention of unglazed biscuit porcelain.