Finding Work

"I had come to Paris . . . to learn and earn my bread."

Stage set design by Henri Robecci, Juglaris's first French employer

Arriving from Turin Juglaris had only 270 lire in his pocket to finance his Paris stay.  But thanks to the help of the Milanese artist Enrico (Henri) Robecchi, who was already well-known in Paris, he was able to secure almost immediate work painting theater 
Decorative ceramic plate by Giuseppe Devers, who helped Juglaris find workPottery with blue faience glaze by famous Theodore Deck who hired Juglaris as ceramics scenery. Juglaris was elated: despite the city’s lingering chaos, demoralized spirit, and depressed economy, his skills were in demand.  The jobs he obtained also paid better than what he could earn in Turin.  Happily, more reliable work was soon forthcoming.  With guidance and assistance from another Italian compatriot, Giuseppe Devers, who was soon to be appointed to the faculty of the Accademia Albertina back in Turin, Juglaris took up 
ceramics design with a French factory.  In this new field of “industrial” or applied art, he had an opportunity to work with the renowned ceramicist Theodore Deck, famous for his faience glazes. Showing talent beyond art alone, Juglaris was subsequently promoted to factory manager, supervising all aspects of ceramics production.

Two years later, in 1872, an economic downturn across France shuttered the ceramics factory. Yet Juglaris stood undaunted and resilient.  Equipped by his experience in Turin, he understood the importance of maintaining flexibility as an artist.  Surviving in Paris meant straddling multiple artistic realms and juggling as many jobs as possible so there was always something to fall back on.

art.jpgWhat is Industrial Art?
Throughout his memoir, Juglaris refers to “industrial art.”  Although today replaced by discussions about “industrial design,” “decorative art,” and “commercial art,” the term “industrial art” was widely used in the nineteenth century.  It refers to art serving more utilitarian purposes and usually intended for mass production manufacturing.  In some cases, however, industrial art overlaps with the more crafts-oriented realm of decorative art where richly embellished, one-of-a-kind functional items continue to be fabricated by hand.  In the aftermath of Europe’s industrial revolution, industrial and decorative arts flourished, creating lucrative opportunities for even an academically-trained artist like Juglaris.  He successfully supported himself by designing ceramics, furniture, wallpaper, stage sets, and stained glass, and by illustrating books.