Dive into the heart of Paris… It is the mid-19th century, and numerous Italian mosaicists, fleeing the poverty ravaging Northern Italy, settle in and bring color to the capital’s monuments.
Italian Mosaicists Conquer the West
Isidore Odorico and his brother, hailing from the small Italian province of Friuli, are part of this wave. After leaving their mark on the Opéra Garnier in Paris, they settle in Tours. As savvy entrepreneurs, these artist-craftsmen divide up the territory and expand across the greater Northwest. It is during this time that they migrate further west, establishing themselves as a family in Rennes. The year is 1882.
During the interwar period, the primary materials used are marble and stone, and most commissions involve restoring ancient mosaics. The Odorico brothers also fulfill orders from architects for the dioceses of Ille-et-Vilaine and Côtes-du-Nord, continuing the tradition of the grand decorative schemes of late 19th-century Marian basilicas, such as Notre-Dame de la Garde in Marseille and Fourvière in Lyon. The bulk of their work consists of floor decorations, particularly in building entrances and shops.
An Innovative Technique in Service of Creation
The indirect mosaic technique, learned in their homeland, allows the craftsmen to prepare 50 cm square patterns in their workshop, saving considerable time and significantly reducing costs. This method is especially effective for simple, geometric designs—which also require less cutting of the tesserae. With the second generation of mosaicists, including Isidore Odorico’s son (also named Isidore Odorico the Second), a strong Art Deco influence emerges in the colors and abstract, geometric expression of their creations.
Adaptability and Durability: The Strengths of Glass Paste
But the Odorico “signature” is not defined solely by technical mastery. “Odorico knew how to incorporate small glass pastes into rather sober cement patterns, which enhanced the colors by playing with the light,” explains Philippe Bohuon, deputy head of architecture and heritage for Rennes Métropole’s Art and History Service.
The small size of the glass pastes gives them great flexibility in application. This flexibility allows for mosaics to be created on curved surfaces. Moreover, glass paste is an extremely durable material. It withstands thermal shocks and chemical products without deteriorating, while ensuring stable coloration and water impermeability over time.
These qualities explain the many applications of glass paste mosaics (walls, floors, facades, outdoor installations) and their particularly well-suited use in wet areas, such as bathrooms and swimming pools.
The construction of villas in Breton seaside resorts and the rise of tourism in the region give a boost to the Odorico family business and other Italian mosaicists. With their growing reputation across the West, a private and affluent clientele also begins to seek out their expertise. The 1930s see the flourishing of luxurious bathrooms, covered in mosaics from floor to ceiling—including walls—and equipped with bathtubs, showers, and bidets. Mosaics become as much a matter of care as of pleasure, blending daily hygiene with moments of relaxation.
When Mosaics Meet Urban Sanitation Challenges
But there’s a factor you might not have considered: hygiene. In the early 20th century, issues of hygiene and public health are gaining increasing importance in French cities. In Rennes, Mayor Jean Janvier wants to modernize the city and improve living conditions for its residents. In this context, mosaic emerges as an especially suitable material. Durable, long-lasting, and easy to clean, it naturally finds its place in public buildings such as daycare centers, hospitals, and public baths.
One could say that the progress of hygienism at the time and the ease of maintaining mosaic surfaces (which can be washed with plenty of water, unlike parquet floors) go hand in hand!