In 1894, Bigot presented his pieces for the first time at the Salon of the Société nationale des Beaux-Arts.
The ceramics used a simple form ornamented with matte enamel using shades of yellow, green, and brown, often with the effect of crystallization.
In 1895, he participated in the inaugural exposition of Siegfried Bing's La Maison de l'Art Nouveau, which gave its name to the style.

The year 1897 marked a turning point.
Architectural ceramics were reaching the pinnacle of their popularity and Bigot took the opportunity to found his own company, A. Bigot et Cie.
This enterprise, which employed up to 150 workers and counted 10 industrial kilns, produced numerous trinkets, vases and vessels which were on display in his shop, which he transferred in Paris from the rue d'Assas to the rue des Petites-Écuries.

Along with Emile Muller, Bigot thus became the principal figure in architectural ceramics in France, and from 1898 he worked to integrate ceramics with façades of reinforced concrete.
This architectural outlet explains, by implication, the membership of his company in the Union Syndicale des architectes, but also the relaxation of the urban regulations of 1882 which favored the appearance of projecting elements, such as oriel bays, that broke up the uniformity of façades.

The collaboration with Hector Guimard at the end of the decade marked the beginning of Bigot's fame with architectural ceramics.
Before then his work had been confined essentially to baths and restaurants.
But in 1898, Guimard's Castel Beranger emerged as the manifesto of Art Nouveau in architecture and its ceramics were commissioned from Bigot, who decorated the façade with picturesque details and covered the entrance breezeway with highly plastic molded panels designed to evoke the atmosphere of a grotto.
The material became thus emblematic of the new style before Art Nouveau's decline about 1910.

Bigot's work was rewarded with a Grand Prix at the Exposition Universelle of 1900 in Paris for which he collaborated with Paul Jouve and René Binet on the main entrance gate on the Champs-Elysées.
The ensemble of wings enclosing the grand arch of the gate, designed by Binet, was ornamented with two superimposed friezes, executed in multicolored ceramic.
The one above represented the triumph of work by the sculptor Emile Muller based on a model by Anatole Guillot; the one below was composed of a suite of animals in an Assyrian style, by Jouve and Bigot.
In 1894, Bigot presented his pieces for the first time at the Salon of the Société nationale des Beaux-Arts. The ceramics used a simple form ornamented with matte enamel using shades of yellow, green, and brown, often with the effect of crystallization. In 1895, he participated in the inaugural exposition of Siegfried Bing's La Maison de l'Art Nouveau, which gave its name to the style.
The year 1897 marked a turning point. Architectural ceramics were reaching the pinnacle of their popularity and Bigot took the opportunity to found his own company, A. Bigot et Cie. This enterprise, which employed up to 150 workers and counted 10 industrial kilns, produced numerous trinkets, vases and vessels which were on display in his shop, which he transferred in Paris from the rue d'Assas to the rue des Petites-Écuries.
Along with Emile Muller, Bigot thus became the principal figure in architectural ceramics in France, and from 1898 he worked to integrate ceramics with façades of reinforced concrete. This architectural outlet explains, by implication, the membership of his company in the Union Syndicale des architectes, but also the relaxation of the urban regulations of 1882 which favored the appearance of projecting elements, such as oriel bays, that broke up the uniformity of façades.
The collaboration with Hector Guimard at the end of the decade marked the beginning of Bigot's fame with architectural ceramics. Before then his work had been confined essentially to baths and restaurants. But in 1898, Guimard's Castel Beranger emerged as the manifesto of Art Nouveau in architecture and its ceramics were commissioned from Bigot, who decorated the façade with picturesque details and covered the entrance breezeway with highly plastic molded panels designed to evoke the atmosphere of a grotto. The material became thus emblematic of the new style before Art Nouveau's decline about 1910.
Bigot's work was rewarded with a Grand Prix at the Exposition Universelle of 1900 in Paris for which he collaborated with Paul Jouve and René Binet on the main entrance gate on the Champs-Elysées. The ensemble of wings enclosing the grand arch of the gate, designed by Binet, was ornamented with two superimposed friezes, executed in multicolored ceramic. The one above represented the triumph of work by the sculptor Emile Muller based on a model by Anatole Guillot; the one below was composed of a suite of animals in an Assyrian style, by Jouve and Bigot.
Alexandre Bigot