Arthur Craco, who began his career as a sculptor, redefined ceramics as an important aspect of Begium's decorative arts production. In Paris c1894, Craco became friendly with Nabis artists (the works of the post-impressionist avant-garde artists who set the speed for Paris' art world in the 1890s) and began studying ceramics in the studio of countryman Omer Coppens, a painter and ceramist. The Belgians were influenced by Gallé's floral glass designs and decorative elements in the whiplash style by architects Victor Horta and Paul Hankar. Craco viewed his pieces as objets d'art, on par with Nabis paintings. Both, he understood, were destined for the salons of the liberal bourgeoise.