He was primarily a ceramics manufacturer, producing the designs of many artists and architects of the French-Belgian Art Nouveau movement, including: Jules Lavirotte, Hector Guimard, Louis Majorelle, Henri Sauvage, Henry van de Velde, Auguste Perret, Andre Arfvidson, Anatole de Baudot and more.

[1] Bigot's firm was based at Rue des Petites Ecuries, Paris and he also created a ceramics factory in Mer in 1889 which employed as many as 150 people.

[7] Bigot's knowledge of chemistry allowed him to become an adviser to Ernest Chaplet for his sculpture and Carriès as well as a collaborator with the chemist Henry Le Chatelier.

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.

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.

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.

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.

The trick lay in the weighted hollow pieces of concrete and the reinforcing iron rods in order to guarantee the solidity of the ensemble.

Wishing to show off the talents of the artisan, Bigot produced the head of the woman surmounting the main entrance without creating a mold, firing the original work of Jean-Baptiste Larrivé directly in the kiln.

The jury of the contest, however, declared: "The principal interest in this house is the use of brick and the enameled faïence which covers the construction from its sub-basement to the summit.

The architect displays to the passers-by an ensemble of which the color is harmonious but the framework is less agreeable, seemingly made in order to defy the most free aesthetic.

Ceramic thus came to play a considerable role in the field, replacing faïence, as notably seen in the Salons of 1896, 1897, and 1899, which featured numerous works made of the material.

Artists were enthusiastic about this turn, most notably Alexandre Falguière, who boasted about his work La Sortie de l'École ("Leaving the School"): "It's prodigious, you see, not a crack or a small deformation.

Rodin was very interested in ceramic and Japanese art, which he had pioneered in displays at Bing's shop and had worked on with the ceramicists such as Ernest Chapelet, Edomond Lachenal, Paul Jeaneney and Jean Carriès.

Camille Alaphilippe, inspired by the possibilities of ceramics during his stay at the Villa Médicis in Rome in 1901, produced La Femme au Singe (Woman with Monkey) in 1908.

It is composed of a daring assemblage of elements of gilded bronze (head and hands) and of plates of enameled ceramics, mounted on a wood and iron structure held together by a clay mortar, with the joints fabricated from colored plaster.