Marked: impressed GEO. Purchase Sophronia Anderson Bequest Fund Molded stoneware. Purchase Thrown white earthenware with underglaze slip decoration. Square baluster vase with decoration of tulips, Molded porcelain. Vase with stylized flowers, ca. Thrown earthenware with applied slips. Earthenware with iridescent glaze. Purchase Friends of the Decorative Arts Earthenware with applied decoration.
Art pottery, in all its manifestations between and , is explored in the accompanying centennial catalogue. Islamic luster-painted wares were later imitated by Italian potters during the Renaissance. Earthenware A distinctive type of earthenware known as majolica, which was derived from Chinese porcelain, appeared in Italy during the last quarter of the 14th century. It is now believed that this type of painted earthenware was inspired by the Hispano-Moresque luster-decorated ware of Spanish origin introduced to Italy by Majorcan seagoing traders.
Majolica ware, whether thrown on the wheel or pressed into molds, was fired once to obtain a brown or buff body, then dipped in glaze composed of lead and tin oxide with a silicate of potash. The opaque glaze presented a surface that was suitable to receive decoration. A second firing after decoration fixed the white glaze to the body and the pigments to the glaze, so that the colors became permanently preserved.
Frequently, the beauty of these wares was increased by dipping them in a translucent lead glaze composed of oxide of lead mixed with sand, potash, and salt. When certain luster pigments and enamels were used in all-over painting, wares had to be specially fired at low temperature. Application of metallic luster pigments required great skill because these colors were extremely volatile and needed special handling.
Luca della Robbia see della Robbia, family did not, as has been held, invent the enamel tin-glazing process; nevertheless, his work raised majolica production from a craft to high art in Italy.
Not only did he use blue and white enamels in decorative work, but, as a sculptor, he also used the majolica technique to add brilliance to the surface of his productions. By the beginning of the 15th century Italian potters had abandoned the old familiar processes, and a revolution in style and techniques was under way. The severe style as followed principally in the school of Tuscany continued to the end of the 15th century, but rules and principles slackened until the inclusion of human figures in designs, previously frowned upon, was accepted.
At the end of the 15th century Faenza became the thriving center of a reinvigorated pottery industry in Italy. A new, rich decorative style, known as istoriato, fired the imagination of potters, reaching its zenith in the workshops of Urbino. In early 17th-century England attractive slipwares were produced, including the slip-decorated earthenware that was a speciality of the Toft family of potters. A kind of tin-glazed earthenware was also produced in the Netherlands, principally at Delft, beginning in the midth century.
Termed delftware, it was among the first European wares to be decorated with motifs inspired by Chinese and Japanese models. Continental Porcelains Eventually, European potters, who much admired the porcelain of the Far East, attempted to imitate it, but the formula remained elusive.
Francesco de Medici, grand duke of Tuscany, produced an inferior type of soft-paste porcelain in his Florence workshop during the 16th century. The first European royal porcelain manufactory was consequently established at Meissen see Meissen ware near Dresden, Germany. Throughout the century following the discovery of the porcelain formula--when, despite the utmost precautions at Meissen, the secret leaked out--many rival factories were set up in Europe.
Germany, Austria, Italy, France, and England soon had factories engaged in the production of wares much like those of Meissen. Porcelain figures were first produced in Meissen as table ornaments; the earliest examples were formed as part of sweetmeat dishes.
Many splendid wares issued from the royal factory, but none were more admired than the finely modeled and decorated porcelain figures imitated by almost every German, Austrian, Italian, and English factory of note.
Widespread interest in figures of both pottery and porcelain has continued to the present. Johann Joachim Kandler , a master modeler, was the most notable of the artisans engaged in this work at Meissen and rivaled the famous Franz Anton Bustelli of Nymphenburg see Nymphenburg ware. The methods used to produce porcelain figures as developed by Kandler imparted a new dimension to the art.
German porcelain figures were usually produced from molds, which, in turn, were cast from an original master model made of wax, clay, or, occasionally, wood.
The use of molds facilitated unlimited reproduction. Because the figures shrank during firing, allowances had to be made in their sizes; they were also provided with a small venthole in the back or base to permit excess heated air to escape.
Because different factories placed these holes differently, their positions help determine the provenance and authenticity of given pieces. When considerable undercutting was necessary, porcelain figures were usually made in sections, using separate molds. Portions of elaborate groups and single figures were later joined by a specially trained assembler known as a "repairer" who usually worked from a master model.
Europe's second hard-paste porcelain factory began operations at Vienna in In the late s at the royal Sevres see Sevres ware factory in France, potters experimented until they developed a remarkably white, finely textured body. Sevres wares were painted in unique colors that no other European factory could duplicate. The bleu de roi and rose Pompadour of Sevres wares captivated all Europe and, with the products of Meissen and Vienna, inspired English potters.
English Wares The finest English porcelain--both soft- and hard-paste--was made between about and The first English porcelain was probably produced at Chelsea see Chelsea ware under Charles Gouyn, but his successor Nicholas Sprimont, a Flemish silversmith who took over management in , was responsible for the high-quality wares, especially the superb figures, for which the factory became famous.
Factories at Worcester see Worcester ware , Bow, and Derby also produced wares that rival those of the Continent. Led by the ambitious, energetic, and enterprising Josiah Wedgwood and his successors at the Etruria factory, English potters in the late 18th and early 19th centuries became resourceful and inventive.
Wedgwood's contributions consisted mainly of a much improved creamware, his celebrated jasperware, so-called black basalt, and a series of fine figures created by famous modelers and artists. After Wedgwood, other potters of the first half of the 19th century developed a number of new wares. Of these, Parian ware was the most outstanding and commercially successful. The name of this ware was derived from Paros, the Greek island from which sculptors in ancient times obtained the creamy or ivory-tinted marble that Parian ware resembled.
The first examples of this new product, described as "statuary porcelain," issued from Copeland and Garret's factory in and were immediately acclaimed. Two varieties of Parian ware were produced: statuary parian, used in the making of figures and reproductions of sculpture, and hard-paste, or standard, parian, from which hollowware was made. Statuary parian, incorporating a glassy frit, is classified as soft porcelain. It is the softest type, being fired at the lowest temperature.
It is porous absorbs water and easily scratched. To make earthenware objects waterproof, they need to be coated in a vitreous glass-like liquid, and then re-fired in the kiln.
The iron-content of the clay used for earthenware gives a colour which ranges from buff to dark red, or even cream, grey or black, according to the amount present and the atmosphere notably the oxygen content in the kiln during firing. Earthenware can be as thin as porcelain, but it is less strong, less tough, and more porous than stoneware. Generally speaking, earthenwares are fired at temperatures between degrees Celsius.
The category of earthenware includes all ancient pottery, terracotta objects, 16th century and later Japanese and Chinese pottery, as well as European pottery made up to the 17th century.
In particular, it includes maiolica faience or delft a tin-glazed style of earthenware. The greatest examples of fine art earthenware are undoubtedly the series of Chinese clay warriors, known as the Terracotta Army. Called stoneware due to its dense, stone-like character after being fired, this type is impermeable waterproof and usually opaque.
In its natural state stoneware clay is grey but the firing process turns it light-brown or buff coloured, and different hues may then be applied in the form of glazes.
Generally speaking, stonewares are fired at temperatures between degrees Celsius. Stoneware clays are used in the manufacture of commercial ware, but are also preferred by artists eg.
Bernard Leech et al creating fine art pottery. The earliest stoneware was produced during the era of Shang Dynasty art in China c. Later in the 17th century, English ceramicists first began producing a salt-glazed form of stoneware. Enhancements followed in the 18th century when Josiah Wedgwood created a black stoneware basaltes , as well as a white stoneware known as Jasperware.
The distinction between porcelain and stoneware is rather vague. Chinese ceramicists define porcelain as any pottery item that gives off a ringing tone when tapped, whereas in the West it is distinguished from stoneware by its characteristic translucence when held to the light.
According to the Combined Nomenclature of the European Communities, "Stoneware differs from porcelain because it is more opaque, and normally only partially vitrified. Chinese porcelain first appeared in China during the era of Han Dynasty art BCE CE , or perhaps later in the era of Tang Dynasty art , using kaolin white china clay and ground petuntse a feldspathic rock.
However, enhancements were made during the eras of Song Dynasty art and Yuan Dynasty art , as well as Ming Dynasty art Sixteenth century Florentine ceramicists tried to reproduce its unique translucence by adding glass to clay creating a form known as ' soft ' porcelain but the formula of the true or hard type of Chinese porcelain was not discovered until the s in Meissen and Dresden , Germany, when ceramicist Ehrenfried Walter von Tschirnhaus and alchemist Johann Friedrich Bottger began using ground feldspathic rock instead of glass.
Later English ceramicists like Josiah Spode varied the German formula by adding powdered bone ash a calcium phosphate to make bone china - the standard English type of porcelain which is less prone to chipping and has an ivory-white appearance. The colour of unfired porcelain clay can be anything from white to cream, while bone china clay is white. After firing they are both white. They are typically fired at temperatures between to degrees Celsius, a little higher than stoneware.
Commercial tableware may be manufactured using extremely high quality materials, but it remains a mass-produced product, despite its high price tag. How is Pottery Made? Raw unprocessed clay consists of clay particles and undecomposed feldspar, usually combined with quartz, mica, iron-oxides and other materials. However, apart from the coarsest earthenware, which can be produced from clay as found in the ground, most pottery is made from special clays mixed with other materials or ingredients to produce the desired results.
The mixture is known as the clay body. Jane Jermyn Abstract organic forms. Ayelet Lalor Figurative ceramic sculptures in porcelain, earthenware, bronze. Sara Roberts Porcelain wall hangings. The unfired clay body greenware can be formed or shaped in many different ways: manually, using a potter's wheel or other mechanical means eg. Once the body is shaped it is usually dried before firing, although some ceramic artists have developed "wet-fired" processes.
After drying, the clay body is fired baked in an oven called a kiln. Over the years, potters have resorted to various types of kiln, ranging from holes in the ground topped by a fire, to coal or wood fired ovens. Modern day potters typically used electric or gas-fired kilns. There are numerous ways of decorating the clay body. Some are used before firing, others afterwards.
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