"This book is a full catalogue of the Ashmolean's Italian pottery and also includes tin-glazed pottery from other countries, including Spain, France, the Low Countries, England, and Mexico. It presents a panorama of the achievement of Italian potters and pottery painters, who transformed a technology they learnt from the Islamic world into a vivid form o Renaissance art, which was then diffused across Europe and beyond, creating individual national ceramic traditions."--Publisher's description.
The Museum’s outstanding collection of maiolica is significant because most of the major pottery centers, maiolica forms, and styles are represented. This current catalogue presents the collection in a chronological progression according to stylistic trends. Lavish color plates accompany the detailed entries
The form of tin-glazed earthenware known as maiolica reveals much about the culture and spirit of Renaissance Italy. Engagingly decorative, often spectacularly colorful, sometimes whimsical or frankly bawdy, these magnificent objects, which were generally made for use rather than simple ornamentation, present a fascinating glimpse into the realities of daily life. Though not as well known as Renaissance painting and sculpture, maiolica is also prized by collectors and amateurs of the decorative arts the world over. This volume offers highlights of the world-class collection of maiolica at the Metropolitan Museum. It presents 135 masterpieces that reflect more than four hundred years of exquisite artistry, ranging from early pieces from Pesaro—including an eight-figure group of the Lamentation, the largest, most ambitious piece of sculpture produced in a Renaissance maiolica workshop—to everyday objects such as albarelli (pharmacy jars), bella donna plates, and humorous genre scenes. Each piece has been newly photographed for this volume, and each is presented with a full discussion, provenance, exhibition history, publication history, notes on form and glaze, and condition report. Two essays by Timothy Wilson, widely considered the foremost scholar in the field, provide overviews of the history and technique of maiolica as well as an account of the formation of The Met's collection. Also featured is a wide-ranging introduction by Luke Syson that examines how the function of an object governed the visual and compositional choices made by the pottery painter. As the latest volume in The Met's series of decorative arts highlights, Maiolica is an invaluable resource for scholars and collectors as well as an absorbing general introduction to a multifaceted subject.
The first comprehensive study of the most important ceramic innovation of the 19th century Colorful, wildly imaginative, and technically innovative, majolica was functional and aesthetic ceramic ware. Its subject matter reflects a range of 19th-century preoccupations, from botany and zoology to popular humor and the macabre. Majolica Mania examines the medium’s considerable impact, from wares used in domestic settings to monumental pieces at the World’s Fairs. Essays by international experts address the extensive output of the originators and manufacturers in England—including Minton, Wedgwood, and George Jones—and the migration of English craftsmen to the U.S. New research including information on important American makers in New York, Baltimore, and Philadelphia is also featured. Fully illustrated, the book is enlivened by new photography of pieces from major museums and private collections in the U.S. and Great Britain.
Students and scholars of the Italian Renaissance easily fall under the spell of its achievements: its self-confident humanism, its groundbreaking scientific innovations, its ravishing artistic production. Yet many of the developments in Italian ceramics and glass were made possible by Italy's proximity to the Islamic world. The Arts of Fire underscores how central the Islamic influence was on this luxury art of the Italian Renaissance. Published to coincide with an exhibition at the Getty Museum on view from May 4 to August 5, 2004, The Arts of Fire demonstrates how many of the techniques of glass and ceramic production and ornamentation were first developed in the Islamic East between the eighth and twelfth centuries. These techniques - enamel and gilding on glass and tin-glaze and lustre on ceramics - produced brilliant and colourful decoration that was a source of awe and admiration, transforming these crafts, for the first time, into works of art and true luxury commodities. Essays by Catherine Hess, George Saliba, and Linda Komaroff demonstrate early modern Europe's debts to the Islamic world and help us better understand the interrelationships of cultures over time.
What is maiolica? What is the difference between hard-paste and soft-paste porcelain. What is a piatto da pompa? This book offers definitions of these and other terms related to the techniques, processes, and materials used in the making of ceramics in Europe from the Middle Ages throughout the beginning of the twentieth century. Concise and readable explanations of the technical terms most frequently encountered by the museum-goer, accompanied by numerous illustrations of works from the collections of the J. Paul Getty Museum and the British Museum, are presented in an easily portable volume. The fourth in a series of "Looking at" books co-published with the British Museum Press, this guide will be invaluable to all those wishing to increase their understanding and enjoyment of ceramics.
In fifteenth- and sixteenth-century Italy, many leading citizens constructed and furnished distinctive studies for themselves. The study was an individually designed room for private and social use - as an office, library, a family archive or treasury, as the nucleus of an art collection, or as a space for contemplation. This book is an account of the Renaissance Italian study and its contents. Illustrated with depictions of studies and the precious and unusual objects they contained, the book examines the significance of the study to its owner and visitors, its structure and location, and the prized possessions that might fill such a special room.
You are what you own. So believed many of the elite men and women of Renaissance Italy. The notion that a person's belongings transmit something about their personal history, status, and "character" was renewed in the fifteenth and early sixteenth centuries. Objects of Virtue explores the multiple meanings and values of the objects with which families like the Medici, Este, and Gonzaga surrounded themselves. This lavishly illustrated volume examines the complicated relationships between the so-called "fine arts"--painting and sculpture--and artifacts of other kinds for which artistry might be as important as utility-furniture, jewelry, and vessels made of gold, silver, and bronze, precious and semi-precious stone, glass, and ceramic. The works discussed were designed and made by artists as famous as Andrea Mantegna, Raphael, and Michelangelo, as well as by lesser-known specialists--goldsmiths, gem-engravers, glassmakers, and maiolica painters.
The great age of European ceramic design began around 1500 and ended in the early 19th century with the introduction of large-scale production of ceramics. In this illustrated history, with nearly 300 color and black and white photos and reproductions, curator Howard Coutts considers the main stylistic trends�Renaissance, Mannerism, Oriental, Rococo, and Neoclassicism�as they were represented in such products as Italian Majolica, Dutch Delftware, Meissen and S�vres porcelain, Staffordshire, and Wedgwood pottery. He pays close attention to changes in eating habits over the period, particularly the layout of a formal dinner, and discusses the development of ceramics as room decoration, the transmission of images via prints, marketing of ceramics and other luxury goods, and the intellectual background to Neoclassicism.
