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This book highlights the keen perspective of the vernacular artist. Classic North Carolina stoneware pots - with their rich textures, monochromatic glazes, and minimal decoration - belong to one of America's most revered stoneware pottery traditions. In a lavishly illustrated celebration of that tradition, Mark Hewitt and Nancy Sweezy trace the history of North Carolina pottery from the nineteenth century to the present day. They demonstrate the intriguing historic and aesthetic relationships that link pots produced in North Carolina to pottery traditions in Europe and Asia, in New England, and in the neighboring state of South Carolina. With hundreds of color photographs highlighting the shapes and surfaces of carefully selected pots, ""The Potter's Eye"" honors the keen focus vernacular potters bring to their materials, tools, techniques, and history. It is an evocative guide for anyone interested in the art of North Carolina pottery and the aesthetic majesty of this resilient and long-standing tradition.
North Carolina is home to the only continuing pottery tradition in the United States outside the Native American tradition of the Southwest. Noted for this rich custom from Seagrove to Pisgah, work produced here has earned the attention of collectors, artists, and visitors from around the globe. The collection of The Mint Museums in Charlotte, numbering more than 1,600 pieces, is considered the most comprehensive in any public institution. This volume catalogs more than four hundred individual pieces in the Museums' collection and includes five essays by authorities in the field of ceramics, providing a visual and textual guide to a vibrant living craft. Illustrated with hundreds of color photographs, the catalog includes descriptive entries on potters and potteries and details about individual pieces. These include typical utilitarian wares from the eighteenth and nineteenth centuries, transitional or ""fancy wares"" made during the first half of the twentieth century, and contemporary objects. Displaying works from the four major pottery-producing areas of the state - Moravian settlements, Seagrove, the Catawba Valley, and the mountains - the collection tells the entire story of the North Carolina pottery tradition. Essays by collector and patron Daisy Wade Bridges, scholar Charles G. Zug III, gallery director Charlotte V. Brown, potter Mark Hewitt, and curator Barbara Stone Perry survey the history and significance of one of the state's best-known art forms.
Born in Yugan, near Jingdezhen, the birthplace of porcelain, Bai Ming has contributed to the revival of contemporary Chinese ceramics and introduced it to a new worldwide audience through numerous exhibitions. Today he is arguably China's greatest exponent of this most traditional art form. In this book, Bai Ming traces his career, revealing a sensitive yet creative and flamboyant style, built on the most rigorous traditional techniques. Focussing particularly on his blue and white ceramic work, this book, through a large selection of glorious images and the artist's own words, reveals Bai Ming's exquisite style and superb attention to detail.
This richly illustrated portrait of North Carolina's pottery
traditions tells the story of the generations of "turners and
burners" whose creations are much admired for their strength and
beauty. Perhaps no other state possesses such an active and
extensive ceramic heritage, and one that is entirely continuous.
This book is an attempt to understand both the past and the
present, the now largely vanished world of the folk potter and the
continuing achievements of his descendants. It is a tribute that is
The Cesnola Collection of antiquities was assembled on Cyprus in the 1860s and 1870s by Luigi Palma de Cesnola, who sold it to The Metropolitan Museum of Art in 1872. Cesnola subsequently served as the institution's first director. Numbering around 6,000 objects, the collection documents the artistic traditions and creativity of the island from prehistoric through Roman times. This CD-ROM, the first of a projected multi-part digital series on the Cesnola Collection, focuses on its terracottas: 424 pieces that date from about 2000 B.C. to the 2nd century A.D. Each object is accompanied by a catalogue entry with description, bibliography, and illustration. There are also fifteen commentaries and a glossary, chronology, and maps. Inexpensive, portable, and user-friendly, this CD-ROM introduces the colourful world of ancient life and mythology to an interested public and provides an invaluable tool to students and archaeologists.
It is a vast world one enters when writing on the statuettes of the Art Deco era: both in terms of the number of artists that contributed to it, and the number of figures they created. This book studies the influences that shaped these artists' work - namely, the growth of the Ballets Russes under the aegis of Sergei Diaghilev; the fascination in all things Egyptian that followed the discovery of Tutankhamun's tomb in 1924; and the Music Hall, with all of its venues, its stars and its glamour. Paris was a magnet for aspiring artists. An unrivalled destination for free-spending tourists, its popularity dwelt in the city's inexpensiveness, considering the absence of the dollar and the falling value of the franc. A thorough look at its artists and their work can only emerge from long investigation.
This is the first book to explore the work of the forgotten ceramics concern - Chetham & Woolley. The original partnership of James Chetham and Richard Woolley established a factory in Longton, Staffordshire in 1795. The partnership was responsible for developing a new ceramic body - semi-transparent stoneware, properly termed Feldspathic Stoneware. In its day, the Chetham & Woolley factory occupied a very important position in the Staffordshire ceramics industry. Until recent research carried out by Colin Wyman practically all memory of Chetham & Woolley had been lost. This book re-establishes the factory's well-deserved reputation.
An exclusive tour of one of the most diverse and high-quality collections of Scottish Wemyss Ware. Lavish illustrations cover an impressive range of Wemyss subjects - animals, flowers, insects, birds and more. Includes an essay on Wemyss production by historian Carol McNeil, as well as an introduction by collection owner George Bellamy. Wemyss Ware is an evocative name to anyone with an interest in pottery. It conjures grinning cats and pot-bellied pigs, jugs and plates and other items of tableware, often decorated with an intricate pink cabbage rose or other such bucolic scenes. Produced in Kirkcaldy, Scotland, from 1882 to 1930 (and in Bovey Tracy, England, 1930-1952), Wemyss Ware has an illustrious history. From the Wemyss family, the patrons of this pottery line; to the Queen Mother and Prince Charles, Wemyss Ware has caught the eye of many individuals of note. Among these was George Bellamy, now a legendary collector of Scottish Wemyss, who has been seeking out his pieces since 1976. A treasure trove of Wemyss Ware, this book catalogues a collection lovingly compiled over decades. Carol McNeil's essay traces the history of the Fife Pottery where Wemyss Ware saw its debut, while Bellamy's introduction guides the reader through several of the key figures involved in the locating and preserving of these works of art. Scottish Wemyss Ware 1882-1930 celebrates the labour, design and artistry that poured into each hand-decorated pot. Often inspired by the Fife countryside where they first originated, these characterful creations are just as delightful now as when they were first produced. This book was produced with the invaluable assistance of John Mackie, Director of Lyon & Turnbull.
Donated to the city of Cincinnati in 1927, Charles and Anna Taft's collection features beautiful porcelain from the Ming and Qing dynasties, paintings by masters including Rembrandt, Gainsborough, Goya, Ingres, Corot, Whistler, and Sargent, and decorative objects including crystal, gold, silver, and enamel-work. The 80 works that feature in this volume, chosen from the 740-piece collection, are presented in four sections, coinciding with the museum's major areas of specialization: European painting, European decorative arts, American art, and Chinese art.Each piece is accompanied by an entry detailing its history and that of its artist or maker written by Taft curatorial staff. Lynne D. Ambrosini's essay explores the collecting practice of Charles and Anna Taft. Deborah Emont Scott's foreword provides a history of the Taft bequest and its lasting significance to the city of Cincinnati and its present day inhabitants.
For nearly a century British potters have invigorated traditional ceramic forms by developing or reinventing techniques, materials, and means of display. Things of Beauty Growing explores major typologies of the vessel-such as bowl, vase, and charger-that have defined studio ceramics since the early 20th century. It places British studio pottery within the context of objects from Europe, Japan, and Korea and presents essays by an international team of scholars and experts. The book highlights the objects themselves, including new works by Adam Buick, Halima Cassell, and Nao Matsunago, featured alongside works by William Staite Murray, Lucie Rie, Edmund de Waal, and others, many published here for the first time. Rounding out the beautifully illustrated volume is an interview with renowned collector John Driscoll and approximately fifty illustrated short biographies of significant makers.
The most pervasive gods in ancient Rome had no traditional mythology attached to them, nor was their worship organized by elites. Throughout the Roman world, neighborhood street corners, farm boundaries, and household hearths featured small shrines to the beloved lares, a pair of cheerful little dancing gods. These shrines were maintained primarily by ordinary Romans, and often by slaves and freedmen, to whom the lares cult provided a unique public leadership role. In this comprehensive and richly illustrated book, the first to focus on the lares, Harriet Flower offers a strikingly original account of these gods and a new way of understanding the lived experience of everyday Roman religion. Weaving together a wide range of evidence, Flower sets forth a new interpretation of the much-disputed nature of the lares. She makes the case that they are not spirits of the dead, as many have argued, but rather benevolent protectors--gods of place, especially the household and the neighborhood, and of travel. She examines the rituals honoring the lares, their cult sites, and their iconography, as well as the meaning of the snakes often depicted alongside lares in paintings of gardens. She also looks at Compitalia, a popular midwinter neighborhood festival in honor of the lares, and describes how its politics played a key role in Rome's increasing violence in the 60s and 50s BC, as well as in the efforts of Augustus to reach out to ordinary people living in the city's local neighborhoods. A reconsideration of seemingly humble gods that were central to the religious world of the Romans, this is also the first major account of the full range of lares worship in the homes, neighborhoods, and temples of ancient Rome.
Steeped in modernist ceramic aesthetics, Frans Wildenhain studied under Gerhard Marcks and Max Krehan at the Bauhaus pottery workshop in Dornburg, Germany. There, Wildenhain met another potter, Marguerite Friedlaender, his future wife. Following World War II, Wildenhain emigrated to the U.S. Earning prizes for his art at the 1939 International Exposition in Paris and the 1958 Brussels World's Fair, Wildenhain also received a Guggenheim Fellowship in 1958, became a Fellow of the American Crafts Council and his work is in the collections of the Smithsonian Institution, Everson Museum and the Art Institute of Chicago. This book features archival images as well as more than 150 rich, color photographs of the ceramics exhibited in 2012 at the Rochester Institute of Technology, NY. Six chapters offer contributions to scholarship on the artist, mid-century studio pottery and modern design, monetizing and commercial acceptance of mid-century handcrafted art at an innovative artists' cooperative, university education at the School for American Craftsmen, and an interview with collector Robert Johnson who donated his Wildenhain collection to RIT. The book is an essential document of the exhibition and an excellent reference for those interested in ceramics, crafts, mid-century design and art entrepreneurship.
Parian - a high-quality, unglazed porcelain - was developed in the early 1840s by Copeland & Garrett, which was the first company to exhibit it in 1845. Its purpose was to provide small sculptures for the public at a time when full size marble statues were gracing the homes of wealthy people. Parian - Copeland's Statuary Porcelain tells this fascinating story in detail, beginning with its origin and introduction. The book goes on to describe the manufacturing processes of mould-making and the casting of the figures. Also included is a comprehensive catalogue of Copeland's productions of statuettes, groups and portrait busts.
In Britain today the output of excellent ceramics seems more eclectic than elsewhere. This stylish and wide-ranging survey comprises examples of clay art by one hundred major artists, covering the period from the late 1980s through 2009. Drawn from the Diane and Marc Grainer Collection, it includes works by Allison Britton, Edmund de Waal, Kate Malone, Grayson Perry, Julian Stair, Steve Dixon, and Nick Arroyave-Portela, among others. The selection balances functional objects and sculpture; hand-built, thrown, and molded techniques; varieties of scale and color; and cerebral and emotional content.
All the ceramics here are rooted in the materiality of clay. The properties of the raw material, from its soft, malleable texture to the alchemy of slips and glazes, are at the core of the artists' passion. And, as the text reveals, the younger generation is moving into new directions of art practice.
Spectators at the sides of narrative vase paintings have long been at the margins of scholarship, but a study of their appearance shows that they provide a model for the ancient viewing experience. They also reflect social and gender roles in archaic Athens. This study explores the phenomenon of spectators through a database built from a census of the Corpus Vasorum Antiquorum, which reveals that the figures flourished in Athenian vase painting during the last two-thirds of the sixth century BCE. Using models developed from psychoanalysis and the theory of the gaze, ritual studies, and gender studies, Stansbury-O'Donnell shows how these 'spectators' emerge as models for social and gender identification in the archaic city, encoding in their gestures and behavior archaic attitudes about gender and status.
Ceramics had a far-reaching impact in the second half of the twentieth century, as its artists worked through the same ideas regarding abstraction and form as those for other creative mediums. Live Form shines new light on the relation of ceramics to the artistic avant-garde by looking at the central role of women in the field: potters who popularized ceramics as they worked with or taught male counterparts like John Cage, Peter Voulkos, and Ken Price. Sorkin focuses on three Americans who promoted ceramics as an advanced artistic medium: Marguerite Wildenhain, a Bauhaus-trained potter and writer; Mary Caroline (M. C.) Richards, who renounced formalism at Black Mountain College to pursue new performative methods; and Susan Peterson, best known for her live throwing demonstrations on public television. Together, these women pioneered a hands-on teaching style and led educational and therapeutic activities for war veterans, students, the elderly, and many others. Far from being an isolated field, ceramics offered a sense of community and social engagement, which, Sorkin argues, crucially set the stage for later participatory forms of art and feminist collectivism.
Sir Percival David made one of the finest collections of Chinese ceramics outside Asia. It includes many items of imperial quality, with beautiful examples of extremely rare Ru and guan wares as well as the famous David vases. Their inscriptions date to 1351, making them an internationally acknowledged yardstick for the dating of Chinese blue and white porcelain. Here are 50 selected highlights, all illustrated with colour photographs taken especially for this publication. The accompanying text provides details and draws out the important features of each piece. The range and scope of the collection provide the material for a stunning overview and accessible introduction to Chinese ceramic art.
The title of this book describes the two extremes of ceramic invention from aesthetically beautiful and decorative works of art that graced the tables of the aristocracy to the functional silica brick that lined the smelting furnaces of industrialised nations in the 19th century designed to produce iron, copper and glass. Both of these ceramics are linked to one man, William Weston Young (1776-1847) and with his contemporaries both of these ceramic extremes became world leaders in their own right. The book traces the history of Young and his ambitions, his interactions with numerous associates and the influence these ceramics attained in 19th century society. The book provides a sequel to the two preceding texts on Nantgarw and Swansea porcelains (also published by Springer), which cover one extreme and extends the discourse onto the other extreme, which until now has been relatively ignored despite its scientific and engineering importance. The trilogy has now therefore been completed. This book examines the historical documentation along with scientific analytical data from the last 100 years up to the present in a novel holistic forensic approach. It will be of interest to porcelain collectors, ceramics analysts, museum ceramic curators, ceramic historians, analytical scientists, cultural heritage preservation, industrial archaeologists and industrial museums.
Presenting a study of a group of potters living in a small community in the south of Japan, this work includes a look at the problems they face in the production, marketing and aesthetic appraisal of a kind of stoneware pottery generally referred to as "mingei", or folk art. It shows how different people in an art world bring to bear different sets of values as they negotiate the meaning of "mingei" and try to decide whether a pot is "art", or mere "craft". At the same time, "Folk Art Potters of Japan" aims to reach beyond the mere study of an isolated community to trace the origins and history of "folk art" in general. By showing how a set of aesthetic ideals originating in Britain was taken to Japan, and thence back to Europe and the United States - as a result of the activities of people like William Morris, Yanagi Soetsu, Bernard Leach and Hamada Shoji - this book not only rewrites the history of contemporary western ceramics, but engages in two important discourses in contemporary anthropology: one concerned with art and aesthetics; the other with orientalism. Illustrated, and with a description of the operation of Japan's art pottery world in the afterword, "Folk Art Potters
Maske chronicles the life and work of Randy Johnston, renowned contemporary American potter. Johnston creates utilitarian wares that recall Neolithic forms and are modernised via their partnership with a Japanese folk aesthetic. His training began in the American Midwest, took him to a year of study with Shimaoka Tatsuzo in Mashiko, Japan, and finally returned him to River Falls, Wisconsin, where he is a working potter who maintains fidelity to the tradition and philosophy that initially turned him to ceramics: mingei. His vessels, fired in Japanese-style wood-burning kilns, are imbued with the mingei ideal: handcrafted, functional, and representative of the Wisconsin setting where he lives and finds inspiration. As an artist, Johnston has been able to observe his environment and translate it into his own voice. He creates work that pays homage to these influences but is still unique and distinctly his own. Characterised by warm and vibrant colours and evidence of intense ash flow within the kiln, Johnston's work ranges from large jars that appear as if they have just been unearthed to artisan sushi platters that look right at home in the twenty-first century.
This is the first major book on English blue and white porcelain since the early 1970s. Not only is it the latest and most up-to-date work, but it includes types not previously studied and extends the range of wares into the early years of the nineteenth-century. It is a unique, comprehensive study. The number of instructive illustrations exceeds seven hundred, including helpful comparison photographs and details of identifying features - footrims, handle forms, manufacturing characteristics and marks. Apart from introductory chapters on collecting blue and white and on the introduction and development of this popular mode of decoration, this unique coverage comprises details of over twenty distinct makes, including the relatively newly researched eighteenth century factories at Isleworth, Limehouse and Vauxhall. The inclusion of the several post-1790 factories covers new ground. The section on fakes and reproductions will also prove instructive and helpful. Guidance is given on the popularity o
An essential reference for anyone working with ceramics, from weekend crafters and students to practising ceramicists seeking a one-stop reference on techniques and processes, this workshop reference covers both traditional and contemporary practices, collecting the breadth and range of ceramic techniques into one definitive volume for amateur and specialist alike. A directory of materials, tools, machinery and furniture describes everything you need to set up an effective workshop. It includes an extensive guide to forming techniques, from pinch, coil, slab and wheel to mold-making, slip casting and extrusion, detailed sections on slip decoration, embossing and glazing, glaze recipes and applications. These techniques are explored thematically to facilitate the process of discovery that takes place in the workshop, supported by detailed descriptions and step-by-step photography. At the back of the book there is a comprehensive guide to firing and kilns, along with charts and tables for quick reference. All techniques are examined closely for relevance to practice and quality of finish. The practical processes of running a workshop are discussed alongside the more complex techniques of making unique work. Examples of how to set up a studio, good workshop practices, tool making, and recycling of materials act as a foundation to creating a strong workshop environment to carry out your work.
This title celebrates the living traditions of the renowned northeast Georgia folk pottery clans. John Michael Vlach called ""Brothers in Clay"" 'not only the best study of American stoneware pottery now available but also a fine model for the presentation and analysis of hand-based technologies'. The anthropologist Claude Levi-Strauss noted, 'Mr. Burrison has brought to this undertaking a sensitivity, a finesse, and a flair for description and analysis that entitle the book to a place among the classics of this type'. ""From Mud to Jug"" - both a companion and sequel to ""Brothers in Clay"" - deepens and enriches Burrison's earlier study by focusing on the northeast corner of Georgia, which has maintained a continuous tradition of pottery making since the early nineteenth century. Through interviews, a census of active potters trained at the centers of Cleveland (White County) and Gillsville (Hall County), and more than one hundred color photographs of pots, potters, and their work spaces, Burrison captures the living tradition of one of the last areas of the United States where Euro-American folk pottery is still being made. The book also explores the roots and historical development of north Georgia's stoneware tradition and includes rare historic photos that have not been previously published. The Folk Pottery Museum of Northeast Georgia, which opened in 2006 at Sautee Nacoochee Center in White County, is also acknowledged and described.
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