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TinGlazed Earthenware

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Nicol da Urbino (probably Nicola di Bagriele Sbarage) (Italian, active from ca. ... from this service is also in the Robert Lehman Collection. Talavera tile ... – PowerPoint PPT presentation

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Title: TinGlazed Earthenware


1
Tin-Glazed Earthenware
  • First created in 9th century Baghdad
  • Popular designs included Arabic lettering,
    geometric designs and animals
  • Islam art carried into Moorish Spain then
    Portugal and Italy
  • Renaissance Italy took tin-glazed earthenware and
    lustreware ideas and created Majolica (from the
    word Majorca, Spain) and brought it to the
    recognized art form we are most familiar with
    today

2
Nishapur pottery
  • Islam was a defining force in the daily lives of
    people of the region, and likewise had an effect
    on the arts as well. Following strictly the
    dictate that 'thou shalt not create any graven
    images,' Islamic artists were prohibited from the
    depiction of figures of people or animals in art.
    Instead the art of Islam abounds with floral
    motifs and intricate geometry and arabesques.
  • The earliest, written, cursive form of Arabic is
    known as Kufic, and the bold, flowing script can
    be seen used as a border on this bowl from
    Nishapur, and reads 'Planning before work
    protects you from regret.' Inscriptions found on
    Islamic ceramics are usually of this type, benign
    admonishments toward leading a good life, and
    never include historical information.

3
Islam Tin-Glazed Earthenware pre-cursor to
Italian Majolica
  • When Islamic potters discovered more effective
    techniques for decorating their work, they were
    able to become more creative. They took existing
    design elements, like geometric patterns, and
    extended and compounded them. They transformed
    plant and flower forms into the intricate,
    flowing patterns of the Islamic arabesque. They
    flattened or stylized or idealized figural
    representation. And out of their own culture they
    invented something that had not existed before
    calligraphy as the sole decoration on a surface,
    which they carried to inspired heights.
  • These four basic design types - geometric,
    arabesque, calligraphic and figural

4
Arabesque
  • Tile with arabesque decoration, early 15th
    century OttomanAnatolia (Bursa)Carved,
    glaze-painted, and gilded earthenware H. 11 1/2
    in. (29 cm), W. 6 3/4 in. (17.2 cm)Purchase,
    Friends of Islamic Art Gifts, 1998
    (1998.246)This tile matches a border frieze
    adorning the portal of the tomb of Sultan Mehmed
    I (r. 140321) in Bursa, where monuments were
    badly damaged in an 1855 earthquake. It has a
    deeply carved pattern of lattices formed by pairs
    of undulating vine scrolls that meet at regular
    intervals along the centerline. The interlacing
    of the arabesque lattices is complex, but clarity
    is achieved through the use of different colored
    glazes. The tile predates the period, later in
    the fifteenth century, of widespread Chinese
    influence on Ottoman Turkish ceramics. In its
    deep relief and choice of colors, it exhibits
    similarities to tiles of Timurid Central Asia
    dating from the late fourteenth century, a
    resemblance probably explained by the documented
    presence of Persian tileworkers in Bursa at that
    time.

5
Arabesque
  • The geometric designs on some early Nishapur
    pottery may look a little crude by contemporary
    standards. But the patterns contain intricacies
    and bold juxtapositions that clearly fed the High
    Renaissance Italian imagination and influenced
    the way we design today. Another Islamic design,
    arabesques (a rabeschi, as the Italian majolica
    potters called the style), almost undoubtedly was
    developed out of an extension of Greco-Roman
    plant and flower motifs. Arabesques are patterns
    based on flowing, rhythmic and often interlaced
    alternations and oppositions of leaf, stem and
    blossom. So intriguing is this type of design
    that it has shown up over time and in many places
    on everything from ceramics to carpets to
    architectural detail.

6
Apothecary jar, 1431? Florence
  • Crane with leaf foliage
  • Influenced by Hispano-Moresque prototypes
  • Thought to belong to the pharmacy of the
    Arcispedale Santa Maria Nuova, Florence's oldest
    and most distinguished hospital.

7
Pharmacy jar
  • Late 15th century, Italian
  • This jar is of a form used in pharmacies to store
    dry drugs. It probably comes from the Royal
    Pharmacy of the Castelnuovo at Naples. The
    portrait of a man painted on the jar strongly
    resembles Charles VIII of France, who entered
    Naples in triumph in 1495

8
Armorial Plate (Tondino), ca. 152025
  • Nicolò da Urbino (probably Nicola di Bagriele
    Sbarage) (Italian, active from ca. 1520, died
    1537/38)This plate is one of twenty-one
    surviving pieces of the most famous and elaborate
    maiolica service of the Renaissance, painted for
    Isabella d'Este, marchioness of Mantua, by Nicolò
    da Urbino, the most celebrated maiolica painter
    of his generation. The center of this dish shows
    Isabella's coat of arms surrounded by three of
    her personal emblems a musical scroll, a
    candelabrum with one lit candle, and a bunch of
    lottery tickets. On the rim is a portrayal of the
    musical contest between Apollo and Pan judged by
    King Midas, a subject recounted in Ovid's
    Metamorphoses. The subtle draftsmanship,
    coloring, and delicate execution of the expansive
    landscape setting reveal the artist's consummate
    skill. Another piece from this service is also in
    the Robert Lehman Collection.

9
Talavera tile
  • Created in Spain, usually on Terra Cotta clay
    body
  • Designs based on mathematical principles
  • Often four tiles made up one design

10
Mexican tiles
  • Symmetric vines design
  • Rounded diamond
  • Blue Clavel
  • Talavereado

11
Antique Spanish Granadino Fuente Charger
  • A superb (large) early to mid 19th century
    Spanish "Granadino" fuente charger.This classic
    blue and white Spanish charger features a large
    standing bird surrounded by foliage and swirling
    ring borders. Beautiful deep cobalt glaze over a
    milky white slip. The small bowl is shown for
    scale only and is not part of this listing.
    Dimensions 15.5 inches diameter

12
Process
  • http//www.italianmajolica.com/majolica/making.htm
    l

13
Italian Maiolica today
  • http//www.ceramicadirect.com/Italian-ceramic-pott
    ery/ProductList.asp?CategoryNameFortheCollector
    CategoryId46
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