Flora S. Kaplan draws on several disciplines and techniques to describe, classify, and interpret style in the black-on-red glazed pottery tradition of Puebla, Mexico.
The concept of style although widely used in archaeology, ethology, and art history often is too vague to be useful in developing either an empirical methodology for its study or in illuminating the creative and cognitive processes in human beings. Kaplan, however, rigorously defines style in her study of a single functioning style of utilitarian folk pottery and seeks to explicate the conditions in which creative and cognitive processes take place. In her search for meaning in group style as well as for a replicable methodology for the systematic analysis and comparative study of style in material culture, Kaplan turns to the techniques of ethnology, archaeology, and linguistics, thus providing a basis for a testable model.
The markings, the color, the sizes, the shapes in short, the style of this black-on-red pottery are an expression of a number of ancient themes and myths that have shaped the Indian view of life over a long period. Some of these themes and myths have been rephrased with new meaning and expression over the years as changes have occurred, particularly the Spanish conquest and colonialism, independence, and revolution; but many more can be traced back to their Aztec roots. Viewing the history of this pottery as a microcosm of the history of the country and its people, Kaplan notes that "this folk pottery has transcended its homely origins to become a significant art form, one that conveys the essence of Mexicaness. The pottery and its use serve to define social relations among realigned classes in the region and nation."
Kaplan discusses the nature and extent of the community formed by the potters of black-on-red ware, describing and classifying the pottery and the raw materials used. She examines the technique of pottery making by focusing on the role of learning and specialization in the transmission of style. Kaplan explores the patterns of traditional pottery and looks at distribution of the ware as well as at the daily and ceremonial contexts of its use, suggesting that style in material culture is a system that embodies group identity and provides a basis for group action."
One of the world's great decorative art traditions still in vogue today, brilliantly colored hand-painted tiles have decorated Portuguese buildings for centuries, from the humblest homes to the most lavish palaces, villas, churches, and monasteries. More than 200 full-color illustrations, specially commissioned for this book, vividly capture this traditional art form in its architectural context. The details of tile craftsmanship are also shown in close-up images. The text provides an overview of the history of azulejos (tiles) and features sites in Lisbon and the surrounding region where the finest examples of azulejo art are found. Azulejos reflect the Moorish influences of the 16th century, the exuberance of Mannerism and the Baroque, the 18th century golden age of azulejos, and modernist styles as found in the underground metropolitano of Lisbon. Complete captions, a glossary, an explanation of techniques, and a list of commercial sources make this volume as practical as it is inspirational.
"Body of Clay, Soul of Fire" will delight art lovers, potters, and collectors, as well as everyone who is interested in Japanese and Benedictine traditions.
Richard Bresnahan is a preeminent American potter and an ambassador for the natural environment. Reared on a farm in North Dakota, he graduated from Saint John's University in Collegeville, Minnesota, and apprenticed as a potter in Japan. Returning to Saint John's, where he is an artist in residence, he built a massive wood-burning kiln, which, with its innovative flame flues and water channels, dwarfs all other North American kilns. By digging his own clay, using local seeds and hulls as glazing materials, and firing with deadfall, Bresnahan also practices a brand of environmentalism worthy of his Benedictine surroundings.
"It is rare to find a book on art that presents complex aesthetic principles in clear readable form. Ceramics, by Philip Rawson, is such a book. I discovered it ten years ago, and today my well-worn copy has scarcely a page on which some statement is not underlined and starred."--Wayne Higby, from the Foreword
Clay is back: the age-old craft of ceramics is being embraced by a new generation of urban makers and collectors--and by interior designers. Here, Katie Treggiden explores the con-temporary revival of pottery, focusing on six inspiring cities and their makers. Twenty-five young and passionate ceramicists in New York, London, Tokyo, Copenhagen, Sydney, and Sao Paulo introduce us to their work, their studios, and their inspiration. Urban Potters: Makers in the City will appeal to a broad audience--not only to those who practice pottery themselves, but also to anyone interested in the handmade. The book also includes a practical source list of places to buy handmade ceramics in the six cities featured.
With its familiar white classical figures against a pale-blue background, Wedgwood has been one of the most recognizable brand names in the world for more than two hundred yearsathe epitome of quality and luxuryaand the Enlightenmentas most remarkable success story.
Born into a family of struggling potters, Josiah Wedgwood amassed a fortune that, at his death in 1795, was valued at the equivalent of $3.4 billion in todayas dollars and helmed an empire that stretched from England to Russia to the United States. As a member of the famous Lunar Society, whose members included James Watt, Joseph Priestley, and Erasmus Darwin, he combined rationality with bold experimentation, revolutionizing the business model of his time with a series of innovations that have continued to this day:
a Organizing skilled labor in one of the worldas earliest factories
a Encouraging employee loyalty by offering long-term contracts that included health insurance and pension plans
a Changing the very notion of shopping by utilizing showrooms and traveling salesmen
The story of how phenomenal wealth affected the lives of a family and of the turbulent political climate that threatened their very livelihood, this vivid and compelling portrait of a pioneer of commercial culture is sure to be a hit with loyal collectors and the business market alike.
A comprehensive manual of techniques covering, in detail, all the basic studio processes from selection of clays, design, equipment and the workshop to hand and wheel-work, decoration, glazing and the use of the kiln. A series of projects is included.
Before retiring in 2013, Neolia Cole, the eighty-six year old daughter of potter Arthur Ray Cole, was first to arrive and last to leave the Cole's Pottery shop. She possesses the indomitable spirit that has kept a Cole in pottery-making for more than two centuries. Once when asked how much pottery was produced by Cole's Pottery in a year's time, Neolia answered by saying instead how much income a year's sales represented. Despite the fact that Cole's Pottery charged very little for the wares made there, the annual sum collected in a year was considerable. Wielding a sly grin, Neolia unashamedly conceded, "And it's just dirt " In a way, pottery is just dirt. But collectors and lovers of the art form know that much more than dirt contributed to the incomparable successes of North Carolina's early twentieth-century art potteries. It's a success story marked by adaptation, innovation, collaboration, and immensely hard work - a legacy that endures today.
slight shelf wear and small slice in dust jacket, back cover outer edge; book itself like new
A New York Times BestsellerAn Economist Book of the Year Costa Book Award Winner for Biography Galaxy National Book Award Winner (New Writer of the Year Award) Edmund de Waal is a world-famous ceramicist. Having spent thirty years making beautiful pots--which are then sold, collected, and handed on--he has a particular sense of the secret lives of objects. When he inherited a collection of 264 tiny Japanese wood and ivory carvings, called netsuke, he wanted to know who had touched and held them, and how the collection had managed to survive. And so begins this extraordinarily moving memoir and detective story as de Waal discovers both the story of the netsuke and of his family, the Ephrussis, over five generations. A nineteenth-century banking dynasty in Paris and Vienna, the Ephrussis were as rich and respected as the Rothchilds. Yet by the end of the World War II, when the netsuke were hidden from the Nazis in Vienna, this collection of very small carvings was all that remained of their vast empire.