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A History of Pottery - Page 3
Major Traditions In The West
After the fall of the ancient Roman Empire potters in Europe produced little other than repetitive utilitarian wares until the end of the Middle Ages.
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 mid-17th 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. In March 1709, Augustus II of Saxony announced that his ceramist Johann Bottger (1682-1719) had discovered how to make porcelain. 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 (1706-75), a master modeler, was the most notable of the artisans engaged in this work at Meissen and rivaled the famous Franz Anton Bustelli (1723-63) 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 1717. In the late 1700s 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 1745 and 1775. 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 1750, 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 1842 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. Standard parian, with a greater proportion of feldspar in the composition but no frit, is hard porcelain. Early parian statuary was ivory-tinted due to the presence of iron in the feldspar devoid of iron silicate. Suitable deposits were eventually located in Sweden and Ireland. Both English and American potters either obtained details of the original formula or worked out their own, and the resulting production of Parian wares on both sides of the Atlantic was enormous.
Among the most beautiful and successful wares invented by 19th-century potters were those decorated in what came to be known in England as pate-sur-pate, a paste-on-paste technique devised sometime after 1870 by Marc-Louis Solon (1835-1913) of Minton's in England. Pate-sur-pate, involving both modeling and painting techniques, was stained Parian ware decorated with reliefs in translucent tinted or white slip, the colors being laid one upon the other. Solon was inspired by a Chinese celadon case decorated with embossed flowers that he had admired in the museum at Sevres, where he worked for a time. At first his slip painting on biscuit porcelain simply peeled off; he was successful, however, when he applied layers of slip to a damp surface. Minton wares decorated with pate-sur-pate became the most costly and coveted ceramic ornaments produced in England in the last quarter of the 19th century. Only a few English potters mastered Solon's complex technique, although the work of his pupil, Alboin Birks, rivaled that of the master.
20th-Century Developments
By the late 19th century, with the development of machinery and the introduction of new technologies, the age of mass production dawned and the potter's art consequently suffered. Western ceramic wares declined markedly in quality of materials and decoration. Florid designs, gaudy coloring, and inartistic shapes became fashionable, and the resulting decadence continued into the 20th century. Not until the 1930s were signs of revival in the form and decoration of ceramics discernible, principally in the productions of artist-potters who were active in Western Europe and the United States. Many of these artist-potters arrived at their innovations by way of continuous experiment with materials and techniques. Others sought inspiration from primitive types of Japanese pottery or in the forms of ancient American Indian traditions. Since the end of World War II the design and decoration of ceramics in both Europe and the United States, especially ornamental wares, has been largely influenced by individual artist-artisans. Commercial products, such as tablewares, have tended to reflect the styles and patterns developed by these potters, whose work has often shown striking originality.
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 mid-17th 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. In March 1709, Augustus II of Saxony announced that his ceramist Johann Bottger (1682-1719) had discovered how to make porcelain. 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 (1706-75), a master modeler, was the most notable of the artisans engaged in this work at Meissen and rivaled the famous Franz Anton Bustelli (1723-63) 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 1717. In the late 1700s 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 1745 and 1775. 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 1750, 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 1842 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. Standard parian, with a greater proportion of feldspar in the composition but no frit, is hard porcelain. Early parian statuary was ivory-tinted due to the presence of iron in the feldspar devoid of iron silicate. Suitable deposits were eventually located in Sweden and Ireland. Both English and American potters either obtained details of the original formula or worked out their own, and the resulting production of Parian wares on both sides of the Atlantic was enormous.
Among the most beautiful and successful wares invented by 19th-century potters were those decorated in what came to be known in England as pate-sur-pate, a paste-on-paste technique devised sometime after 1870 by Marc-Louis Solon (1835-1913) of Minton's in England. Pate-sur-pate, involving both modeling and painting techniques, was stained Parian ware decorated with reliefs in translucent tinted or white slip, the colors being laid one upon the other. Solon was inspired by a Chinese celadon case decorated with embossed flowers that he had admired in the museum at Sevres, where he worked for a time. At first his slip painting on biscuit porcelain simply peeled off; he was successful, however, when he applied layers of slip to a damp surface. Minton wares decorated with pate-sur-pate became the most costly and coveted ceramic ornaments produced in England in the last quarter of the 19th century. Only a few English potters mastered Solon's complex technique, although the work of his pupil, Alboin Birks, rivaled that of the master.
20th-Century Developments
By the late 19th century, with the development of machinery and the introduction of new technologies, the age of mass production dawned and the potter's art consequently suffered. Western ceramic wares declined markedly in quality of materials and decoration. Florid designs, gaudy coloring, and inartistic shapes became fashionable, and the resulting decadence continued into the 20th century. Not until the 1930s were signs of revival in the form and decoration of ceramics discernible, principally in the productions of artist-potters who were active in Western Europe and the United States. Many of these artist-potters arrived at their innovations by way of continuous experiment with materials and techniques. Others sought inspiration from primitive types of Japanese pottery or in the forms of ancient American Indian traditions. Since the end of World War II the design and decoration of ceramics in both Europe and the United States, especially ornamental wares, has been largely influenced by individual artist-artisans. Commercial products, such as tablewares, have tended to reflect the styles and patterns developed by these potters, whose work has often shown striking originality.
