The Staying Power of Fine Italian Ceramics, Past and Present

Fine Italian ceramics are nothing new. Dating back to the Middle Ages and beginning to flourish in the 1400s, the ceramic centers of Italy have been producing incredibly detailed ceramics for literally hundreds of years. I recently came across a little book discussing Italian and other European ceramics throughout history – Mailolica, Delft and Faïence by Giuseppe Scavizzi – and wanted to share some of its beautiful images with you. Just look at the inside of this “loving cup” from circa 1500 Faenza, used to celebrate engagements or as a gift for a beloved:

The detailed likeness is strikingly similar to work by Tuscia d’Arte, such as this Italian canister.

Another timeless piece is this plate of a solider from circa 1630:

He looks so jaunty, reminding me of this contemporary Italian ceramic plate with a drummer at its center.

One of the amazing things about hand painted Italian pottery is that patterns and techniques have been passed down through generations. Artists today hand paint using the same process as those centuries ago, following traditional patterns as well as adding some contemporary touches. Historically important areas for Italian ceramics have stayed pretty constant throughout the years, many of them in the center of Italy. One is Montelupo Fiorentino, outside of Florence in Tuscany. It’s where I get the fine Italian ceramics for the Emilia Ceramics collection. In a few months I plan to travel to Italy to visit both Tuscia d’Arte and Ceramiche Bartoloni as well as some potential new artists; I can’t wait!

Other famous centers are Deruta, Siena, and Vietri, examples of which are easy to find at Biordi Art Imports, also here in San Francisco. Biordi has a huge selection of typical Italian patterns that go back to the Renaissance; their walls are stuffed with dinnerware, decorative pieces, and exquisite tiles. If you find yourself in North Beach and want to see some Italian ceramics in San Francisco, check Biordi out.

No matter where hand painted Italian pottery comes from, I love how it connects to the artists that create it. Fine Italian ceramics are usually hand signed, a fitting recognition of all the time it takes to paint as well as form these pieces of art. Italian canisters, Italian utensil holders, or dinnerware pieces, these are all ceramics rich in history and tradition that make it easy to bring Italy to your home.

What are your favorite fine Italian ceramics? Any recommendations for places in Italy I should visit this coming summer? Leave a comment and let me know.

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Behind the Scenes: Talavera Vazquez’s Blue and White Mexican Pottery

One of my favorite parts about my four years with Emilia Ceramics has been developing a rapport with ceramic artists all around the world. In this series of posts, I’ll give some insights into what happens behind the scenes to make these beautiful hand-painted ceramics come to life.

Whenever I go to visit Talavera Vazquez I’m always sure I’ll get terribly lost — the streets in Dolores Hidalgo, Mexico look so similar, I’m very relieved to arrive and see the smiling faces of Juan and Roberto Vazquez. They and their team of talented artists are the reason for the unique serving dishes, vases, tibores (ginger jars), planters and other lively Mexican ceramics produced by this family-run workshop.

While the blue and white Mexican pottery (like striped vases and zig zag ginger jars) might be some of my more popular Talavera Vazquez offerings, the workshop itself is an explosion of vibrant color. Juan Vazquez is the fourth generation of the Vazquez family to run this family business and his son Roberto is certainly poised to be the fifth when the time arrives. Not all members of the management team are related, but they still feel like a family. For example, Francisco, who is in charge of all the artwork and my liaison with the designers and artists, has worked with the Vazquez family for over 20 years.

The small team of artists at Talavera Vazquez takes care of all aspects of the ceramic process, from measuring the distance for the stripes on a wine bottle holder to loading the kiln with pieces for the final firing. The motto of this prolific studio is “Nuestros productos se fabrican y decoran a mano, la irregularidad que presentan acentúa su belleza,” (roughly translated as “Our products are made and decorated by hand, the irregularities present accent their beauty”). Every piece is formed by hand, then dipped into a “bath” of base glaze that turns creamy white after firing. When the base glaze has dried, the artists paint the vibrant geometric designs with crisp edges. Watching them work, I’m always amazed at the precision – there’s no way to erase a mistake or a drip of the brush. The results are unique serving dishes, pottery planters, and other Mexican ceramics that truly stand out.

Talavera Vazquez continues to flawlessly combine traditional techniques with modern design. I’m excited to have new zigzag tibores in yellow and gray, as well as more blue and white pottery planters. With all their wonderful Mexican ceramics, I’m never sure what new discoveries I’ll make on my next visit. But I’m always thrilled to be able to share them with you!

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Behind the Scenes: Gorky Gonzalez’s Mexican Ceramics

One of my favorite parts about my four years with Emilia Ceramics has been developing a rapport with ceramic artists all around the world. In this series of posts, I’ll give some insights into what happens behind the scenes to make these beautiful handpainted ceramics come to life.

A visit to Gorky Gonzalez’s workshop in Guanajuato, Mexico is truly a feast for the senses. There’s color and creative genius everywhere you look, piled in ceramics both finished and in process. Considering the number of awards and international acclaim Gorky’s pottery has received, it’s no surprise that his development as a ceramic artist has international flavor as well.

An antique piece of Majolica pottery that Gorky found in the early 1960s inspired him to rescue this basically forgotten craft. After studying in Japan (where he met his wife Toshiko), he returned with a variety of techniques that have truly revitalized Mexican ceramics. The results blend past and present, creating Mexican ceramics that are unique and timeless.

Today Gorky and Toshiko’s son Gorky Jr. (known as Gogo) handles the daily responsibilities of the business, continuing the family tradition. On my most recent visit to Mexico this past June I was delighted to find all three members of the Gonzalez family hard at work with their dedicated team of artists. I visited with about six artists who were working on the wheel or painting these vibrant Mexican ceramics by hand. Whether dinner plates or mugs, each piece is treated with care through the multistep process that Majolica requires including multiple firings in the kiln.

With a workshop as large and bustling as this one it can seem like it might get old painting the same Mexican ceramics every day. However, there are always plenty of new pieces and designs being created as well as the continuation of old favorites. I talked with one artist who’s been painting Gorky pottery for nine years and still loves it. Each piece has a design guide that the artists follow, but they are encouraged to put their own individual stamp on it so in the end, no two pieces are ever exactly alike.

On this trip I was lucky enough to find some truly unique pieces to add to my Gorky pottery collection: dinner plates with the Catrina design (perfect for Dia de los Muertos), new creamers with owls and roosters, and even some fun new dip bowls. As Gorky pottery designs expand to include more traditional patterns as well as the modern Gogo collection, I’m always excited to share these amazing Mexican ceramics with you.

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Just Opened: New Exhibition on French Ceramics in LA

Love French ceramics from the seventeenth- and eighteenth-centuries? Then you need to check out the exhibition that opened last Saturday, October 6, at the Los Angeles County Museum of Art (LACMA). Entitled “Daily Pleasures: French Ceramics from the MaryLou Boone Collection,” it features over 130 examples of faïance, soft-paste porcelain, and hard-paste porcelain used in French daily life.

I found out about this exhibition months ago and wrote about it when comparing French ceramics past and present. For example, the curves of French country pottery pitchers mirror those of antique ewers which traditionally held water for washing in the morning. Other French ceramics in the exhibition include tablewares, tea accouterments, toiletry items, and even pieces used in times of sickness. The sugar bowl and spoon featured on LACMA’s blog is charming, with soft pink accents and a curiously slotted spoon.

Covered Sugar Bowl, 1780, Lunéville, France; and Sugar Spoon, 1775, Lunéville Petit Feu Faïence Manufactory, Lunéville, France; gifts of MaryLou Boone, photos © Susan Einstein

“This exhibition reveals and celebrates both the artistry that exists in the service of the utilitarian and the ability of this discriminating collector to bring together remarkable examples of that artistry,” said Elizabeth Williams, assistant curator of decorative arts and design at LACMA, in a recent press release.

Wine Bottle Cooler (Seau à demi-bouteille). Chantilly Porcelain Manufactory, Chantilly, France, c. 1730-1735. Soft-paste porcelain with glaze and enamel, The MaryLou Boone Collection. photos © Susan Einstein

I couldn’t agree more, especially looking at examples of handmade French pottery today, from French platters to the elegant curves of a French ceramic serving bowl. I was amused to see a French ceramic wine bottle holder circa 1730-1735 as a featured piece on the LACMA website. The Asian influence is obvious, as is the practicality of having something to keep wine cool. Unlike the porcelain jars for pomade, a wine bottle holder is a practical ceramic piece people still use today.

Many of these pieces look like they came from Asia because they were imitations of pieces from Japan and China that only the very rich could afford. Today’s French ceramics embrace colors, shapes, and textures of a timeless (yet contemporary) French aesthetic. French country pottery is a pleasure not only to see, but also to use, though the delicate artistic touches on Sylvie Durez‘s birds or the edging of Poterie Ravel’s French platters invoke the early examples of this tradition the LACMA exhibition highlights.

“Daily Pleasures” runs until March 31, 2013, so if I make it down to L.A. before it’s over, I’ll definitely check it out. Have you seen this exhibition or know of others that focus on French ceramics in your area? Leave a comment below and let us know!

“Daily Pleasures” images courtesy of LACMA.

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A Look at French Ceramics, Past and Present

Think you know French ceramics? Many people picture porcelain when they think about French ceramics, such as the famous Sèvres porcelain. Louis XV became the owner of this producer in 1759 and it was a major maker of French porcelain throughout the eighteenth century (according to the Metropolitan Museum of Art). Most of these early porcelains were imitations of pieces from Japan and China that only the very rich could afford, though there was plenty of French innovation once the new processes got traction. Because of a lack of essential materials to make a clay body that was the same as the Asian pieces, all of the French ceramics made before 1770 were soft paste porcelain, not hard paste. (For those that are wondering, soft paste porcelain requires a higher fire temperature and is much harder to form than the more plastic and malleable hard paste porcelain, which contains minerals like kaolin and quartz.)

Technical talk aside, these old French ceramics are certainly beautiful to see. If you’re in the LA area, an upcoming exhibition at Los Angeles County Museum of Art will feature examples of porcelain from seventeenth- and eighteenth-century France that have a whole range of style and function. What’s particularly interesting about this collection is that it also features faience, which is simply another name for tin-oxide glazed pottery… also known as majolica.

Flash forward to today where faience/majolica is still going strong in French ceramics. Sturdy, rustic, yet also refined, this ceramic tradition continues to grow with modern sensibilities while staying true to its roots.

Just look at the curves of the pitchers by Richard Esteban and Poterie Ravel. Simple and elegant, their rich glazes are enticing for hands and eyes alike. Compare a faience ewer circa 1700 (like the photo above) to Richard’s barn red milk pitcher – they have the same clean lines and visual appeal with tall, stately spouts.

Poterie Ravel’s fancy pitcher, stunning in mustard yellow or creamy ivory, also reflects shapes and function from the past that fits in with today’s aesthetics for French ceramics.

Then there are French ceramics like those by Patrice Voelkel and Sylvie Durez. Patrice does so much with colors like white or blue, creating pieces that are deceptively simple. His large serving dish has a delicate rim that exposes the black local clay of Provence, while the white irregular glaze gives it real character. Sylvie goes a completely different direction, treating her bowls, serving platters, and pitchers as canvases for playful animals, dreamy women, or pastel landscapes with a surreal feel.

No matter your style, the variety of French ceramics being made today are sure to be just as sought after in hundreds of years as those that were made in the 1700s. So which French ceramics suit you best?

French faience ewer image courtesy of Sean Pathasema/Birmingham Museum of Art.

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Historical Roots of Blue and White Mexican Pottery

Archeologists recently discovered a kiln more than 1,300 years old in the Oaxaca region of Mexico. Used by the Zapotecs to make ceramics, it’s one of the best-preserved kilns found to date, says Mexico Today. Not surprisingly, a strong pottery tradition still exists right down the road from the discovery, and in fact, throughout this region of Mexico. From the all black pottery associated with Oaxacan artisans, to the multicolored and blue and white Talavera-style made in Puebla and Dolores-Hidalgo, Mexican pottery is definitely thriving. Modern day artists have put their own stamp on the craft, while adhering to some techniques the Zapotecs would have used over a thousand years ago.

This link between past and present in Mexico creates truly unique pieces, from serving dishes to pottery platters. Reading about this kiln made me think of Gorky Gonzalez pottery, which combines traditional Mexican techniques with Japanese, Spanish, and Italian influences. The resulting fusion is something unique, yet still invokes an ancient pottery past.

Of course, being tied to the past doesn’t need you mean to be stuck there. Nothing exemplifies this concept more than the Gogo line, created by and named for Gorky Gonzalez’s son. When it comes to blue and white Mexican pottery, Gogo serving pieces might not be what you expect. Sleek and modern, these contemporary pieces speak to a design aesthetic of today while staying true to techniques honed for hundreds of years.

But serving ware needs to have more than an interesting past. For me when it comes time to choose pottery platters or serving bowls, I’m concerned about how the piece will look and function with food on it. Blue and white consistently looks clean and sharp, making Mexican pottery in these colors great for showing off your favorite dishes.

Shape also matters when it comes to unique serving dishes. Round pottery platters are versatile; use them for main dishes, finger foods, or even as a charger to give your table a pop of color.

The length of this white platter is striking filled with fruits or snacks at a party. And an oval serving dish handles a roast or an array of cupcakes with equal ease. Having a variety of shapes is a simple solution that certainly packs a design punch.

By mixing blue and white Mexican pottery together, you’ll create a distinctive table or party spread perfect for so many occasions. Historic, stylish, and modern – now those are some unique serving dishes!

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What Sets Fine Italian Ceramics Apart?

There are many diehard lovers of Italian ceramics out there, and for good reason. Whether it’s Tuscan pottery or a piece from Sicily, there is just something about Italian ceramics that sets it apart from the other other forms of maiolica-type wares being made elsewhere.

The majolica technique itself still flourishes throughout the world, seen most often in Portuguese, French, Mexican, and Spanish pottery. While the majolica process varies little between countries and hasn’t changed much in hundreds of years, there’s definitely a wide variety of results.

Both Spanish and Portuguese pottery have long been recognized for their gorgeous tiles, in addition to their tableware. Called azulejos, these glazed tiles decorate large swathes of Portuguese buildings from churches to houses to train stations and their use dates back to the 15th century. The geometric patterns and later figurative motifs create stunning mural-like decoration in the most unexpected places. Truly beautiful and useful, the tiles also help with temperature control.

The tradition behind both Portuguese and Spanish pottery (as well as most of the Mediterranean region) started when Arabs introduced the technique in 711. An important coastal town for centuries, Valencia remains a major center of Spanish pottery and I’m still hoping to start carrying pieces by some artists from there in the near future (stay tuned).

So how is Italian Majolica different? I believe it is a combination of excellent artists (many of whom have dedicated their entire lives to perfecting the craft) and the traditional designs which generations of Italians have enhanced, individualized, and improved upon. Tuscan pottery is what many people picture when it comes to fine Italian ceramics. From the noble tradition behind the wares made in Montelupo Fiorentino to more commonly found pieces from Deruta, the bright colors, practical shapes, and ineffable charm truly put Italian ceramics in a class of its own. Who can resist the cheerful lemons, proud roosters, and rustic flowers that decorate plates and other majolica dinnerware from Tuscia d’Arte and Ceramiche Bartoloni?

Italians are masters at blending art and function to create masterpieces that are beautiful and unique. But just as Italian ceramics stay near and dear to our hearts, there’s no reason to overlook the gorgeous producers of ceramics in Portugal, Spain, France and Mexico. Among all these individual traditions there’s sure to be a majolica-inspired pottery that’s just right for your home.

Azulejos image courtesy of Concierge.2C.

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Montelupo Fiorentino and the Tradition of Majolica

Thanksgiving is one of my favorite holidays, and not just because of the food. I love the family traditions that surround the day, even as they evolve with expanding and changing family structures. So as I reflect on Thursday’s feast of turkey, stuffing, and cranberry sauce, I’m reminded of another place where family and tradition rule the day: Montelupo Fiorentino in Italy.

In world of Tuscan ceramics, Montelupo Fiorentino is famous for its quality majolica (it is one of a few major historical centers of Italian hand painted ceramics). Located on an important crossroads between the Florentine area, the Apennines, and the Tyrrhenian coast, Montelupo Fiorentino has the perfect access to clay, water, and transportation that ceramics needed to thrive in the Middle Ages. The Florentine Republic took over the area in 1204, enlarging the defensive castle (you can still visit its remains today). Construction of walls in the 14th century helped protect the town and the Priory of St. Lorenzo, and helped it grow into a thriving city and production center for Tuscan ceramics in the 15th and 16th centuries.

But none of this really explains why Montelupo Ceramics are so famous. The craze for majolica in the Renaissance brought in wealthy families who needed beautiful, sturdy dishware. Montelupo Fiorentino became the center of production for the Medicis (who built the Villa dell’Ambrogiana nearby) and other noble families.

The detail and craftsmanship of Montelupo ceramics led to its distribution around both the Mediterranean (Greece, Egypt, Morocco, Spain, and France) and the shipping lanes of the Atlantic (Southern England and Holland). Talk about being internationally renowned! You can see beautiful examples of Montelupo ceramics from this era at the Museum of Montelupo.

The production of Montelupo ceramics was hit hard by the plague that ravaged Italy in the 17th century — creating a shortage of labor and an economic recession. Luckily for us, there was a revival in the 19th century of the art form, and today Montelupo Fiorentino is once again a major center of beautiful, quality, handmade majolica combining innovation and modern style with the traditional techniques that originally made it famous.

Many consider Montelupo Fiorentino to be the best of Tuscan ceramics. You can celebrate the traditions of the region at the annual International Ceramics Festival, held on the last week of June. There you’ll find great examples of the art, as well as see masters at work, hear live music, and sample traditional Tuscan food. If you can’t get to Italy next summer, add a touch of Tuscan elegance to your home with gorgeous Montelupo ceramics by Ceramiche Bartoloni and Tuscia d’Arte.

Villa dell’Ambrogiana drawing image courtesy of Sailko.

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A Closer Look at Mexican Ceramic Art

There’s such a rich history of Mexican ceramic art: Like how Talavera Vázquez started a revolution that continues today, how Mata Ortiz pottery was first developed by Juan Quezada, and how Gorky Gonzalez revitalized the Mexican tradition of majolica. There’s always something more to learn about and while Mexican ceramic art has been around for thousands of years, you can see striking similarities between what archeologists have found and the ceramics being produced in Mexico today. Let’s take a closer look at some additional examples…

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Oaxaca

Located in the south of Mexico, Oaxaca ceramics are distinct because of the black clay found in the region. The “barro negro” (black clay) pieces have a beautiful black finish that started out matte but have been polished to an almost metallic sheen, a technique created by potter Doña Rosa in the 1950s. The other striking ceramics of this region are the green-glazed pieces from Santa María Atzompa, another tradition that started after the Spanish conquest.

Jalisco

This tradition of Mexican ceramic art also goes back thousands of years, but modern production uses high temperature firing techniques to create both ceramic and stoneware pieces. The Jalisco “bruñido” style is characterized by a piece that is burnished (rather than glazed) to make it shine. These are often jugs or jars with slender necks. Traditional designs are quite detailed and multicolored, though the antique pieces are faded because of not being fired after painting. Modern stoneware ceramics are brightly colored with a variety of global influences, making Jalisco another rich contributor to Mexican ceramic art.

Majolica

While not a region in Mexico like the others, this technique is widespread in the artistic cities of Dolores Hidalgo, Guanajuato, and San Miguel de Allende. A versatile form decorated with rich glazes, and continually incorporating modern influences, I think this is the most timeless of all Mexican ceramic art. The thick glaze looks and feels super inviting, whether it’s a vase or a coffee mug!

No matter the origin, Mexican ceramic art is traditionally made by hand, often in family-run workshops. The wide range of cultures and mix of traditions present in Mexico truly sets its ceramics apart. I believe it is an art form that is always worth further exploration.

Oaxaca image and Jalisco image both courtesy of AlejandroLinaresGarcia.

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The Allure of the Majolica Plate

Originality is an important quality when it comes to all ceramics. But with the wide variety of majolica plates out there, I’m always looking for something that’s fresh and new. Not to say that I discount tradition – just look at examples of Italian ceramics from Umbria or Faenza Italian ceramics. (Faenza, by the way, is where we get the term faience for majolica ceramics.) These rich ceramic centers in Italy are hugely important historically as well as stylistically.

Underlining the importance of Faezna in the larger world of Italian ceramics is the city’s International Museum of Ceramics. I visited a few years ago and got a firsthand look at the majolica plates in their collection, which date from the Middle Ages and Renaissance. Exquisite details are on these pieces that have been found through excavations and other acquisitions, dating to the 1400s. Obviously the allure of the majolica plate is nothing new.

But beyond its rich history, what draws people to majolica plates? Of course there’s the obvious explanation of function: plates are great for eating and serving meals. But majolica raises the bar on other functional plates. Let’s look at a few different examples to see how:

• Design. The large flat surface of a plate is like a canvas. Majolica plates range from being a solid, simple landscape to detailed, complex works of art. Repeating motifs are common but plates became more complicated with scenes in the istoriato tradition. Introduced in the 16th century, this style literally means “with a story in it” and marked the transition of majolica plates from purely functional to decorative pieces. The harlequin plates are a great example of this tradition – the lifelike figures are uniquely Tuscan and so playful! I love the scene of the serenade with its story in progress (above right).
• Shape. Majolica plates are often round because it’s an easy shape to make on a potter’s wheel. This serves to make other shapes all the more striking, like squares or rectangles. I love serving food on these obscure shapes, but they work equally well as colorful wall hangings. A personal favorite is the square plate with lemons; the lemons are so inviting, their blue background so rustic, and the pattern around the edge adds a light and whimsical feeling. Curious to know which Italian town is most famous for lemons and ceramics? So am I since it seems so many make the claim.
• Unexpected Details. Going hand in hand with these other qualities of majolica plates is adding a little extra, like a foot. Footed platters literally elevate their contents, making them perfect for fruit or dessert, whether as a centerpiece or a gorgeous accent on your kitchen counter. As I mentioned in a recent post, Ceramiche Bartoloni’s Foglia e Frutta Footed Platter with Angel is a great example of this, as is Tuscia d’Arte’s Footed Platter with Tuscan Fruits. There’s always fruit in this bowl-like plate, even when it’s empty, creating a great mix of form and function.

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