For nearly seven decades the ebullient art of Joan Miro (1893-1983), Spanish painter, sculptor, ceramist and mythmaker, has intrigued and enchanted art lovers worldwide. This collection of his writings presents a portrait of the artist in his own words. Miro's notebooks, letters, and interviews reveal the work and life of a brilliant artist revered for his uncanny expression of the subconscious. "Joan Miro" centres on Paris during the vibrant era between the wars, when Miro became the intimate of almost everyone in that scene - boxing with young Hemingway, working with Max Ernst on the Ballets Russes, drinking, painting and arguing with Picasso, Braque, Dubuffet, Matisse, Breton and many others. Miro engagingly recounts all of this, as well as stories of his exile during World War II. Miro's virtuosity encompassed drawing, painting, sculpture, ceramics, poetry, stage sets, costumes, murals and tapestries; he vividly describes the creation of these artworks in these pages.

The brightly colored tin-enameled earthenware called maiolica was among the major accomplishments of decorative arts in 16th-century Italy. This in-depth look at the history of maiolica, told through 140 exemplary pieces from the world-class collection at the Metropolitan Museum, offers a new perspective on a major aspect of Italian Renaissance art. Most of the works have never been published and all are newly photographed. The ceramics are featured alongside detailed descriptions of production techniques and a consideration of the social and cultural context, making this an invaluable resource for scholars and collectors. The imaginatively decorated works include an eight-figure group of the Lamentation, the largest and most ambitious piece of sculpture produced in a Renaissance maiolica workshop; pharmacy jars; bella donna plates; and more. Published by The Metropolitan Museum of Art / Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art (08/29/16-02/26/17)

"My Dad, The Folk Potter" is a young reader's picture book that shows the complete process of making traditional pottery using methods 19th Century Catawba Valley potters used, including hand-digging local clay, glazing, firing in a ground hog kiln and selling of wares. The book is written from the perspective of a fourth-grader as he watches his dad "turn and burn." Pottery buffs of all ages will appreciate both the educational and artistic value of this book.

One of the first personalities to be identified in Etruscan art, the Micali Painter (sixth century BC), is also one of the liveliest of ancient vase-painters, and the leading exponent of a black-figure style that owed more to native imagination than the influence of imported Athenian vases. He is named after Guiseppe Micali (1769-1844), who recognized the hoard of vases discussed in this book as being the work of one man. This book presents the first full stylistic study of the painter, together with a catalogue of his surviving work (some two hundred pieces) and an account of his development and influence within the course of archaic Etruscan painting. Much of the material is hitherto unpublished, and the illustrations have been chosen to furnish a full documentation of the Micali Painter's range and originality.

Now available in its sixth edition, The Potter's Dictionary of Materials and Techniques presents a comprehensive survey of all aspects of making ceramics for craft potters and ceramic artists. With its sound, practical explanations of ceramic processes, this indispensable reference book has gained a reputation as "the potter's bible." Professional potters, beginners, students, and collectors will find authoritative information clearly and logically presented. Frank and Janet Hamer explain the sources and character of materials, the behavior of clays and glaze minerals during forming and firing processes, forming methods, and glaze construction. In addition to brief outlines and detailed articles with cross references to illustrations, color photographs illustrate glaze effects and surfaces featured in the work of inventive, contemporary potters. The varied techniques of Raku, maiolica, crystalline glazes, salt and soda, stoneware, and porcelain are also presented. This new edition features over 500 full-color photographs and illustrations. With more than 300 diagrams to clarify everything in the ceramic world, in its sixth edition The Potter's Dictionary of Materials and Techniques will continue to serve as the authority on all things ceramic.

Transform your plain pottery into exciting, colourful and contemporary pieces for the home in a trice! You don't need pottery classes, or even a kiln to glaze your creations - you can make gorgeous items quickly and easily by painting plain, shop-bought ceramic items and baking them in a domestic oven. With 22 colourful projects to make, there are decorative plates, bowls, cups and pots, vases, a lamp - and even earrings and a necklace. With simple techniques to follow, all explained in clear and simple terms, you just need a few brushes, some ceramic paints and some plain pottery and away you go! If you love painted ceramics, patterns and making little gifts - this book is for you!

A practical guide to all forms of decoration for pots and sculpture. This step-by-step guide encourages you to explore the full range of surface treatment techniques and teaches you how to obtain a professional finish to your work by suggesting an appropriate finish choice. Surface Decoration looks at all manner of surface decoration techniques, at every stage of the ceramic process and from a practical perspective explains how to achieve these effects. The book explores a variety of innovative and contemporary approaches to surface finish including sgrafitto, resist methods, sprigging, trailing, glaze layering, lustre, transfer, impressing, incising and textural methods amongst others. This is the perfect guide for any ceramic artist interested in exploring new surface decoration techniques.

Switzerland is well-known for its host of remarkable collections of 18th century European porcelain. Exemplary representatives include renowned collectors such as Dr Albert Kocher and Dr Marcel Nyffeler. A number of these magnificent collections can be found today - as a result of endowments or gifts - in Switzerland's renowned institutions. Today, the 'white gold' from Saxony still fascinates Swiss connoisseurs: this publication is dedicated to their passion for collecting and for exceptional treasures, and is enriched with articles by renowned art historians and porcelain experts. An impressive overview of the gems from the most sumptuous Meissen porcelain of the early period.

Originally published under the title Experimental Glass Blowing for Boys in the early 20th century, this book contains a series of 80 "experiments" designed to teach the basic techniques of lampwork. The book discusses types of glass, how to cut, bend, and stretch glass tubes and rods, sealing a tube, blowing a bubble, joining tubes, how to cut window glass and bottles, boring a hole in glass, etc. The experiments include kids' stuff like squirt bottles, pea shooters and whistles, as well as more practical fare such as a drinking tube, siphon, nozzles, and a spirit level. Over 100 illustrations. At the time of original publication Carleton J. Lynde, Ph.D., was Professor of Physics at MacDonald College in Quebec, Canada.

Freiburg i. UE., seit jeher der Angelpunkt germanischer und franzoesischer Kultur und Sprache in der Schweiz, beteiligte sich seit dem spaten 15. Jahrhundert rege an der Fenster- und Wappenschenkung der eidgenoessischen Orte. Die als Bildmedium ausserst wirksamen leuchtenden Glasbilder, die sich Kantone, kirchliche und gesellschaftliche Institutionen und Privatleute anlasslich von Bauprojekten stifteten, spielten eine wichtige Rolle im Selbstverstandnis der Eidgenossen und foerderten die Identitat und Zusammengehoerigkeit ihres Staatenbundes in kaum abschatzbarem Masse. In einem mehrjahrigen Forschungsprojekt untersuchte die Autorin die uber 400 in Kirchen, Museen und Privatsammlungen des Kantons Freiburg erhaltenen Glasgemalde des 16. bis 18. Jahrhunderts. Der zweite Band beinhaltet den wissenschaftlichen Katalog dieser Werke gemass den internationalen Richtlinien des Corpus Vitrearum. Daruber hinaus prasentiert die Autorin im ersten Band den beziehungsreichen kulturhistorischen Hintergrund dieses Patrimoniums, den sie mit Archivstudien zu den Kunstlern und Glasern, den Entstehungsumstanden und Stiftern erforschte. Auch die in der ganzen Welt verstreuten oder verlorenen Zeugen dieses freiburgischen Kulturguts wurden miteinbezogen. Die Publikation geht den Stiftern nach, die mit Bildern, Wappen und Inschriften allgegenwartig blieben. Den oft beruhrenden Lebenswegen der Glasmaler und Fensterglaser, den Werkstattpraktiken, aber auch der Schenksitte ist ein grosser Teil der Arbeit gewidmet. Die bedeutende Publikation ist reich bebildert und besondere Aufmerksamkeit wurde der zweisprachigen, deutschen und franzoesischen Veroeffentlichung der einleitenden kulturgeschichtlichen Studie geschenkt. Des la fin du XVe siecle, Fribourg, a la charniere des aires culturelles et linguistiques germanique et francaise en Suisse, adopta avec ferveur la coutume helvetique des donations d'armoiries et de vitraux. Supports visuels d'un effet considerable, ces tableaux de lumiere offerts par des cantons, des institutions ecclesiastiques, des collectivites sociales ou des particuliers a l'occasion de projets de construction, jouerent un role considerable dans l'affermissement du sentiment identitaire des Confederes et de leur cohesion. Durant plusieurs annees de recherches, l'auteur a etudie les plus de quatre cents vitraux du XVIe au XVIIIe siecle conserves dans des eglises, des musees ou des collections privees du canton de Fribourg. Le deuxieme volume de cet ouvrage contient le catalogue scientifique de ces oeuvres, etabli conformement aux directives internationales du Corpus Vitrearum. Dans le premier volume, Uta Bergmann se penche sur le contexte historique et culturel, encore meconnu, de ce riche patrimoine. Elle a effectue des recherches dans les archives sur les artistes et les verriers, sur les circonstances dans lesquelles les vitraux ont ete crees et sur les donateurs. Son travail inclut egalement les oeuvres perdues de ce patrimoine fribourgeois, ou dispersees dans le monde entier. L'ouvrage presente les donateurs, immortalises par des images, des armoiries et des inscriptions. Mais il accorde aussi une large place a la vie et a la destinee parfois emouvante des peintres-verriers et des verriers, de meme qu'a la coutume des donations de vitraux. Cette importante publication est richement illustree, et un soin tout particulier a ete mis a la presentation en deux langues, allemand et francais, des textes de synthese du volume d'etude.

Glass as an art form has an ancient tradition; the archaeological record suggests that artisans in Egypt and Mesopotamia were fabricating glass vessels and ornaments during the fourth millennium BCE. Its durable nature, range of colours, malleability, and most of all, its optical transparency are qualities that have made glass a premiere art medium. Over a lifetime, Frederick Birkhill has explored the unique qualities of glass and the numerous techniques and intricacies of working with it. The result of these decades of study is a body of work that is extraordinary in scope, technical expertise, and sheer virtuosity. This book, from The Artist Book Foundation honours this gifted artist. From his time in England at Burleighfield House, the studio of stained-glass artist Patrick Reyntiens, to his unprecedented visit to Lauscha, the village in East Germany famous for both its art and scientific glass production, and his subsequent career as an explorer, teacher, and master of the glass arts, Birkhill has devoted himself to furthering the appreciation of the medium and sharing his vast experience with colleagues, collectors, and students. His works appear in numerous museum collections, including those of The Corning Museum of Glass, the Museum of Arts and Design, the Mint Museum, the Detroit Institute of Arts, and the Smithsonian. Complementing the scholarly contributions by authors with significant backgrounds in the glass arts, the book features in its extensive plate section the lavish photography of Henry Leutwyler, which offers readers an opportunity to examine the complex details and artistic mastery of Birkhill's oeuvre. In addition, the monograph offers a glossary of glass-art terms, a detailed chronology of the artist's life, his extensive exhibition history, and a list of the numerous awards he has received. For those who are passionate about the glass arts, this monograph will be a feast for the eyes.

A paragon of modern design, this book charts the history, rise and fall of the world's best-selling patented teapot.

The Philadelphia Museum of Art is renowned for its world-class collections of which stained glass was an integral part from the time of its establishment in 1876. This volume catalogues and illustrates the entire holdings of stained glass in this collection wide-ranging in both date and provenance.

This title presents the work of 100+ established and emerging international polymer clay artists. Each chapter will focus on a specific category of polymer clay work, including colour, fashion, miniatures and more. It includes in-depth profiles of influential artists and step-by-step demonstrations of his or her signature technique. In Polymer Clay Global Perspectives, polymer clay artist and founder of the blog Polymer Clay Daily, Cynthia Tinapple presents the work of more than 100 established and emerging polymer clay artists from around the world. Each chapter will focus on a specific category of polymer clay work, including colour, fashion, miniatures, sculpture, mixed media and caning, and will offer an in-depth profile of an influential artist, a step-by-step demonstration of his or her signature technique, and an inspiring overview gallery of related work by other artists.

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.

Glasgemalde aus der fruhen Neuzeit befinden sich im Kanton Schaffhausen kaum mehr an ihren ursprunglichen Bestimmungsorten. Dank den intensiven Bemuhungen von Schaffhauser Burgern und Institutionen konnte uber die letzten 150 Jahre aber ein ansehnlicher Bestand an historischen Glasgemalden fur die dortigen Sammlungen gesichert werden. Diese in der vorliegenden Publikation erstmals vollstandig erfassten, durchweg farbig abgebildeten 194 Werke vermitteln ein anschauliches Bild vom Reichtum der einstmals in oeffentlichen und privaten Schaffhauser Gebauden vorhandenen Glasmalereien. Zugleich kommt ihnen ein hoher kulturgeschichtlicher Wert zu, indem sie aufschlussreiche Einblicke in die vielfaltigen Beziehungen der Burger untereinander und zu ihren politischen Organen gewahren. Die dem Katalog vorangehende Studie behandelt die Entwicklung der Glasmalerei zwischen 1500 und 1800 in Schaffhausen und Stein am Rhein aus verschiedenen Perspektiven. Eroertert werden zunachst die Grunde fur den nach der Reformation erfolgten Aufstieg Schaffhausens zu einem fuhrenden Zentrum Schweizer Glasmalkunst, dessen Erzeugnisse sich auch in Suddeutschland einer grossen Beliebtheit erfreuten. Nach dem Eingehen auf die Trager dieser Nachfrage wird unter Beizug des reichhaltigen, hier erstmals auszugsweise veroeffentlichten Quellenmaterials die Organisation des Schaffhauser Glasmaler- und Glaserhandwerks durchleuchtet und seine enge Verflechtung mit den Malern aufgezeigt. Daran schliessen sich die Kurzbiografien der wahrend der fruhen Neuzeit uber hundert in Schaffhausen tatigen Glasmaler, Glaser und Scheibenentwerfer, zu denen neben unbekannten, bislang noch nie namentlich erfassten Meistern Kunstlerpersoenlichkeiten wie Tobias Stimmer oder Daniel Lindtmayer der Jungere gehoeren. Ganz anders liegen die Verhaltnisse in der bis zur franzoesischen Revolution unter Zurcher Oberhoheit stehenden Stadt Stein am Rhein. Wie die Studie aufzeigt, beherrschten dort fremde Meister das Feld der Glasmalerei, und zwar vor allem solche aus Zurich und Winterthur. Obwohl Stein am Rhein im Gegensatz zu Schaffhausen nie ein bedeutender Produktionsort fur Glasmalerei war, kann sich diese Stadt mit dem 1542/43 in sein Rathaus gestifteten Scheibenzyklus aber ruhmen, Huterin eines der glanzvollsten Zeugnisse Altschweizer Glasmalkunst zu sein.

Happenstance and gesture play a central role in the creative work of the ceramicist Johannes Nagel (b. 1979). His objects, which are orientated towards traditional ideas of vessels but are also freely composed, examine the associations between form and idea. Using work techniques such as burrowing into sand to form negative figurations for casting, he successfully performs his work directly and manually, lending the process of searching a tangible presence. The publication focuses on Nagel's oeuvre from the last four years. Earlier work groups are also presented as highlights. The collector Joerg Johnen and the philosopher Marcel Rene Marburger set Nagel's work in relation to artistic tendencies of the twentieth century and shine a light on the intellectual-historical background of the gestural as an intermediary between the power of imagination and its manifestation in an object. Text in English and German.

Designs featuring specially cut glass that captures and refracts light. Floral, geometric, animal, Art Nouveau, Victorian motifs in varied shapes. Create mirrors, mobiles, door panels, etc.

This book of a significant private collection of eighteenth-century Meissen porcelain has been expertly catalogued and photographed. With over 100 specially commissioned photographs to showcase the objects in the round and close-up, as well as to highlight their important features. There are detailed entries for each item, whilst the introductory essay helps to shed light on these beautiful pieces of Meissen porcelain, many of them extremely rare, and are placed into their historical context. Anyone with an interest in the decorative arts of the eighteenth-century will find this book a feast for the eyes.

The present volume catalogues and illustrates all the stained glass produced before 1700 in the collections of Upstate New York. It includes the glass in the Albright-Knox Art Gallery and the Memorial Art Gallery in Rochester, in the Hyde Collection at Glen Falls, in Ithaca College, and predominantly in Corning, where the Corning Glass Museum is well known for its exceptional collection and where also Christ Episcopal Church houses two interesting fifteenth-century windows. The catalogue covers a wide range of panels of French and English glass from the thirteenth, fourteenth and fifteenth centuries, and the collections are particularly strong in their holdings of later heraldic panels from the Lowlands and Switzerland. In addition to a detailed examination of the glass, Professor Lillich presents exhaustively researched histories of the individual panels, and sheds much light on the formation of the different collections and the personalities who created them. Every work catalogued is also illustrated, accompanied by clearly presented restoration charts and many comparative illustrations.

This is the first catalogue to appear in the newly launched American Corpus Vitrearum series. The collections in Indiana, Illinois, Michigan and Ohio include almost 200 panels of stained glass. The largest group is to be found in the Detroit Institute of Art; others are in the University of Michigan Museum of Art, Ann Arbor; the Cathedral Church of Saint Paul in Detroit; the Edsel and Eleanor Ford House and Cranbrook Academy of Art Museum. In Ohio, the Cleveland Museum of Art owns interesting panels, as does the Toledo Museum of Art. The glass in the Art Institue in Chicago is also catalogued here. The volumes offer the essential 'state of the question' of glass conservation as well as comprehensive contextual, iconographic and stylistic descriptions. The introduction discusses the nature of stained glass, its function as an art-form, as monumental art, and its relationship to architecture and other art-forms of the medieval and Renaissance periods. The authors touch particularly on cross-disciplinary issues, since the nature of the American glass collections is able to yield fascinating information on the history of changing taste, the social status of the collectors, thier attitudes towards religion, and the development of public museums in the nineteenth and twentieth centuries. Every panel catalogued is also fully illustrated, generally with several details, and frequently with comparative examples. This two-volume catalogue lists the panels of stained glass in the collections of the Midwest States and offers the essential 'state of the question'of glass conservation as well as comprehensive contextual, iconographic and stylistic descriptions.