Techniques Using Slips examines the many techniques of using slips - liquid clay which can be used for decoration on its own or covered with glaze - such as brushing, dipping, trailing and sgraffito amongst others, and uses contemporary potters' works as illustrations. It explains how to make up slips and englobes, as well as ways of using them at higher temperatures, both with and without glazes. The book is illustrated with working potters in action, showing their own personal styles and how they have adapted traditional methods to suit their work today in a modern context. As well as examples of techniques, there are many images of beautiful finished pieces to show what can be achieved.

An in-depth look at the dynamic cultural world of tea in Japan during its formative period Around Chigusa investigates the cultural and artistic milieu in which a humble jar of Chinese origin dating to the thirteenth or fourteenth century became Chigusa, a revered, named object in the practice of formalized tea presentation (chanoyu) in sixteenth-century Japan. This tea-leaf storage jar lies at the nexus of interlocking personal networks, cultural values, and aesthetic idioms in the practice and appreciation of tea, poetry, painting, calligraphy, and Noh theater during this formative period of tea culture. The book's essays set tea in dialogue with other cultural practices, revealing larger cultural paradigms that informed the production, circulation, and reception of the artifacts used and displayed in tea. Key themes include the centrality of tea to the social life of and interaction among warriors, merchants, and the courtly elite; the multifaceted relationship between things wa (Japanese) and kan (Chinese) and between tea and poetry; the rise of new formats for display of the visual and calligraphic arts; and collecting and display as an expression of political power.

Just as a single pot starts with a lump of clay, the study of a piece's history must start with an understanding of its raw materials. This principle is the foundation of Pottery Analysis, the acclaimed sourcebook that has become the indispensable guide for archaeologists and anthropologists worldwide. This new edition fully incorporates more than two decades of growth and diversification in the fields of archaeological and ethnographic study of pottery. It begins with a summary of the origins and history of pottery in different parts of the world, then examines the raw materials of pottery and their physical and chemical properties. It addresses ethnographic and ethnoarchaeological perspectives on pottery production; reviews the methods of studying pottery's physical, mechanical, thermal, mineralogical, and chemical properties; and discusses how proper analysis of artifacts can reveal insights into their culture of origin.

The Conservation and Restoration of Ceramics brings together the wide range of current information relevant to the practising conservator. The book opens with a discussion of the fundamental nature of the ceramic medium, information which is of primary importance when selecting treatments or considering preventive conservation measures.

Details on techniques are given in a series of chapters covering the restoration and conservation processes, but the emphasis is on the basic principles involved in the choice of materials and methods. The nature and properties of materials commonly in use are fully discussed and guidance is given on the facilities and equipment needed.

Also covered in the book are old restoration materials and methods, the ethics of ceramics conservation, examination and recording, display treatments and emergency procedures.

Now in paperback, this book will be invaluable to practising conservators and readers of conservation as well as of interest to museum curators and collectors.

Table of Contents

Part 1: The Technology of ceramics; The deterioration of ceramics; Prevention care of ceramics; Examination and Recording. Part 2: The development of ceramics conservation; Removal of previous restoration materials; Cleaning; Reinforcement and consolidation; Bonding; Replacement of lost material; Retouching: the theory; Retouching: the practice. Part 3: planning and equipping the studio; Materials for ceramics conservation. Part 4: Displaying and mounting ceramics; Emergency procedures. Appendices.

Born in 1965 about 100 kilometres from the former imperial porcelain factories of Jingdezhen in China, Bai Ming is a multi-facetted visual artist. A professor and lecturer, he is director of the Department of Ceramics at the Academy of Art and Design of Qinghua University in Beijing, and of the Shangyu Celadon International Art Centre of Contemporary Ceramics. He also heads two workshops, where he boldly mixes ancestral techniques, traditions and practices with those of international contemporary art. The delicacy of his technique in ceramics, painting and lacquer has revitalised Chinese porcelain, freeing it from its archaic forms. His creations have won major Chinese awards and are recognised by collectors around the world. Christine Shimizu, curator of the exhibition devoted to the artist at the Keramis Centre in Belgium, brings together various authors in this book: Mael Bellec, Antoinette Fay-Halle, Jean-Francois Fouilhoux, Catherine Noppe and Ludovic Recchia. All testify, each in their own way, to their perception of Bai Ming's multifaceted work. The book follows an exhibition that will take place at Keramis from 16 November 2019 to 15 March 2020. Text in English and French.

What was the impact of Romanisation on non-elite life in central Italy during the late third and second centuries BC? Focusing on the increasing spread of black-gloss pottery across the peninsula, this 2007 text demonstrates the importance of the study of such everyday artefacts as a way of approaching aspects of social history that are otherwise little documented. Placing its subject within the wider debate over cultural identity in the Roman world, the book argues that stylistic changes in such objects of everyday use document the development of new forms of social representation among non-elite groups in Roman Italy. In contrast to previous accounts, the book concludes that, rather than pointing to a loss of regional cultural identities, the ceramic patterns suggest that the Romanisation of Italy provided new material opportunities across the social scale.

What was the impact of Romanisation on non-elite life in central Italy during the late third and second centuries BC? Focusing on the increasing spread of black-gloss pottery across the peninsula, Dr Roth demonstrates the importance of the study of such everyday artefacts as a way of approaching aspects of social history that are otherwise little documented. Placing its subject within the wider debate over cultural identity in the Roman world, the book argues that stylistic changes in such objects of everyday use document the development of new forms of social representation among non-elite groups in Roman Italy. In contrast to previous accounts, the book concludes that, rather than pointing to a loss of regional cultural identities, the ceramic patterns suggest that the Romanisation of Italy provided new material opportunities across the social scale.

A fascinating look at an extraordinary collection of ceramic masterpieces by celebrated French ceramicist Ernest Chaplet. Over the last forty years, architect and collector Peter Marino has acquired a remarkable collection of pieces by French ceramicist, Ernest Chaplet. This collection is a precious testimony of a rare production - a new line of ceramics created by Chaplet in 1883 for the Limoges-based factory Haviland & Co. Ernest Chaplet sheds deserved light on this great artist, whose career exemplifies the evolution of artistic ceramics at the turn of the 20th century, and whose work entered the collections of many museums during his lifetime.

Bucchero is a very common type of fine pottery that was made by the Etruscans when their civilization was at its height, from the seventh to the fourth century BC. This study concentrates on the products of South Etruria, where the earliest and finest bucchero was made, and where the tradition lasts longest. Until recently bucchero has been little studied, and the aim of this book is to present a sequence of pottery from archaeological contexts, so that the development of the ware can be seen as a whole within a chronological framework. Many of the tomb-groups catalogued are published here for the first time. In studying the shapes careful consideration is given to the affinities with Greek and with other Etruscan wares. A full survey of the decorative techniques is included, and the pattern of distribution both within Etruria and further afield is discussed. An important feature of the book is a series of sixty pages of drawings of the profiles of every shape of bucchero pot studied. Bucchero is of considerable importance as a dating tool, and although the book is directed primarily at specialists, it will also be of interest to anyone who is curious about Etruscan art and archaeology.

The Attic white lekythoi, funerary vases long appreciated for their beautiful polychrome images, evoke the style of lost classical wall and mural paintings. This richly illustrated volume closely examines the four major types of scenes: domestic pictures; the mythological conductors of the soul; the prothesis (wake); and visits to the grave. John Oakley analyzes these pictures in context, documenting relationships between the "rites of passage," Athenian history, and the changing perceptions of death in fifth-century Athens.

Jun Kaneko, born in Nagoya, Japan, in 1942 and based in Omaha, Nebraska, since 1986, is revered for his role in establishing modern ceramic art, yet he has been equally prolific in a range of other media. This book offers an entirely new and detailed survey and analysis of nearly six decades of Kaneko's work in ceramics, drawing, painting, installation art, and opera design. Tracing the career of this dynamic artist from his early training and subsequent association with the pivotal California Clay Movement to his important public commissions and philanthropic concerns of the present, it focuses in particular on the past 20 years, which have previously not been the subject of a comprehensive volume. Drawing extensively on interviews he has conducted with Jun Kaneko since 2002, Glen R. Brown reflects on the principal concepts that have shaped Kaneko's art, situating them in the space between a Japanese Shinto ethos and the aesthetic tenets of Western Art Informel and Post-Painterly Abstraction. He discusses in-depth Kaneko's art, from the colossal glazed-ceramic Dangos to the sensitive colouristic stage and costume designs for operas. The book provides fascinating insights into Kaneko's unique, relentlessly self-sustaining creative process and the multiple conceptions of space that inform it. Featuring more than 200 colour illustrations and substantial information not previously available in published form, this book offers an up-to-date definitive critical survey of this important artist's life and work.

This is the first major book on English blue and white porcelain since the early 1970s. Not only is it the latest and most up-to-date work, but it includes types not previously studied and extends the range of wares into the early years of the nineteenth-century. It is a unique, comprehensive study. The number of instructive illustrations exceeds seven hundred, including helpful comparison photographs and details of identifying features - footrims, handle forms, manufacturing characteristics and marks. Apart from introductory chapters on collecting blue and white and on the introduction and development of this popular mode of decoration, this unique coverage comprises details of over twenty distinct makes, including the relatively newly researched eighteenth century factories at Isleworth, Limehouse and Vauxhall. The inclusion of the several post-1790 factories covers new ground. The section on fakes and reproductions will also prove instructive and helpful. Guidance is given on the popularity o

In deepening our understanding of the symposium in ancient Greece, this book embodies the wit and play of the images it explains: those decorating Athenian drinking vessels from the sixth and fifth centuries B.C. The vases used at banquets often depict the actual drinkers who commissioned their production and convey the flowing together of wine, poetry, music, games, flirtation, and other elements that formed the complex structure of the banquet itself. A close reading of the objects handled by drinkers in the images reveals various metaphors, particularly that of wine as sea, all expressing a wide range of attitudes toward an ambiguous substance that brings cheer but may also cause harm.

Not only does this work offer an anthropological view of ancient Greece, but it explores a precise iconographic system. In so doing it will encourage and enrich further reflection on the role of the image in a given culture.

Originally published in 1990.

The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

This book is the first completely detailed and descriptive companion to the museum's holdings of Vincennes and Sevres porcelain. The porcelain is catalogued in chronological order by factory. Each entry provides a complete bibliography and provenance, as well as details on factory listing, artist, date, measurements, distinguishing marks, and much more. The catalogue is beautifully and extensively illustrated. Each work is shown in color with a selection of black and white details. Incised and painted marks are also illustrated.

A CBC New Brunswick Book List Selection"I start with an original object, break it, and transform parts of the piece into other materials. These pieces gather meaning and explanation as I work with them."Peter Powning is simultaneously referred to as a sculptor and a ceramist, but his art does not fit easy categorization, incorporating and combining elements from one medium into another. His work challenges the viewer to reconsider the object, its form, and its function. This inventiveness has resulted in numerous exhibitions, awards, and commissions for public art sculptures throughout Canada.Featuring 175 full-colour images of Powning's work along with essays by curators and critics, Peter Powning celebrates the career of one of Canada's finest visual artists and accompanies a major retrospective exhibition organized by the Beaverbrook Art Gallery.

This publication reflects upon the celebrated collection at the internationally renowned Gardiner Museum, Toronto, which has grown to become one of the world's great speciality museums with its devotion to the ceramic arts. Featuring more than 100 images, the book focuses upon 30 objects that reflect the temporal and geographical breadth of the Museum's collection, as well as the universality of the medium it celebrates. An international body of scholars and curators share their insights and expertise within the book's essays telling the story of ceramic production throughout history and with reference to a vast array of approaches to the medium. Featuring works by such illustrious names as Marc Chagall, Betty Woodman, Marilyn Levine, Wedgwood and Delft, this book provides a fascinating insight into one of the greatest collections in the world of ceramics.

Born into a traditional culture in 1833, Emanuel Suter cultivated the art of pottery and expanded markets across the Shenandoah Valley of Virginia, creating a thriving company and leaving thousands of examples of utilitarian ceramic ware that have survived down to the present. Drawing on Suter's diary-rich with meticulous descriptions of his ceramic wares, along with glazing recipes and the quotidian details of nineteenth-century business-as well as myriad other primary and secondary sources, Suter's great-great-grandson Scott Hamilton Suter tells the story of how a farmer with a seasonal sideline developed into a technologically advanced entrepreneur who operated a modern industrial company. As a farmer, Emanuel Suter innovated by adopting new time-saving equipment; this progressive thinking bled over into his religious life, as he endeavored to change the traditional way of choosing ministers by lot and advocated for the formation of Sunday schools in the Mennonite Church. But Suter largely made his mark as a potter, and A Potter's Progress is enhanced by nearly two dozen color images and a close study of the techniques (including kilns and jigger wheels), products, shop organization, marketing, and labor of Suter's shops, revealing the revolutionary role they played in the world of Rockingham County, Virginia, pottery manufacture. This tightly focused case study of the trials and triumphs of one craftsman as he moved from a cottage industry to a full-scale industrial enterprise-prefiguring the market economy that would characterize the twentieth century-serves as a microcosm for examining the American spirit of progress in late nineteenth-century America.

What inspiration awaits within a museum? In this rare venture, a group of 14 Resident Artists from The Clay Studio worked with 7 curators to explore the Philadelphia Museum of Art's art storage vaults.This catalog-and its accompanying exhibition at The Clay Studio-reveals the thoughts, inspirations, and creative drive shared by the artists and curators. After researching and handling artifacts in an art museum's storage, each artist chose a museum object and went back to their studio to create a new work of art in response. The resulting artworks, beautifully photographed here, are accompanied by the artists' thoughtful reactions to the experience, along with candid views of the works in progress in their studios. The curators, too, describe their "aha moments" in three luminous essays. For both artists and curators, this journey from storage to studio in Philadelphia has been revelatory and points the way to exciting future possibilities for artists, curators, museums, and gallery visitors everywhere.