What is a pyxis? Who was the Amasis Painter? How did Greek vases get their distinctive black and orange colors? This richly illustrated book--the latest in the popular Looking At series--offers definitions and descriptions of these and many other Greek vase shapes, painters, and techniques encountered in museum exhibitions and publications on ancient Greek ceramics. Included is an essay on how to look at Greek vases and another on the conservation of ancient ceramics. These essays provide succinct explanations of the terms most frequently encountered by museum-goers. The concise definitions are divided into two sections, one on potters and painters and another on vase shapes and technical terms relating to the construction and decoration of the vases. Featuring numerous color illustrations of Greek vases, many from the Getty Museum's collection, Understanding Greek Vases is an indispensable guide for anyone wishing to obtain a greater understanding and enjoyment of Greek ceramics.

This illustrated history highlights the diversity and innovation of American ceramics in the late nineteenth and early twentieth centuries, as artists responded to historical precedents and emerging modernist styles around the world Between the early 1880s and the early 1950s, pioneering American artists drew upon the rich traditions and recent innovations of European and Asian ceramics to develop new designs, decorations, and techniques. With splendid new photography, this book showcases these American interpretations of international trends, from the Arts and Crafts and Art Deco movements, through the modernism of Matisse and the Wiener Werkstatte, to abstracted, minimalist styles. Illustrations of more than 180 exemplary works-some of these never before published-accompany engaging essays by two of the foremost experts on American art pottery. The featured makers include Rookwood, Grueby, and Van Briggle potteries, as well as artists including Maija Grotell, George E. Ohr, Frederick Hurten Rhead, Louis Comfort Tiffany, Rockwell Kent, Adelaide Alsop Robineau, and Leza McVey. A vivid and accessible overview of American ceramics and ceramists of the late nineteenth and early twentieth centuries, this publication reveals how diverse and global sources inspired works of astonishing ingenuity and variety by artists working in the United States. Published by The Metropolitan Museum of Art/Distributed by Yale University Press Exhibition Schedule: The Metropolitan Museum of Art, New York (October 2021-October 2022)

This book opens up a neglected chapter in the reception of Athenian drama, especially comedy; and it gives stage-centre to a particularly attractive and entertaining series of vase-paintings, which have been generally regarded as marginal curiosities. These are the so-called `phlyax vases', nearly all painted in the Greek cities of South Italy in the period 400 t0 360 BC. Up till now, they have been taken to reflect some kind of local folk-theatre, but Oliver Taplin, prompted especially by three that have only been published in the last twelve years, argues that most, if not all, reflect Athenian comedy of the sort represented by Aristophanes. This bold thesis opens up questions of the relation of tragedy as well as comedy to vase-painting, the cultural climate of the Greek cities in Italy, and the extent to which Athenians were aware of drama as a potential `export'. It also enriches appreciation of many key aspects of Aristophanic comedy: its metatheatre and self-reference, its use of stage-action and stage-props, its unabashed indecency, and its polarised relationship, even rivalry, with tragedy. The book has assembled thirty-six photographs of vase-paintings. Many are printed here for the first time outside specialist publications that are not readily accessible.

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.

During the Middle Ages decorative floor tiles were used in abbey churches, royal palaces, parish churches and the homes of wealthy citizens. Tiles were durable and hygienic and added a new decorative element to the interior. Despite their simple tools and kiln equipment, the medieval tile makers proved extremely skilful in the production of different types of tile. They ranged from variously shaped plain tiles, which were assembled into complex mosaic floors, to two-coloured inlaid tiles, and stamped-relief and line-impressed tiles, all decorated with a wealth of different patterns and designs. Many medieval tiles disappeared during nineteenth-century restorations but the designs lived on in the copies made by Victorian tile manufacturers. Throughout Britain, tiles can still be seen 'in situ' on the sites of former abbeys as well as in medieval cathedrals and parish churches, and the British Museum has an extensive and important collection.

This book inaugurates a series of volumes that will present the results of more than twenty years of research by a team of American and Yugoslav scholars at Stobi, an ancient city of northern Macedonia. The research was multidisciplinary, and methodological innovations augmented more traditional methodologies of archaeological, historical, and art historical research. The series illuminates numerous aspects of urban life at Stobi, which spanned some nine centuries, from the early Hellenistic period until the end of the sixth century A.D. This first volume of the series is also the first comprehensive study of Hellenistic and Roman pottery in Macedonia. Its detailed presentation of the types and quantities of imported wares and local products together with a series of well-dated contexts documents the economic history of Stobi as well as the broader region of Macedonia. It will interest social and economic historians, as well as archaeologists and pottery specialists.

Originally published in 1992.

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.

Following the theoretical perspective of his earlier book, Ceramic Theory and Cultural Process (1985), Dean Arnold's ethnoarchaeological study explores the relationships of ceramic production to society and its environment in the Peruvian Andes. The book traces these contemporary linkages through the production, decoration, and use of pottery and relates them to the analysis and interpretation of ancient ceramic production. Utilizing an ecological approach within a single community, Arnold expands the scope of previous ceramic theory by focusing on the population as the unit of analysis in production and decoration.

Ceramic jewellery is an ever-growing area of the ceramic world. Although ceramic beads have been around for as long as pots have, the idea of ceramic jewellery has been making a comeback in a much more glamorous and professional form than ever before. This book shows how ceramic can be combined with other materials such as silver, gold, feathers, leather, textiles or stone to create some unique and innovative pieces. The book looks at how to source or create your own fittings and findings, the problems of design and the practicalities of joining the various elements to create a successful piece. The book is well illustrated both with practical images and beautiful photos of finished work from an international range of artists.

This volume collects research presented at the Koc University Research Center for Anatolian Civilizations (ANAMED) 2018 international annual symposium. It brings together researchers engaged in the study of the decoration and technology of glazed pottery, ranging from the early Byzantine era to the end of the Ottoman period. Topics explored include pottery production in Constantinople, glazed ceramic production and consumption in medieval Thebes, pottery imports in Algiers during the Turkish Regency, considerations of trading routes and their influences, the relationships between Italy and the Byzantine and Ottoman world through pottery, and more.

In this book, Professor Martin Robertson, author of A History of Greek Art (CUP 1975) and A Shorter History of Greek Art (CUP 1981), draws together the results of a lifetime's study of Greek vase-painting, tracing the history of figure-drawing on Athenian pottery from the invention of the "red-figure" technique in the later archaic period to the abandonment of figured vase-decoration two hundred years later. The book covers red-figure and also work produced over the same period in the same workshops in black-figure and other techniques, especially that of drawing in outline on a white ground. This book is a major contribution to the history of Greek vase-painting and anyone seriously interested in the subject--whether scholar, student, curator, collector or amateur--will find it essential reading.

Drawing upon the theoretical perspectives of systems theory, cybernetics and cultural ecology, the author uses cross-cultural comparisons to explain the origins and evolution of the pottery making craft. An innovative approach to the archaeological interpretation of ceramics.

The Miller Ceramic Art Collection features masterpieces highlighting the artistic ideals of numerous luminaries of mid-twentieth century to early twenty-first century American ceramic art. In addition, the collection includes important examples of European and Japanese ceramic artworks of the same period. Marlin Miller's profound understanding of materials began with ceramic engineering. His interest in brick and its role in architecture informs a keen eye for surface texture, dimension and materiality. The publication is a comprehensive presentation of one of the world's most distinguished private collections of contemporary studio ceramics, and an observation on the correlation between ceramics and architecture. With contributions by Meghen Jones, Sequoia Miller, Michael McKinnell and Wayne Higby.

Highlighting one of the Peabody Museum's most important archaeological expeditions--the excavation of the Swarts Ranch Ruin in southwestern New Mexico by Harriet and Burton Cosgrove in the mid-1920s--Steven LeBlanc's book features rare, never-before-published examples of Mimbres painted pottery, considered by many scholars to be the most unique of all the ancient art traditions of North America. Made between A.D. 1000 and 1150, these pottery bowls and jars depict birds, fish, insects, and mammals that the Mimbres encountered in their daily lives, portray mythical beings, and show humans participating in both ritual and everyday activities. LeBlanc traces the origins of the Mimbres people and what became of them, and he explores our present understanding of what the images mean and what scholars have learned about the Mimbres people in the 75 years since the Cosgroves' expedition.