Considered the masterpiece of Tuscan ceramics from Montelupo, 
the “Red from Montelupo” is a large basin richly decorated with grotesque figured and powerfully vivid colors.
It was made in 1509 in Lorenzo di Piero Sartori’s workshop, one of the most prestigious in Montelupo. The author’s signature – Lo - is elegantly painted on the back of the basin, still in excellent condition after more 500 years.
The Rosso owes its name to the red glaze used for its decoration, whose ingredients are still a mystery to date. Very likely this unusual glaze was brought to Montelupo from Iznik, in Turkey, by the Florentine merchants who traded Montelupo ceramics all over the world. Indeed, it looks very similar to a peculiar manganese oxide rich in arsenic extracted in Anatolia.
Continue reading ‘Rosso di Montelupo: A true Italian ceramic masterpiece’
Umbria 
is one of Italy’s smallest regions, whose secretive beauty is made of rolling hills dotted with castles and monasteries and whose charming hill town have been producing world renowned handmade ceramics since the Renaissance.
It’s really hard to resist the charm of Deruta ceramics, or Gubbio ceramics…
Born as merely functional to human life, Umbrian ceramics have evolved into a form of Art, without ever ceasing to be part of people’s life.
A symbol of the strong tie between Umbria pottery and the lively regional traditions are the Brocche dei Ceri, large ceramic pitchers which play a relevant role in the most famous “Corsa dei Ceri” or Race of the Saints.
This spectacular event is held in Gubbio each May 15th to honor St Ubaldo, the Patron Saint of the town.
Three teams (the Ceraioli) devoted to St Ubaldo, St Giorgio and St Antonio and clad respectively in yellow, blue and black shirts, run along the streets of Gubbio and up much of the mountain to the Church of St Ubaldo.
Each team carries a statue of their saint mounted on a wooden octagonal prism 7 meters tall and weighing about 280 kilograms, the so called Ceri (candles). Throngs of cheering supporters follow the runners. Altogether an unforgettable event!
Continue reading ‘Umbria pottery: the Brocche dei Ceri and the Good Luck Shards from Gubbio’
No ceramic lover can resist the timeless charm of a Renaissance portrait finely painted on a Deruta ceramic.
Scattered all over the world in the most prestigious museums, Deruta portrait ceramics share the same taste for proportions, the gentle forms, the harmonious colors, the fine heads and sweet gentle faces expressing utter serenity and selflessness.
During the Renaissance portraits were one of the favorite subjects of Deruta potters, less keen on painting historical scenes (istoriato) which, on the contrary, were the pride of Gubbio, Casteldurante, Faenza and Urbino.
Before going through the reasons why Deruta pottery was so different from other Umbrian ceramics, it’s necessary to take a step back and focus on the revolutionary impact of the Renaissance on the contemporary lifestyle. Continue reading ‘The Sources of Portrait in Deruta Ceramics’
I still cannot believe it’s mine. But it’s here, on MY desk, in MY studio. It’s a real, authentic Arlecchino from Montelupo and a most beautiful one. A splendid piece of Tuscan ceramics, indeed.
There is this tiny Auction House not far from my place. I like to go there and have a look when they exhibit their pieces prior to an auction. I always find some little treasures buried among old furs and very expensive antique paintings.
Last time I went there I could not believe my eyes. The Arlecchino grabbed my attention and wouldn’t let it go. I HAD to try and place a bid, although I didn’t really hope I would be able to get it. I did instead!
I love Tuscan ceramics. They are so colorful, warm, “sunny” in a way.
I didn’t own antique pieces, though. It’s great to start with an Arlecchino.
As it happens, I recently wrote an article on the Arlecchini from Montelupo and their role in the history of Tuscan pottery. It brought me good luck.
I will think very carefully about my next subject for an article. Who knows what might happen…
In 711 a small army of North African Berbers invaded Spain and established an Iberian Islamic culture that would last for over 700 years.
This event was to make a major contribution to the development of art pottery in Europe.
Moors were great potters. Their techniques had traveled with them through North Africa to the Iberian peninsula, where they became well established, possibly as early as the 11th century.
They manufactured elaborate tin glazed pottery and metallic lusters which were still unknown in Europe. The success of their ceramics was immediate and soon they began to export them all over Europe.
Italian people were passionate about Hispano-Moresque pottery.
Local potters had never seen anything like that and wanted to investigate those innovative techniques. Collectors just loved them and ordered celebration plates, apothecary jars and tableware.
Continue reading ‘Loza dorada – The Hispano-Moresque Ceramics and the Origins of Italian Majolica’
Made with earth, water and fire, ceramics are by definition functional to human life.
Since the very beginning of ceramic making, though, the need to go beyond the sheer utilitarianism pushed the artist to use clay as a way of expressing ideas, feelings and meanings.
During the Renaissance Italian potters achieved the perfect union of function and art that would bring Italian ceramics world wide celebrity.
Noble families and wealthy merchants were in competition for the most richly decorated istoriato wall plates, whose subjects were very often derived from religion, myth and history.
Simple people certainly could not understand nor afford this kind of traditional Italian ceramics. They mostly used pottery for functional purposes, although here and there some local ceramic trends developed for the community to enjoy. One of the most worth mentioning is the “Arlecchini” from Montelupo, in Tuscany.
Continue reading ‘The “Arlecchini” from Montelupo in the History of Italian Ceramics’
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