The practice of tin-glazing earthenware pottery spans a thousand
years of history, from its inception in 9th century Mesopotamia (presently
Iraq), through its flourishing in Islamic culture, its popularity
during the Italian Renaissance to the current active revival around
the world today. Tin-glaze earthenware, in ancient Persia, was intended
to emulate the much admired and expensive Chinese T'ang porcelain
ware, which was imported into the Middle East through trade with China.
The spread and development of the tin-glaze technique, from its early
beginnings in Iraq was undoubtedly linked to the growth of Islam which
spread rapidly through North Africa and into Spain and Portugal some
time around the 10th century. During this time, the clay forms made
were usually apothecary jars and other utilitarian pottery such as
basins, ewers, tureens and plates. Most of the simple early decorations
and designs used were well composed with motifs of floral patterns,
Kufic inscriptions or geometric devices. As Christian and European
influences crept in, mixed with the Islamic styles and imagery to
form the uniqueness of Hispano-Moresque ware of 14th century Spain
and Portugal, much of which we can still see today in the wonderfully
colorful tile work and architecture of that part of the world.
The main color used to decorate the ware at that time, was blue from
cobalt oxide, which was also adopted from the Chinese color scheme.
As the technique of tin-glazing spread to Syria and Egypt, the palette
also expanded to include iron reds, manganese browns and copper greens.
Though simple, this color scheme was striking and very effective.
The Arab conquest of Andalusia and other areas of Southern Spain were
to produce new and interesting uses of the technique creating wonderful
examples of luster and in-glaze painting. The fusion of eastern and
western cultures brought vitality and flamboyance to pottery making
which became very popular and in great demand during the 15th century
throughout Europe.
Until the mid 16th century, Maiolica referred exclusively to the
famous old pieces of lusterware of Spanish and Islamic origin. By
the second half of the 16th century the term was being used in Italy
for tin-glazed wares being made there. Italian Maiolica, during Renaissance
time, went on to develop a distinctive visual style characterized
by intricate narratives. With the increased production of Maiolica
ware across the counties of Europe, the Dutch, French, and English
set up factories to make architectural tiles and other ware. These
factories produced a variety of styles of tin-glazed pottery.
Around 1800, the traditional European potteries were replaced by
the new and thriving industrial porcelain factories, one of which
is "Wedgewood" of England, which is still in production
today. A factory like this one used European clay. These factories
catered to a broad and growing market fueled by new popular attitudes
and tastes that were fast developing across Northern Europe.
While some traditional factories making Maiolica ware still exist
today, mainly in Southern Europe, contemporary ceramic artists have
developed a new working environment and have established a system
of individual studio potteries. As travel between Europe and America
became more frequent, during the late 1800's and early 1900's, the
exchange of knowledge and techniques also took place. It was not until
the mid 1900's that pottery making was formally included in the education
system here in America. Today, in America, there are many studio potteries
producing Maiolica ware on a small scale but no large factories are
in operation presently.
Technique: To produce a Maiolica glazed piece of work it is desirable
to use either red or buff colored earthenware clay which is generally
fired to an approximate temperature 1960 degrees F. Each piece is
of bisque fired ware is dipped in a bath of white Maiolica glaze and
left to dry thoroughly. The decorating process is a detailed and time-consuming
one. Various methods may be used to decorate the glazed work with
the use of brushes to apply colored stains and oxides being the most
popular. Because this glaze when dry becomes very chalky, it is important
to be very careful when handling so as not to smear the application
of the newly applied pattern on the piece. After the decorating process
is complete, the pieces are carefully handled and placed in the kiln
a second time for the final glaze firing. This firing process renders
the piece durable, with a surface which is waterproof and suitable
for domestic use. I do not recommend this ware be subjected to microwave
ovens or the open flame or stove top elements. Any shock treatment
or dramatic temperature changes, as in transferring ware from freezer
to hot oven will cause crazing but does not render the ware unusable.
Important
TECHNICAL INFO
Maiolica in the historic sense is earthenware clay with a white,
tin-opacified viscous glaze, decorated by applying colorants on the
raw glazed surface. The viscosity and chemistry of the glaze restricts
flow as the glaze melts, giving a glossy surface that maintains the
line quality of the surface decoration.
Tin-glazed earthenware was first produced in the Middle East around
the year 900 BC. Over time these people traveled west to North Africa
and then on to the Iberian Peninsular which today is Spain and Portugal.
Later, Spanish potters made Muslim inspired works in this method.
This pottery was trans-shipped to surrounding countries through the
Spanish port of Majorca, which is why we use the name Maiolica ware.
Today, this technique is still used to make and glaze pottery in many
countries of the Mediterranean region.
All my work is made from red earthenware clay. The glaze I use is
studio mixed, lead free, non-commercial tin glaze. The firing is done
in electric kilns.
When creating, I use many different production methods including
wheel-throwing, slab-building and some mold-casting. This allows for
a great variety of form and flexibility of design in the creation
of each piece.
All decoration is hand painted with stains and oxides. Most of the
imagery I use is botanical and reflects the beauty found in nature.
This glaze is a relatively tough surface and will stand up to normal
home use. Exposure to heat and/or cold shock may cause some crazing,
but it remains durable and useful. Dramatic temperature changes when
going from freezer to hot oven will cause damage. I do not recommend
that you subject this pottery to the microwave.
