200 Years of Spode
Author | : Royal Academy of Arts (Great Britain) |
Publisher | : |
Total Pages | : 110 |
Release | : 1970 |
Genre | : Pottery |
ISBN | : |
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Author | : Royal Academy of Arts (Great Britain) |
Publisher | : |
Total Pages | : 110 |
Release | : 1970 |
Genre | : Pottery |
ISBN | : |
Author | : |
Publisher | : |
Total Pages | : 91 |
Release | : 1970 |
Genre | : |
ISBN | : |
Author | : Royal Academy of Arts (Great Britain) |
Publisher | : |
Total Pages | : 91 |
Release | : 1970 |
Genre | : Spode pottery |
ISBN | : |
Author | : Jeanne Morgan Zarucchi |
Publisher | : Bloomsbury Publishing |
Total Pages | : 217 |
Release | : 2018-06-28 |
Genre | : Design |
ISBN | : 1350041262 |
The Material Culture of Tableware is a fascinating and authoritative study of patterned tableware in the US. The book undertakes a visual analysis of Johnson Brothers patterns of tableware pottery, with reference to comparable designs by other British companies, such as Spode and Adams. It examines how this practical genre reflected the aesthetic values, sense of identity and aspirations of the American consumers who purchased its products. The study also sheds light on British opinions and understandings of American culture. The book's chronological organization shows how tableware designs reflected the cultural developments of American society during the long 20th century. From status-seeking 1890s beaux-arts patterns and the nostalgic historical scenes of the 1930s, to whimsical 1960s patterns and the contemporary motifs of the 1970s, The Material Culture of Tableware tells a compelling story about who 20th century middle-class Americans were and wanted to be.
Author | : |
Publisher | : |
Total Pages | : 0 |
Release | : 1970 |
Genre | : |
ISBN | : |
Author | : Paul Greenhalgh |
Publisher | : Bloomsbury Publishing |
Total Pages | : 512 |
Release | : 2020-12-24 |
Genre | : Art |
ISBN | : 1474239722 |
In his major new history, Paul Greenhalgh tells the story of ceramics as a story of human civilisation, from the Ancient Greeks to the present day. As a core craft technology, pottery has underpinned domesticity, business, religion, recreation, architecture, and art for millennia. Indeed, the history of ceramics parallels the development of human society. This fascinating and very human history traces the story of ceramic art and industry from the Ancient Greeks to the Romans and the medieval world; Islamic ceramic cultures and their influence on the Italian Renaissance; Chinese and European porcelain production; modernity and Art Nouveau; the rise of the studio potter, Art Deco, International Style and Mid-Century Modern, and finally, the contemporary explosion of ceramic making and the postmodern potter. Interwoven in this journey through time and place is the story of the pots themselves, the culture of the ceramics, and their character and meaning. Ceramics have had a presence in virtually every country and historical period, and have worked as a commodity servicing every social class. They are omnipresent: a ubiquitous art. Ceramic culture is a clear, unique, definable thing, and has an internal logic that holds it together through millennia. Hence ceramics is the most peculiar and extraordinary of all the arts. At once cheap, expensive, elite, plebeian, high-tech, low-tech, exotic, eccentric, comic, tragic, spiritual, and secular, it has revealed itself to be as fluid as the mud it is made from. Ceramics are the very stuff of how civilized life was, and is, led. This then is the story of human society's most surprising core causes and effects.
Author | : |
Publisher | : |
Total Pages | : 91 |
Release | : 1970 |
Genre | : |
ISBN | : |
Author | : John Sutherland-Hawes |
Publisher | : |
Total Pages | : 91 |
Release | : 1970 |
Genre | : |
ISBN | : |
Author | : Laura Gray |
Publisher | : Routledge |
Total Pages | : 318 |
Release | : 2018-01-02 |
Genre | : Art |
ISBN | : 135162640X |
This book investigates how British contemporary artists who work with clay have managed, in the space of a single generation, to take ceramics from niche-interest craft to the pristine territories of the contemporary art gallery. This development has been accompanied (and perhaps propelled) by the kind of critical discussion usually reserved for the 'higher' discipline of sculpture. Ceramics is now encountering and colliding with sculpture, both formally and intellectually. Laura Gray examines what this means for the old hierarchies between art and craft, the identity of the potter, and the character of a discipline tied to a specific material but wanting to participate in critical discussions that extend far beyond clay.