Maiolica

Majolica ( Maiolica sometimes, after the old Italian name for Mallorca) in the narrower ( art historical ) use of language, especially the colorfully painted zinnglasierte Italian ceramics of the 15th and 16th century, in a broader sense also many other types colored glazed pottery.

Term

The name is derived from Mallorca, the Mediterranean island, was carried out from which the produced in Moorish Spain Fayence, in the early days before all the luster of goods to Italy. The name of the export goods were later transferred to the Italian products independently developed. Art History, Ceramics and household goods trade does not use the term in the same way. In addition, he has undergone a historic change in meaning. The art of scientific terminology and following her and the art trade restricting the concept as possible on the Italian and Spanish (possibly still on her voraufgehende Islamic ) zinnglasierte earthenware, decorated with the four high-fired colors, copper green, antimony yellow, cobalt blue and manganese violet ( brown). Technically, there was initially no different from those manufactured in other European countries since the 17th century corresponding ceramics which are exclusively referred to as faience. But this use since the 18th century and the glaze painting, for a second, less hot fire is needed.

In ceramic technology and vernacular majolica is applied for different types of glazed pottery, since the late 19th century, the largely defunct production of goods zinnglasierter has been revived in the wake of historicism and their manufacturer like majolica factories called. Today's potters understand by Majolica partly a commodity with colored tin glaze.

Technical

Majolica ( and pottery ) has a white, yellow, gray or light red - brown, porous ( non-sintered ) shards. The vessel is fully formed at moderate temperature, a first fire ( " biscuit firing " ) exposed. Then it is covered with an opaque white Zinnglasurschicht that strongly absorbing offers an ideal base for the high-fired colors mentioned above in the unfired state. The second fire blend glaze and now becoming bright colors on a glossy, waterproof and durable exterior.

History

An important condition for the origins of majolica in Italy, imports from the Islamic -dominated Spain. There, at least since the 13th century luster pottery was produced, which in turn was based on Egyptian and Persian traditions. Until the expulsion of the Moors from Spain in 1610, this still provided even to Christian authority (often after their motivic requirements ), as had long developed in Italy own Majolikakultur. These had started in 1400, initially using gray - white slip instead of the white tin glaze. This first Italian majolica, called mezzo - majolica (half - majolica ), trying to achieve the same dazzling metallic luster such as the work of the Arab pottery in the glaze.

Plate with portrait of the "beautiful and gallant " Alda. Majolikamalerei from Casteldurante or Venice to 1520-30. Museo Correr, Venice.

Aesculapius brought a dead man. Example of the " Istoriati - style " in the Majolikamalerei. Andrea da Negroponte, Casteldurante to 1560th Venice, Museo Correr.

To 1480-1490 were workshops in the city of Faenza, the first that covered their pottery with tin glaze. In 1500, grotesques and arabesques are transferred to the ornamentation. From 1508 blooms Casteldurante (now Urbania ) on, here are the beginnings of istoriati style were developed in 1520, which then comes in Urbino the richest expression. In bold colors spread scenic pictures of biblical, mythological and historical "History " ( hence the name), often made after designs by major artists, over the entire surface of the plates or other dishes. Funded by the dukes resided there was about 1535 Urbino the leading city under the majolikaproduzierenden competitors. Characteristic of the majolica from Siena (around 1500-1530 ) are strict grotesque pattern on a blue background. Deruta (around 1500-1550 ) follows in much the style of Faenza, as well as Spanish models ( chandeliers, geometric ornaments ). From Venice, the early Dutch faience was excited.

In the second half of the 16th century, this luxury industry was offside, was increasingly reliant on larger volumes and faster production and was abandoned completely in the course of the 17th century in the Duchy of Urbino. In Pesaro in 1718 was still a pottery factory, which only made ​​ordinary vessels; in some places they had given up their own traditions and imitated the fashionable blue and white dishes in Delft kind after. Only in Abruzzo and in Naples they tried a renewal of Majolikenfabrikation around 1700. But these frequently occurring Neapolitan majolica not reached the rank of the former products.

Towards the end of the 19th century Majolikafabrikation lived in many places in Europe again. The first one tried this in extensively, Ginorie was in his factory to Doccia near Florence. He took over all the Urbino majolica for patterns. Also the opalisiernde metallic luster majolica to Gubbio was imitated. In many replicas of colored and glazed reliefs of Luca della Robbia and his successors art dealers and tourists were sold as originals. A new style was characterized emerged that colors and glaze majolica were transferred to statuettes and groups very popular type and drastic and vivid effect.

The German Kaiser Wilhelm II was created in 1904 at his summer residence in Kadinen a majolica workshop whose products than Kadiner tiles, for example, in Berlin in subway stations, representative buildings ( Wertheim am Leipziger Platz, Weinhaus Kempinski ) and the wedding hall of the synagogue pheasant road use found.

It is also known that Majolica, a major Art Nouveau building in Vienna.

In the last third of the 19th and in the first half of the 20th century there were a number of ceramic enterprises, which produced color-glazed ceramics. For them, the term " majolica " has been established, but only those with white Lead -tin oxide glazes are correctly named as majolica.