Art And Love In Renaissance Italy - Imagery Of Love And Marriage On Italian Ceramics - Part 1 Of 4

Dated : 18-Apr-2022

Our first speaker is Dora Thornton curator of Renaissance collections and of the Adhesion disk, West Department of prehistory and Europe at the British Museum Dora's arrival on the scene of this exhibition was like a bolt of lightning. She galvanized us into looking more closely at the Metropolitan's collection of ceramics glassware and jewelry, adding to the already notable group of objects from this museum that forms the core of the exhibition. Ultimately, some 64 pieces from nine curatorial.

Departments I think, it's safe to say that Dora is passionately interested in identifying and understanding everything that a Renaissance man or woman might have held in his or her hand or kept as a private treasure from Tudor silver dress, hooks through Pope Leo. The tents majestic commissioned Maya Luca. Her work first came to my attention with her brilliant books, the scholar in his study ownership and experience in Renaissance Italy of 1997 and then co-authored with Lucas Son, who also. Contributed to our catalog objects of virtue or in Renaissance Italy, we are now eagerly, awaiting, Italian, Renaissance, ceramics, a collection of the British Museum's catalog of the British Museum's collection, a work. She is co-authored with Timothy Wilson that will appear in February 2009 today she will speak to us on the imagery of love and marriage on Italian Renaissance ceramics. Please, welcome Dorothy. Good afternoon, ladies and gentlemen.

And thank you and Rap his such a nice introduction. This. Beautiful exhibition explores a hundred and fifty, exceptional paintings and art objects, which were created to celebrate love and marriage in the Italian Renaissance among these are a large group of ceramics, which through the RISEN biography or inscriptions explore the theme of the exhibition in sometimes surprising ways.

One of the impressive features of the exhibition is that it introduces to a general audience, such a wide range of material in different media from ceramics and glass to prints. And. Jewelry and shows this alongside some of the most famous Renaissance paintings in introducing the ceramics to you, I will focus on what the pieces themselves have to tell us about their social and intellectual context. This means looking in detail at their imagery and inscriptions as a way of exploring the status and significance which these ceramics originally had for their Italian Renaissance owners during the 50-year period 1475 to 1525 Italian potters developed a revolutionary new ceramic, a. Kind of tingle aged pottery majolica, which astonished contemporaries for its finest and lightness it's, brilliant pigments glossy glazes, and it's white clean surface. My alley there was no minor art form during the Renaissance it's, the principal branch of Renaissance art that has preserved its original coloring as an index of taste. It offers a wide range of non-religious subject.

And as a former ceramics, it came closer to the art of painting than at any other time since the production of. Figured pottery in Ancient Greece to illustrate some of these points here is a delightful dish painted and lusted in Gumbo around 15-20, four to seven with an erotic scene in a landscape, the young lovers oblivious to all the surrounding activity. Maybe the honeymooning couple Angelica and Maduro from a contemporary poem. Aria does Orlando Furious. The lyrical painting style echoes that of Rafael. And the dish has in the past been attributed to Nicole Medina often known as the Raphael of Malacca.

Painters as the 16th century painter and art critic, Giorgio Va sari pointed out, the brightly colored narratives of history are Ta mayo lecher like this was something not even the ancient Greeks and Romans had achieved rivaling. The art of the Ancients was something which lay at the heart of Italian Renaissance culture, Va sari went on to say, this about the achievement of contemporary ceramics. We should recognize that insofar as we can tell the ancient Romans were not aware of this type of painting. On pottery the vessels from those days that have been found filled with the asses of their dead are covered with figures in sized and washed in with one color in any given area, sometimes in black red or white, but never with the brilliance of glaze or the charm and variety of painting, which has been seen in our day from the 15th century specialist pottery centers often developed with the help of urban merchants of ruling patrons towns, such as Do rota Sienna, Monte, LPO, Pizarro and Phi ENA to. Illustrate these mass-produced wares here is a molded bowl dated 1538 made him, fine, sir it's painted with an allegory of unrequited love at its center, showing a woman cruelly piercing the heart of her lover with a dagger.

The fluted form is made through molding the dish. Copying embossed metal work. This technique speeded up production. And the highly colored decoration is also of a standard type very well fired to give a perfect. Glossy finish such pieces as this probably intended for use as fruit. Bowls were produced in large quantities and were exported all over Europe. The first decade of the sixteenth century saw the rise of Ora bin, Kasia, Luther, ante, Venice and Costello as producers of high-quality Mile occur.

All of these were producers on an almost industrial scale with important export markets throughout southern and Central Europe as well as over the Alps to the north with the evolution of story, painted story, Otto majolica, which extended the range of pictorial invention to include. A new medium, my Allah commanded, the attention of some of the greatest patrons of renaissance Europe from Pope's and cardinals to leading princes nobles scholars and merchants reaching across Europe from Spain to Hungary, among the stars of the exhibition of a superb piece, which even if we cannot prove that they were commissioned as part of wedding rituals were made to commemorate dynastic marriages. We can deduce this through the arms painted on them.

The earliest is this two-handled farce with. The arms of Medici Florence impaling, those of Rossini, these arms could refer to one of two marriages between the two families, most likely that between Lorenzo de Medici and Claudia chair Rossini in 1469, both form and decoration derived from imports of Spanish luster pottery from Valencia, which were admired for their brilliant, metallic sheen Spanish lusts of pottery. One. Great prestige is a luxury product among Italian consumers throughout the fifteenth century, the famous Spanish lust of ours.

Which you see here in the British Museum with the arms of Piero de Medici or of his son, Lorenzo is the best known example of a luxury Commission, which can be dated by the arms to 1465 292. The form of the smaller Detroit bars is copied from that of a Spanish. Mustard flower bars, Tuscan paintings, depict Spanish flower, bodies or plant pots. In careful detail as luxury ceramics, a sophisticated Carson panel of the Florentine school painted with Cupid and Psyche made in 1444, perhaps for the marriage of. Luke read certain Bani to Piero de Medici shows Valencian bars is on a balcony used to grow evergreens, which have been pruned into elaborate shapes. The central one taking the form of the Medici device, the diamond ring and feathers. This is the kind of Spanish import, which inspired the Detroit bars.

It may have served as a flower of ours or a plant pot or the Medici villa at pod jokey, a know where it is documented in 1494 at this early date. Italian potters are not yet mastered the demanding luster. Technique I could only imitate golden luster effects in manganese brown as here luster was successfully achieved in Italy by 1500 by which date, the Italians had driven Spanish imports from their markets and began to dominate the luxury ceramics trade in Europe. The bars are a key piece in the story it's been described as a milestone in the conquest by Italian potters of the highest levels of patronage among Italian clients.