"Surviving ceramic vessels buried in tombs, caves, and the earth around the world testify to the earliest human creative activity. By studying ceramics historians uncover the complex ways that societies organized and sustained themselves, as well as how they interacted with other cultures. Today the ceramic arts remain a vibrant artistic medium, as contemporary artists engage with this material history to sustain their own heritage practices, while also shaping new histories from clay. From pre-Columbian Andean tombs to contemporary African sculpture, Ceramic Art considers ceramics as an artistic medium that uniquely records and expresses our individual and collective worlds across cultures. With an introduction and conclusion written by Sequoia Miller, the chief curator at the Gardiner Museum of Ceramic Art in Toronto and a practicing ceramic artist, this volume features three main essays. The first, by art historian Margaret Graves, provides an overview of different ceramic histories and the ways regional and global circulation have impacted them; the second, by conservator Victoria Parry, focuses on the challenges of preserving these artworks and artifacts; and the third, by studio potter Magdalene Odundo, examines the art form from the point of view of the contemporary practitioner. These essays are followed by three case studies, organized chronologically from ancient to contemporary, and spanning centuries and continents in range, that put objects in conversation with one another in innovative, cross-disciplinary ways. Ceramic Art is the inaugural title in our new series ART/WORK. Responding to the latest trends in the field, the ART/WORK series provides innovative narratives that change how art history as a discipline is imagined"--

This is the first book in a European language to make a comprehensive study of the life and works of the astonishingly versatile and accomplished Meiji potter, Makuzu Kozan (1842 - 1916), who was acclaimed as one of the greatest ceramic artists of the Meiji period.The Meiji period, after the opening of Japan to the West in the mid-nineteenth century, was a time of momentous change for Japanese society and Kozan's Makuzu workshop makes an ideal case study to examine the effects of these changes on the Japanese ceramic industry. This book tells the story ofKozan's Makuzu wares from their origins in a traditional workshop in Kyoto to their maturity in a prolific factory in the newly-opened port of Yokohama, where Kozan's ability to cater to the demands of a new Western export market and to incorporate new Western glaze techniques led to enormoussuccess, both in Japan and abroad at the international exhibitions that flourished from the 1850s.Lavish illustrations highlight Kozan's remarkable and technical and artistic achievements, while ceramic marks and box inscriptions are analysed as a practical guide to dating Makuzu ware. Clare Pollard discusses the role of later generations of the Miyagawa family in the running of the workshop andrelates developments in Makuzu ware to the work of other major potters of the era, both in Japan and in Europe and America.Incorporating contemporary sources (including previously unstudied archival material from the Makuzu workshop itself), recent research and the study of a large corpus of Makuzu wares in museums and private collections all over the world, the book examines the artistic, political, and commercialfactors that influenced Kozan and his contemporaries as they strove to come to terms with shifting life-styles and changing attitudes to the arts, and moved towards the creation of a modern ceramic industry.

The iconic images of Parisian nightlife created by Henri de Toulouse-Lautrec (1864-1901) became a hallmark of the bohemian lifestyle in fin-de-siècle Paris. A man born into aristocracy but handicapped by his physical disability, Toulouse-Lautrec immersed himself in his radical art and found company in avant-garde artists, dancers, and other social outcasts in Montmartre, Paris's district of pleasure. His widely popular prints of those otherwise marginalized by society captured the nonconformist spirit of the Belle Epoque (1871-1914). While the formal influence of Japanese prints-flat forms, cropped compositions, and vibrant colors-on Toulouse-Lautrec and his contemporaries has been well studied, the shared anti-establishment hedonism that underlies both Japanese prints and Toulouse-Lautrec's work has not been examined in tandem. Rather than focusing on the visual connections between French and Japanese prints, Renegade Edo and Paris highlights the social impulses-pleasure seeking, theater going-that led to the tremendous print production in both Paris and Edo (present-day Tokyo). Drawing from the Seattle Art Museum's Japanese prints collection and from one of the most extensive private holdings of Toulouse-Lautrec prints, this catalogue presents more than 60 works to offer a critical look at the renegade spirit that permeates both Japanese prints and Toulouse-Lautrec's work

Illuminating one thousand years of history, The Pilgrim Art explores the remarkable cultural influence of Chinese porcelain around the globe. Cobalt ore was shipped from Persia to China in the fourteenth century, where it was used to decorate porcelain for Muslims in Southeast Asia, India, Persia, and Iraq. Spanish galleons delivered porcelain to Peru and Mexico while aristocrats in Europe ordered tableware from Canton. The book tells the fascinating story of how porcelain became a vehicle for the transmission and assimilation of artistic symbols, themes, and designs across vast distances—from Japan and Java to Egypt and England. It not only illustrates how porcelain influenced local artistic traditions but also shows how it became deeply intertwined with religion, economics, politics, and social identity. Bringing together many strands of history in an engaging narrative studded with fascinating vignettes, this is a history of cross-cultural exchange focused on an exceptional commodity that illuminates the emergence of what is arguably the first genuinely global culture.

Persian Pottery in the First Global Age: the Sixteenth and Seventeeth Centuries studies the ceramic industry of Iran in the Safavid period (1501–1732) and the impact which the influx of Chinese blue-and-white porcelain, heightened by the activities of the English and Dutch East Indies Companies after c. 1700, had on local production. The multidisciplinary approach of the authors (Lisa Golombek, Robert B. Mason, Patricia Proctor, Eileen Reilly) leads to a reconstruction of the narrative about Safavid pottery and revises commonly accepted notions. The book includes easily accessible reference charts to assist in dating and provenancing Safavid pottery on the basis of diagnostic motifs, potters’ marks, petrofabrics, shapes, and Chinese models.