The New Maiolica
Contemporary Approaches to Color and Technique
160 pages | 8 1/2 x 11 | 144 color, 1 b/w illus.
Cloth 1999 | ISBN 978-0-8122-3513-5 | $45.00t | £29.50 | Add to cart
Not for sale in the British Commonwealth except Canada
"The author has conceived this volume to serve as a methodology in the practice of tin glaze ceramics. It is an all-inclusive work covering many important areas such as terminology, aesthetics, materials used, and procedural steps involved in application and troubleshooting. . . . Superb color photographs. . . . A very important addition to the ceramics library."—Choice
Selected by Choice magazine as an Outstanding Academic Book for 2000
The practice of tin glaze spans thousands of years of history, from its inception in Mesopotamia, through its flowering in Islamic culture, its brilliant heyday during the Italian Renaissance, and its current active revival around the world. It has always been a medium both varied and expressive that has inspired ceramists and artists alike over the centuries to ply their brushes in an exuberance of painted decoration and narrative. Within the field of ceramics, maiolica, with its stable color-holding glaze surface, is unique as a medium—indeed, it has been called a painter's medium.
The New Maiolica is conceived by Matthias Ostermann as a workshop in print, guiding the reader progressively through some of the conceptual, material, and technical concerns that inform this versatile and compelling medium.
The work of more than fifty international ceramists is shown, giving evidence to the great variety of contemporary expression in tin glaze. There is also an examination of the problems that can occur in maiolica production, and suggested solutions, followed by a list of recommended reading, with food for philosophical, aesthetic, and technical thought.
Matthias Ostermann has been a practicing ceramist since 1974 and has exhibited internationally. His work can be found in such permanent collections as the Baden-Wurtenbergisches Landesmuseum in Germany, the Canadian Clay and Glass Museum, and the Victoria & Albert Museum in London. He resides in Toronto.