Plate, 1600-1700.
Barcelona, Spain. Museu de Ceramica, Barcelona.
Tin-glazed Earthenware from Spain and Mexico
By Laura Beach
SANTA FE, N.M -- Several doors down from the Museum of Spanish
Colonial Art, the Museum of International Folk Art is offering
its own look at cross-currents in the decorative arts in
"Ceramica y Cultura: The Story of Spanish & Mexican ."
On display are more than 250 pieces of tin-glazed earthenware,
the earliest dating to the Fifteenth Century. The exhibition
explores the changes in form and style that took place over six
centuries, and reflects the interactions between such diverse
cultures and religions as Christians and Muslims; Spanish,
Flemish and Italians; and Mexicans, Asians and Native Americans,
says the exhibition's curator, Robin Farwell Gavin.
Called "" in Spain, tin-glazed earthenware was known as
"maiolica," "majolica," "faience" or "delftware" elsewhere in
Europe. The technique of tin enameling -- adding tin oxide to
lead glaze to create an opaque white surface -- was developed in
the eastern Mediterranean in ancient times and brought to Spain
by Islamic artists in the Tenth Century.
The most common pigment sources for early Spanish s were
copper-green and manganese-black/purple/brown. These colors,
introduced by Islamic potters, dominated ceramic production in
some areas of Spain for three centuries.
Several areas in Spain became known for their tin-glazed pottery,
most notably Manises (Valencia), Sevilla (Andalucía) and Talavera
de la Reina (Castile-Aragón). From Spain, the technique soon
spread to the rest of Europe, but Spanish retained its
distinctive style.
Following Spanish colonization in the Americas, the tradition
underwent further changes. The Spanish introduced the potter's
wheel, the closed kiln and glazes to an already thriving
indigenous ceramic tradition in New Spain. Initially, mayolic
design in Mexico followed European models. Within a few years,
however, Mexican potters began to turn to other sources for their
inspiration, particularly the Chinese porcelains brought to
Mexico via the Philippines on the Manila galleons.
Basin, 1800-1900. Triana district, Sevilla, Andalucia, Spain.
International Folk Art Foundation. Photo by Paul Smutko.
Over the next three centuries, the potters of New Spain produced
ceramics that were characterized by a distinctive Mexican
aesthetic. Known as "talavera" or "loza blanca," this ceramic
tradition is carried on today in Mexico.
"Ceramica y Cultura: The Story of Spanish and Mexican " continues
at the Museum of International Folk Art through September 7.
Highlights of the display included a reconstructed tiled kitchen
from Puebla, Mexico, a potters' workshop and videos of
contemporary potters at work.
A catalog, Ceramica y Cultura: The Story of Spanish and
Mexican , edited by Robin Farwell Gavin, Donna Pierce and
Alfonso Pleguezuelo, is available from the University of New
Mexico Press ($49.95 hardcover, $29.95 paper). Gavin, the
recently named curator at the Museum of Spanish Colonial Art,
directed the project in collaboration with guest scholars Pierce,
curator of Spanish colonial art at the Denver Art Museum;
Pleguezuelo, professor of architectural history at the
Universidad de Sevilla; Florence Lister, independent researcher
and scholar on ; and Ana Paulina Gámez Martínez, professor of
decorative arts at the Universidad Iberoamericana, Mexico D.F.,
and curator of Spanish Colonial art at the Museo Nacional de Arte
in Mexico City.
Upcoming programs include a lecture, on June 8, by Lister; and a
symposium, " from the Spanish World," on August 28-29, sponsored
by several of Santa Fe's leading museums.
The Museum of International Folk Art, a division of the Museum
of New Mexico, is on Camino Lejo, off of Old Santa Fe Trail.
Telephone, 505-476-1200.
