Ceramics and Its Dimensions Introduction
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Roter Faden.Indd
www.selb.de ART AND CULTURE THE RED THREAD A STROLL THROUGH THE WORLD OF PORCELAIN IN SELB THE WORLD OF PORCELAIN IN SELB The quaint town of Selb, in Upper-Franconia, is nestled in the midst of the beautiful and scenic Fichtelgebirge. With a population of approximately 16,000 residents, nature lovers enjoy relaxing walks through the forest or hike the numerous hiking trails. A bike ride through the romantic Wellertal and Egertal is a memorable experience. Selb offers a wide array of remarkable attractions that you normally wouldn’t expect in a town of its size: lush green parks despite a relatively high industrial density, design elements from well-known artists that enhance the beauty of the quaint town, cultural and sport venues of high niveau and so much more. World-renowned companies develop and produce brand names of the highest quality porcelain here in Selb. Many of the local small and medium sized companies have made their marks outside of the region and country with innovative ideas and products. Not only the wide variety of recreational possibilities, but also the future-oriented economic structure makes Selb a likable and liveable town. Dear guests, welcome to the world of porcelain in Selb! Known brands such as Rosenthal, Hutschenreuther and Villeroy & Boch have shaped the history of our city, and even today porcelain adorns our city in many places. Along the “Red Thread” you can discover many of them, such as the porcelain alley, the porcelain fountain or even the largest coffee pot in the world. Meanwhile, many new attractions and works of art have been added to the brochure. -
Liberty International Reisen Gmbh Day 6: Leipzig – Porsche – Dresden Drive to Leipzig and Visit of the World of Porsche
Day 5: BMW – Munich – Neuschwanstein Castle Visit of the BMW Museum. Time at leisure in Munich or option excursion to the Fairy Tale Castle of Neuschwanstein. Overnight in Munich. Liberty International Reisen GmbH Day 6: Leipzig – Porsche – Dresden Drive to Leipzig and visit of the world of Porsche. Continue to Dresden. Overnight in Special Interest Dresden. Day 7: Dresden – Glass Factory of Volkswagen – ADAC safety training – Berlin Automobiles and City tour of Dresden. Visit of the “Glass Factory“ of Volkswagen, where the Technology luxury automobile Phaeton is produced.On the way to Berlin stop for a “Driver Training Session” from ADAC, Europe’s largest Automobile Association. Continue to Berlin. Overnight in Berlin. 9 Days / 8 Nights Day 8: Berlin – Automobile city of Volkswagen in Wolfsburg City tour of Berlin. Continue to Wolfsburg to visit the Automobile city of Volkswagen. Overnight in Wolfsburg/Hannover area. Day 9: Cologne Return to Cologne. Journey back home or extension in Cologne. Your Itinerary Day 1: Cologne Arrival in Cologne and city tour. Overnight in Cologne. Your Services: Day 2: Nürburgring – Heidelberg • 8 nights at tourist standard hotels, all rooms with private bathroom or shower & Drive to the Formula 1 Grand Prix race track Nürburgring. Optional ride on the toilet legendary north loop. Continue to the city of Heidelberg for a city tour. Overnight in • 8 x breakfast Heidelberg area. • Roundtrip by modern long-distance coach Day 3: Hockenheimring • All excursions and city tours not marked as optional. Drive to the Formula 1 Grand Prix race track Hockenheimring. Optional to do a “real • Professional guide throughout the tour race” on the track. -
Competing English, Spanish, and French Alabaster Trade in Europe Over Five Centuries As Evidenced by Isotope Fingerprinting
Competing English, Spanish, and French alabaster trade in Europe over five centuries as evidenced by isotope fingerprinting W. Kloppmanna,1, L. Lerouxb, P. Brombletc, P.-Y. Le Pogamd, A. H. Coopere,2, N. Worleyf,2, C. Guerrota, A. T. Montecha, A. M. Gallasa, and R. Aillaudg aBRGM (Bureau de Recherches Géologiques et Minières, French Geological Survey), 45060 Orléans, France; bCentre de Recherche sur la Conservation- Laboratoire de Recherche des Monuments Historiques (CRC-LRMH) USR3224, 77420 Champs-sur-Marne, France; cCentre Interdisciplinaire de Conservation et Restauration du Patrimoine (CICRP), Belle-de-Mai, 13003 Marseille, France; dDépartement des Sculptures, Musée du Louvre, 75058 Paris, France; eRetired from British Geological Survey, Keyworth, Nottingham, NG12 5GG, United Kingdom; fRetired from British Gypsum, Nottingham, NG16 AL, United Kingdom; and gLa Touche, 38220 Notre-Dame-de-Mésage, France Edited by Thure E. Cerling, University of Utah, Salt Lake City, UT, and approved September 20, 2017 (received for review May 5, 2017) A lack of written sources is a serious obstacle in the reconstruction of 1414 (10, 12). After the banning of religious representations, the medieval trade of art and art materials, and in the identification shiploads of alabaster artworks were sent to France (13). In of artists, workshop locations, and trade routes. We use the isotopes England, only a few sculptures escaped the plaster furnaces by of sulfur, oxygen, and strontium (S, O, Sr) present in gypsum being hidden and were retrieved centuries later (14). In contrast, alabaster to unambiguously link ancient European source quarries western and northern France was inundated with outlawed and areas to alabaster artworks produced over five centuries (12th– English artworks. -
Rings, Kings, Saints and Toads Protective and Healing Functions of Late Medieval Amulet Rings in England
Rings, Kings, Saints and Toads Protective and Healing Functions of Late Medieval Amulet Rings in England In 1441, Margaret Paston was expecting her first child. Anxiously, she wrote to her husband John in London: ‘I pray that you will wear the ring with the image of Saint Margaret that I sent you for a remembrance until you come home.’1 In asking her husband to wear a ring emblazoned with the patron saint of childbirth to support her in her time of need (e.g. Fig. 1), Margaret Paston was engaging with a culture of healing and devotion in late medieval England that was centred around the amuletic use of rings. (Fig. 1, a St Margaret ring which bears similarities to the Paston Ring, 15thc, British Museum, AF.910) This use of rings was part of a wider practice of employing jewellery as amulets in medicine. Pendants, brooches, bracelets, diadems, belts and hair pins were emblazoned with holy figures, sacred inscriptions and precious stones, all of which conveyed the wearer’s wealth and piety, but also afforded a variety of protective functions through expressing their devotion. Illness or misfortune was often linked to punishment and sin in the middle ages and adorning the body with holy words and images was considered an effective method of devotional healing. These accessories could provide a range of protections, such as shielding against plague, dampening fevers, staunching blood or even protecting from occult practices. However, to consider these amulets as simply products of folk beliefs and superstitions is to underestimate their position in late medieval medicine and devotion. -
And, If Investors Are Resident in a Member State of the European Economic Area, a Qualified Investor)
Disclaimer THIS DOCUMENT IS AVAILABLE ONLY TO INVESTORS WHO ARE OUTSIDE THE UNITED STATES (AND, IF INVESTORS ARE RESIDENT IN A MEMBER STATE OF THE EUROPEAN ECONOMIC AREA, A QUALIFIED INVESTOR). THIS DOCUMENT MAY NOT BE DISTRIBUTED IN OR INTO AUSTRALIA, CANADA, JAPAN OR THE UNITED STATES. IMPORTANT: You must read the following before continuing. The following applies to the attached document and you are therefore required to read this disclaimer carefully before accessing, reading or making any other use of the attached document. In accessing the attached document, you agree to be bound by the following terms and conditions, including any modifications to them from time to time, each time you receive any information from us as a result of such access. You agree you will not forward, reproduce or publish this electronic transmission or the attached document to any other person. Failure to comply with this directive may result in a violation of the Securities Act or the applicable laws of other jurisdictions. Restrictions: Under no circumstances shall the attached document constitute an offer to sell or the solicitation of an offer to buy nor shall there be any sale of the securities described in the attached document in any jurisdiction in which such offer or solicitation would be unlawful. The securities described in the attached document have not been, and will not be, registered under the Securities Act, or with the securities regulatory authority of any state or other jurisdiction in the United States, and may not be offered, sold, exercised or otherwise transferred except pursuant to an exemption from, or in a transaction not subject to, the registration requirements of the Securities Act and in compliance with any applicable state law. -
60 Years Rosenthal Studio-Line: Iconic Tableware
The form "Suomi" is reminiscent of a river pebble, worn down and rounded off over the centuries by the power of water. Mar 10, 2021 08:20 GMT 60 Years Rosenthal studio-line: Iconic tableware 60 years ago, Rosenthal stirred up the porcelain industry - with avant-garde designs from artists and young talents. With its farsighted feeling for the market, Rosenthal invented the New Look of porcelain, from which the studio-line collections have been created since 1961. The studio-line has produced timeless designs that are design icons of the 20th century. And the Service TAC by Walter Gropius (1969), Suomi by Timo Sarpaneva (1976), Moon by Jasper Morrison (1997) and Landscape by Patricia Urquiola (2008) - still part of the Rosenthal range today as design highlights. Rosenthal TAC/Design: Walter Gropius One of the cult classics of Rosenthal is the “TAC 1” tea service by Walter Gropius (1883 - 1969). The dishes by the visionary architect and founder of the Bauhaus were premiered in 1969 and quickly became the Rosenthal model with the legendary success. Not only was it created by teamwork according to Bauhaus tradition but also its reduced formal idiom, with the plain hemisphere for the teapot and cup and the play with triangles and squares, suggests the Bauhaus style to this day. Moreover, the material, which is highest quality, light, transparent porcelain, contributes to make this classic service give a timeless, poetic impression. Rosenthal Suomi/Design: Timo Sarpaneva The porcelain service “Suomi” created by the Finnish designer Timo Sarpaneva was celebrated as a milestone in the history of the Rosenthal Studio-Line. -
“Be !Nspired” S P N E B by Jacksons I D “Be !Nspired”
i r d e“be !nspired” p n s b e by Jacksons i d “be !nspired” Launching our first ever Look Book. Be Inspired is in addition to our existing 2018/19 catalogue. e Hoping we inspire you with the fun and innovative content to discover new ideas for your restaurant, hotel or bar. Working with several new suppliers we have put together this catalogue to show you current trends in the marketplace. r There have been big changes in the last 12 months particularly in china with a move to new textures and colours. We are pleased to have started working with Serax and together with Surrey Ceramics we have some interesting options in stoneware and porcelain plates, i bowls & dishes. Cocktails are more popular and adventurous than ever and we hope that in both the bar accessories and glassware sections there is something to reflect your own innovation and ideas. p Sometimes we forget how easy it is to enhance creativity in the form of accessories and on pages 38-41 we have added colourful and interesting vases and t-light holders. s We have shown several ideas where you can bespoke your presentation working with Royal Crown Derby, Surrey Ceramics & Rosenthal...... where personal design and creativity can come to the forefront. Introducing Studio William, Charingworth & Degrenne gives you leading edge design and award n winning cutlery ranges. One of the best examples is illustrated with the ever popular Mulberry Mirror range on page 117. i PVD cutlery brings a new dimension and exciting finishes in a multitude of colours. -
Alabaster. Quarrying and Trade in the Roman World: Evidence from Pompeii and Herculaneum
Alabaster. Quarrying and Trade in the Roman World: Evidence from Pompeii and Herculaneum Barker, Simon J.; Perna, Simona Source / Izvornik: ASMOSIA XI, Interdisciplinary Studies on Ancient Stone, Proceedings of the XI International Conference of ASMOSIA, 2018, 45 - 64 Conference paper / Rad u zborniku Publication status / Verzija rada: Published version / Objavljena verzija rada (izdavačev PDF) https://doi.org/10.31534/XI.asmosia.2015/01.03 Permanent link / Trajna poveznica: https://urn.nsk.hr/urn:nbn:hr:123:848139 Rights / Prava: In copyright Download date / Datum preuzimanja: 2021-10-11 Repository / Repozitorij: FCEAG Repository - Repository of the Faculty of Civil Engineering, Architecture and Geodesy, University of Split ASMOSIA PROCEEDINGS: ASMOSIA I, N. HERZ, M. WAELKENS (eds.): Classical Marble: Geochemistry, Technology, Trade, Dordrecht/Boston/London,1988. e n ASMOSIA II, M. WAELKENS, N. HERZ, L. MOENS (eds.): o t Ancient Stones: Quarrying, Trade and Provenance – S Interdisciplinary Studies on Stones and Stone Technology in t Europe and Near East from the Prehistoric to the Early n Christian Period, Leuven 1992. e i ASMOSIA III, Y. MANIATIS, N. HERZ, Y. BASIAKOS (eds.): c The Study of Marble and Other Stones Used in Antiquity, n London 1995. A ASMOSIA IV, M. SCHVOERER (ed.): Archéomatéiaux – n Marbres et Autres Roches. Actes de la IVème Conférence o Internationale de l’Association pour l’Étude des Marbres et s Autres Roches Utilisés dans le Passé, Bordeaux-Talence 1999. e i d ASMOSIA V, J. HERRMANN, N. HERZ, R. NEWMAN (eds.): u ASMOSIA 5, Interdisciplinary Studies on Ancient Stone – t Proceedings of the Fifth International Conference of the S Association for the Study of Marble and Other Stones in y Antiquity, Museum of Fine Arts, Boston, June 1998, London r 2002. -
Ceramics: the History, Materials, and Manipulative Techniques of the Craft
Eastern Illinois University The Keep Plan B Papers Student Theses & Publications 1-1-1965 Ceramics: The History, Materials, and Manipulative Techniques of the Craft James W. Mizener Follow this and additional works at: https://thekeep.eiu.edu/plan_b Recommended Citation Mizener, James W., "Ceramics: The History, Materials, and Manipulative Techniques of the Craft" (1965). Plan B Papers. 447. https://thekeep.eiu.edu/plan_b/447 This Dissertation/Thesis is brought to you for free and open access by the Student Theses & Publications at The Keep. It has been accepted for inclusion in Plan B Papers by an authorized administrator of The Keep. For more information, please contact [email protected]. CERAMICS: THE HISTORY, MATERIALS, AND MANIPULATIVE TECHNIQUES OF THE CRAFT (TITLE) BY James W. Mizener PLAN B PAPER SUBMIITED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF SCIENCE IN EDUCATION AND PREPARED IN COURSE Industrial Arts 452, Recreational Crafts IN THE GRADUATE SCHOOL, EASTERN ILLINOIS UNIVERSITY, CHARLESTON, ILLINOIS 1965 YEAR I HEREBY RECOMMEND THIS PLAN B PAPER BE ACCEPTED AS FULFILLING THIS PART OF THE DEGREE, M.S. IN ED. TABLE OF CONTENTS CHAPTER PAGE INTRODUCTION . 1 I. HISTORY AND DEVELOPMENT • 3 Ancient People 3 Chinese Contributions . 8 Contemporary Application 10 Industry •••••• 10 Therapy •• 10 School 11 Recreation 11 II. CERAMIC CONSTRUCTION 13 Clay . 13 Classification of Clay 16 Earthenware • 16 Stoneware • 16 Porcelain •• 17 Tools and Equipment . 17 Methods and Techniques of Ceramic Construction 20 Wedging Clay • • • • • ••• 20 Hand-Built Modeling ••••••••••• 21 Free Form Modeling • • • • 21 Slab Building ••••••••• 23 Coil Building •••••••• 24 Casting Pottery From Molds •••• 25 Single and Multi-Piece Molds •• 26 Preparing the Slip • • • • • • • • • • 28 Casting . -
Artist Jewellery Is Enjoying a Renaissance. Aimee Farrell Looks At
Artist jewellery Right: Catherine Deneuve wearing Man Ray’s Pendantif-Pendant earrings in a photo by the artist, 1968. Below: Georges Braque’s Circé, 1962 brooch Photo: Sotheby’s France/ArtDigital Studio © Man Ray Trust/ADAGP, Paris and DACS, London 2017; Braque jewellery courtesy Diane Venet; all other jewellery shown here © Louisa Guinness Gallery Frame the face Artist jewellery is enjoying a renaissance. Aimee Farrell looks at its most captivating – and collectible – creations, from May Ray’s mega earrings to Georges Braque’s brooches 16 Fashion has long been in thrall of artist jewellery. In the 1930s, couturier Elsa Schiaparelli commissioned her circle of artist friends including Jean Cocteau and Alberto Giacometti to create experimental jewels for her collections; art world fashion plate Peggy Guggenheim boasted of being the only woman to Clockwise from left: wear the “enormous mobile earrings” conceived Man Ray’s La Jolie, 1970 pendant with lapis; The by kinetic artist Alexander Calder; and Yves Saint Oculist, 1971 brooch Laurent, a generous patron of the French husband- in gold and malachite; and his photograph of and-wife artist duo “Les Lalannes” summoned Claude Nancy Cunard, 1926 © Man Ray Trust/ADAGP, Lalanne to conjure a series of bronze breast plates, Paris and DACS, London akin to armour, for his dramatic autumn/winter 2017; Telimage, 2017 1969 show. So when Maria Grazia Chiuri enlisted Lalanne, now in her nineties, to devise the sculptural copper Man Ray jewels for her botanical-themed Christian Dior A brooch portraying Lee Miller’s lips, rings complete with tiny Couture debut this year, she put artist jewellery firmly tunnels that offer an alternative perspective on the world and 24 carat gold sunglasses – it’s no surprise that the avant-garde back on the agenda. -
Early Sumerian Cities
Y 28 NEAR EASTERN, EGYPTIAN, AND AEGEAN CITIES enjoyed more starus, privileges, and possesions than orhers. Evenrually hierarchy would prevail- CHAPTER 2 Managemenr of food sources seems ro have been responsible for rhis, with excess production, which en be stored and sold or traded, providing accumulared wealch and power for some. Religion may have offered an ideological justification For such inequaliry. These periods were Early Sumerian cities marked in addi¡ion by innovations in technology (wheelmade pottery, sheer meral), rrans- ponarion (boats wirh sails), and agriculture (tree crops). Trade neworks conrinued, as rhe broad distribution of Hdaf and Ubaid pottery indicates, from Medirerrmean Turkey to Inn. Litrle by linle rhe rechnologiel, commerciel, and social wo¡ld of rhe Ancienr Near Easr wæ preparing irself for rhe rise of full-fledged ciries. The Sumerians (firsr period of dominarion): Ubaid period: a. 5000-3500 Bc Proroliterare (Uruk) period: ca.3500-2900 ¡c Early Dynasric period: ca. 2900-2350r;c The Êrs¡ ciries in the Near Easr-Mediletranean basin appeared in souchern Mesoponmia, or Sumer, rhe crearion of a people we call rhe Sumerians (Figure 2.1). \Ve have seen that environrnental changes in south-west fuia during rhe previous 5,000 years led to human control over food production; with this masrery came major social changes, including Êxed setdemen¡s. The socio-economic developmenr of these towns and villages is marked by the gradual appearance ofthe ten criteria proposed by Childe as a mark of rhe rrue ciry. AII ten factors finally emerge in Sumer during the later fourth millennium Bc. This chapter will explore early Sumerian ciries. -
Mesopotamian Art First Term 1959
Mesopotamian Art First term 1959 Civilization (‘urban society’), as I said last Thursday, began somewhat earlier in Ancient Mesopotamia than in Egypt. Let us begin by looking at a map of the region. The first settlers in Mesopotamia, the land of the two rivers, appear to have come from the Persian Highlands to the east, those who settled in the marshlands of the Tigris-Euphrates delta developed an urban economy which was at all times more decentralized than Egypt’s—the local towns always retaining a large measure of autonomy in their own affairs. These first settlers were united by a common culture as expressed in the buildings and sculpture, but not by a common language: for Sumerian was spoken in [south Sumer] and Akkadian, a Semitic language in the north. To the west of the Mesopotamia is the Arabian desert, to the north the plains of Syria, and to the north and north-east the Armenian and the Persian Highlands. Note the positions of Al-Ubaid, Ur, Eridu and Larsa situated in southern Mesopotamia, the ancient Sumer. They were at that time quite close to the shores of the Persian Gulf— for the delta of the river has been built up considerably in the past 5,000 years. To the north of Sumer, was Akkad, with such towns as Khafaje, Tell Asmar, Babylon and Tell Agrab. And further to the north were Tel Halaf, Tel Brak, Nineveh, Assur, Tepe Gawra and Samara. Mari was in the extreme west of the cultural area, Susa in the extreme East. The earliest settlement in the region occurred in the north.