By Associate Curator Department of Sculpture Catherine Hess

Italian Ceramics amplifies and updates the sooner quantity together with objects—some of them porcelain and terracotta—acquired through the intervening years. between them are a couple of eighteenth-century candlesticks representing mythological scenes and a tabletop with looking scenes and, from the 1790s, the superbly modeled and painted Saint Joseph with the Christ baby. Italian Ceramics comprises the latest clinical, historic, and iconographic information regarding the Museum’s holdings. thoroughly revised and multiplied, this publication bargains a wealth of recent information regarding the Getty Museum’s marvelous assortment, which spans greater than 4 centuries of Italian ceramic art.
(Переработанное и дополненное издание предлагает полную информацию о собрании итальянской керамики Музея Гетти.)

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2 M a t c h i n g h e x a g o n a l t i l e s i n s c r i b e d speratens the Kunstgewerbemuseum, are i n B e r l i n (inv. 01,43c), and the 3 M u s e e N a t i o n a l de C e r a m i q u e , Sevres ( i n v . M N C 8447), a n d one i n s c r i b e d ne oblyer was f o r m e r l y i n the Robert Forrer c o l l e c t i o n , Z u r i c h . A m a t c h i n g square t i l e w i t h 4 20 1A Plate with the arms of the Bonacossi of Ferrara. Valencia, ca. 1450. ). Courtesy of the Hispanic Society of America.

1995, 7 7 - 8 1 ; ; Hughes and Gaimster 1999, 57-89. ful Renaissance-inspired wares of the nineteenth century championed by the Minton factory in England. 27. Wilson 1999, 8. Caiger-Smith 1985, 127. Gaetano Ballardini (1922b, 60) reminds us, 28. In addition to neutron activation analysis (NAA), other analytical meth­ however, that by the mid-thirteenth century obra de mdlequa (alternate ods are now (or soon w i l l be) available to provenance clays. These in­ spellings include melica, melicha, maliqua, and malica), although cer­ clude electron microprobe analysis, proton induced X-ray emission tainly referring to a place (Malaga), became a generic term for the pro­ (PIXE), proton induced gamma emission (PIGE), inductively coupled cess (luster) much as the French term faience (from Faenza) was later plasma atomic emission spectrometry (ICP-AES), inductively coupled applied to tin-glazed earthenware i n general.

Mallet 1998, 35; Crepin-Leblond 1995, no. 31. Spallanzani 1994, 129 n. 19; Palvarini 1987, 211 n. 2 (cited in Mallet 1998, 35). 18. 19. Bellini and Conti 1964, 27. Conti 1976, 219. Conti believes that these Eastern jars were originally made from sections of bamboo; this may help explain the origin of the ceramic albarello shape. 20. From the Italian crespa, meaning wrinkle or ripple. 21. Montaigne [1774] 195 5, 21 5. 22. Goldthwaite 1987, 153-75. For other enlightening publications by this scholar relevant to maiolica studies, see "The Florentine Palace as Domestic Architecture," American Historial Review 77 (1972): 977-1012; "The Economic and Social World of Italian Renais­ sance Maiolica," Renaissance Quarterly 42 (1989): 1-32; The Build­ ing of Renaissance Florence: An Economic and Social History (Baltimore, 1982); Wealth and the Demand for Art in Italy, 1300- 1600 (Baltimore, 1993).

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Italian Ceramics Catalogue of the J. Paul Getty Museum by Associate Curator Department of Sculpture Catherine Hess
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