Maiolica-Majolica 6

This plate is a very close reproduction of what is referred to as a tri-colored Archaic Maiolica plate. Although the original was larger. This is one of my favorites. A very time-consuming plate to do.

This pitcher is an authentic shape, and the design is also a reproduction. The original was from Orvieto, Italy and was done in the 16th Century. The original now rests in the Louvre. It turned out pretty well.

Maiolica 5

Maiolica: Now with Grotesques.

Grotesques are the misshapen animals and people that are painted on later period maiolica. Sometimes they are combinations of animals and people, sometimes a large platter is covered with a multitude of these guys. The lanky lion and prancing antelope are my first attempts. I previously didn't have a positive attitude towards grotesques, mostly because of those in sculpture and household furnishings. But I quite liked these and will be doing more.

Maiolica/Majolica, IV

 These pictures show the difference between first painting the maiolica ware, and then what it looks like after They have been fired.

Before firing, but with the glazes applied

After firing, the colors just pop!

Detail of the rim of the plate.

A soup or salad bowl before firing

The same bowl after firing

Bowl detail, the little creatures are called "Grotesques"

Maiolica-Majolica 3

Now I reached a time that I was not pleased with the way the maiolica was working for me. Painting the maiolica glazes on the maiolica base reminded me way too much of trying to paint on top of powdered chalk. I tried a few different base glazes, some of which were very difficult to work with.

In order to practice, I made many small apothecary jars like the designs of apothecary jars in historic maiolica. They hold about 2 tablespoons of spices or other things and proved very popular. The tops are rounds of linen that have been soaked in bees wax. Rather amazingly practical and useful.

These jars were made for a friend according to his directions. The designs came out very well, but the glazes were pitted. I discovered that to rectify this problem I needed to bisque fire the pottery at a much higher temperature to combat outgassing in the clay, and that has worked. Lesson learned.

This is an example of some of the other problems I had with trying to "paint on chalk". 

Maiolica-Majolica 2

The next step in maiolica I took was when I started painting the cave animals inspired by the Lascaux caves in France on my pottery. I wanted a solid background and wanted a slightly watercolor effect on the glaze painting. Maiolica gives a great surface for watercolor-like effects. Thus I worked on these pots.

Maiolica-Majolica I

These two bowls were my first attempts at Italian Renaissance Maiolica. The shields in the center are often seen in maiolica from this time and place, also the bowls on little pedestals with opposing handles are an oft used design .

I let the idea of maiolica rest for a few years. I liked them, but it took so very long to complete the painting that I concentrated on other things for awhile. But more to come.

Byzantine Pottery Tableware

This series of pottery was inspired by the beautiful pottery made in Byzantine Serres. There are several books that have examples but my favorite is Ceramic Art from Byzantine Serres  by  Demetra Papanikola-Bakirtzis.
All my examples are as close to the originals as I can make them. they are red earthenware covered with a white slip. I then carve designs in them, the designs are pretty thick so they are considered "champleve" rather than scraffito. After they have been bisque fired I glaze them with a lead-free transparent glaze (I guess that isn't exactly like the original) and loosely glaze them with green and yellow glazes. The green and yellow are also lead-free. The glazing is very loose and doesn't try to be precise, and that is like the originals.
I have two Byzantine Plates for sale on Etsy: https://www.etsy.com/shop/jeannepottery?page=3