Thesis (Ph. D.)--Ohio State University, 1960. / Bibliography: p. 181-187.

"A superb report on the analysis of maiolica pottery excavated from beneath the Mexico City Cathedral and from excavations for the Mexico City Metro."—Southwest Mission Research Center Newsletter "The most important aspect of this monograph is not just how good it is but its potential for use by archaeologists in the future."—The Kiva

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Thesis -- Departmental honors in Art History. / Bibliography: ℓ. 130-133.

The target of my diploma thesis is a transformation of the Habana decorum into an actual utilizable object and examination of its impact on current design. This thesis is divided into two correlative parts theoretical and practical. The main subject of both these parts is the Habana ceramics. The theoretical part deals with the history, development and further proceeding of the Habana ceramics, including the focus on the current artists who are engaged in Habanas. In the practical part I am demonstrating my own creation of the Habana decorum using the appropriate materials.

The new, hybrid scholarly field of political ecology, focused on the twenty-first century’s innovation-driven economy, has perspectives useful in studying an earlier “global” or “knowledge” economy that emerged in Spain’s sixteenth century colonial enterprise. This essay explores the production of tin-enameled pottery (majolica; loza) in Spain and its colonies, particularly the viceroyalty of Peru, through the field’s dual emphasis on the political (the ethno-religious persecution of Muslims, and the mercantilist trade policies of Christian Spain) and the ecological (resource availability and use).Political-ecological concepts such as “business clusters,” “gatekeepers,” and “pipelines” can be applied to the many factors influencing the history of development of this ware in Spain and Ibero-America. In contrast to today’s economy, attitudes toward innovation in pottery were rather ambivalent, and innovations were primarily introduced from outside Spain (especially from Italy) rather than internally developed. Early tin-enameled ware produced in the Andes follows traditional Hispano-Moresque green and black decoration, unlike in Mexico, where it was relegated to second-class status. Blue painting arrived late, but it is not known if this was because the potters who settled in the Andes were primarily morisco refugees or a consequence of lack of access to cobalt igment because of the region’s distance from Spain. / El nuevo campo de la ecología política, enfocada en la economía del siglo XXI e impulsada por la innovación, tiene perspectivas útiles en el estudio de la economía más temprana del «conocimiento» o «global» que surgió en el siglo XVI.Este ensayo explora la producción de cerámica mayólica o loza en España y sus colonias, en particular, el virreinato del Perú, a través del doble énfasis de la política (la persecución étnico-religiosa de los musulmanes, y el mercantilismo de la España cristiana) y de la ecología (disponibilidad y usos de recursos). Conceptos tales como «clústeres empresariales», «guardabarreras» y «tuberías» se pueden aplicar a los factores que influyen en la historia del desarrollo de esta cerámica.En contraste con la economía actual, las actitudes hacia la innovación fueron un tanto ambivalentes y las innovaciones fueron introducidas principalmente desde fuera de España (sobre todo, en Italia) en lugar de desarrollarse internamente.La loza producida en los Andes que siguió a la decoración tradicional hispano-morisca de verde y negro, y la pintura azul llegaron tarde, quizás, como consecuencia de que los alfareros que arribaron a los Andes fueron principalmente refugiados moriscos o por la falta de acceso a los pigmentos de cobalto.

Thesis (Ph. D.)--Florida State University, 2004. / Advisor: Jack Freiberg, Florida State University, College of Visual Arts, Theatre, and Dance, Art History Dept. Title and description from dissertation home page (viewed Jan. 12, 2006). Document formatted into pages; contains vi, 245 pages. Includes bibliographical references.

De l’Alhambra au palais Fronteira, l’azulejo a transcendé les frontières et les siècles. Habillant les murs d’églises, de palais et de patios, il constitue non seulement une pratique ornementale représentative des goûts et des mentalités d’une époque mais aussi l’expression d’un savoir-faire développé par des faïenciers qui n’ont eu de cesse de perfectionner le geste et l’objet. Jamais appréhendé à la lumière du règne des Philippe, l’azulejo et ses artisans ont évolué au rythme des vicissitudes d’une époque mais aussi en fonction d’un contexte artistique synonyme d’échanges, de circulations et de transferts. Des difficultés économiques aux guerres dynastiques, l’azulejo a été conditionné dans sa matière et dans sa forme par les événements. La réunion des royaumes du Portugal et de Castille en 1580 engendra ainsi de nouvelles possibilités commerciales pour la production de ces carreaux de faïence mais aussi l’apport de nouvelles formules ornementales plus exotiques à l’origine d’un renouvellement des répertoires. La mise en regard des ateliers de Lisbonne, Talavera de la Reina et Séville fait ainsi émerger de nouvelles problématiques dans les processus de création de cet objet ornant et orné, et dans la définition de ces artisans désignés sous les expressions d’ollero, alfarero, malegueiro, maestro en azulejo, pintor de azulejos – une pratique en porte-à-faux entre les sphères artistiques et artisanales. L’alliance des perspectives historiques, culturelles et artistiques permet d’aborder les différentes facettes de l’azulejo, un art enraciné dans son temps et témoin d’échanges. / From the Alhambra to the palace of Fronteira, the azulejo has transcended borders and centuries. Applied on the walls of churches, palaces and patios, ceramic tiles constitute an ornamental art form that reveals esthetic and culture values of a certain time. It is also the expression of a savoir-faire developed by faience makers who were constantly trying to improve the techniques of tile work. Never analyzed in relation to the reign of the Philips, the azulejo and the faience makers have evolved along with the trials and tribulations of an era, where the artistic context was characterized by travels and exchanges. Historical events such as economic crisis and dynastic wars, had conditioned the azulejo in its physical and aesthetic forms. The alliance of the kingdom of Portugal and the kingdom of Castile in 1580, opened up new roads for commercial exchanges while influencing the production of ceramic tile work, as it lead to the renewal of ornamental patterns. The definition of these craftsmen is technically difficult and shows a real imprecision to designate them. Ollero, alfarero, malagueiro, maestro en azulejo, pintor de azulejos, are terms that refer to a creative process where the arts and crafts intersect. The comparative study of the workshops of Lisbon, Talavera de la Reina and Seville was a way to highlight new issues, while bringing together historical, cultural and artistic perspectives that help one to grasp the various aspects of the azulejo.

Orientador: Luciano Migliaccio / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas / Made available in DSpace on 2018-08-26T10:03:46Z (GMT). No. of bitstreams: 2 Correa_CristinaLara_M.pdf: 16092566 bytes, checksum: 57a38884b17492f00e49c5f8f8da32cc (MD5) Correa_CristinaLara_M_Anexo.zip: 263975395 bytes, checksum: 511385534c3930d9e6e890099647b0e5 (MD5) Previous issue date: 2013 / Resumo: Esta pesquisa reúne a documentação da coleção de maiólicas de Alexandre Imbert (1865- 1943) conservadas no Museu de Arte de São Paulo Assis Chateaubriand desde 1952. O objetivo do levantamento e organização dos dados técnicos de cada peça foi contribuir para registrar um banco de dados na forma de um catálogo. A catalogação das peças é acompanhada de informações técnicas, descritivas, fotográficas, bibliográficas e de dados de peças similares conservadas em outros acervos. Além disso, a abordagem discorre em torno dos aspectos favoráveis para a formação do Museu de Arte e para a aquisição da coleção Imbert que chegou ao total de 525 peças em 1911, sua dispersão no início do século XX e a valorização desta tipologia de acervo no mercado internacional. Em paralelo, o trabalho está articulado ao panorama de conceitos e debates sobre a técnica da maiólica e a classificação estilística de cada centro de produção italiano / Abstract: This research combines Alexandre Imbert¿s (1865-1943) majolica collection documentation, preserved in the "Museu de Arte de São Paulo Assis Chateaubriand" since 1952. The purpose of the survey and the organization of the technical data of each piece has contributed to register a database in the form of a catalog. The cataloging of the parts is accompanied by technical, descriptive, photographic, bibliographic data and similar parts preserved in other collections. Moreover, the approach talks about the favorable aspects for the formation of the "Museu de Arte" and the acquisition of Imbert¿s collection which totalized 525 pieces in 1911, its dispersion in the early twentieth century and the appreciation of this type of collection in the international market. In parallel, the work is articulated to the panorama of concepts and debates on the majolica technique and the stylistic classification of every Italian production center / Mestrado / Historia da Arte / Mestra em História

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