I've never been so engrossed and amazed by a museum as I was in the National Tile museum of Lisbon. It's so rare to see an exhibition of exclusively ceramics and it was so refreshing and inspiring I will never forget it. The town itself is already like an exhibition of azulejos, but the transition of tile work over many centuries from the 1600's to the art deco of the '20s, the tea set from the '70s to Vasconcelos' of of Portugal's most celebrated contemporary artists. I found it really interesting to see the progression from Islamic geometric designs to the portrayal of figures and animals after the reconquista, and industrialisation in the 19th century to simpler transfer printed designs. I was really intrigued by the decorative methods used by modern artists- stencilling on large scales, crackle glazes, combining matte and gloss, relief work, the contrast between painterly detailed works and industrialised, reproduced precise pattern.
Buildings in Ericeira
Buildings in Ericeira
Buildings in Ericeira
1670-75 Faience in blue and manganese on white
Mogol Azulejos 1625-50
1690 Faience
1630-40
1500-1550
1500-1525
1630-50
Arista technique- clay is pressed into a carved plaster mould, the ridges of the design isolate glaze colours. Relief - clay is pressed into a deeper mould with a design carved into it.
Fragateiro 1962 'A Sombra' the shadow
Chermayeff Azulejos do Oceanario de Lisboa, 1998, Tiles from Oceanario de Lisboa.
De Sousa, 1989, Diptico Sinfonia, Polychrome faience with pigments and oxides.
Lapa 1957, Section of the Portuguese pavillion Comptoir Suisse
Pomar, Fernando Pessoa, 1989, Section from the wall covering at Alto dos Moinhos station.
David Faience agraffito and craquele 2000
Hansi Stael, Prato, plate, 1957
Lino, A ceifa, the harvesting, 1920
Lino, Pinheiro, pine tree 1915 & patterned tiles panels 1910
Jorge Pinto, Miguel Queriol, drawing by Ricardo Ruivo, Section from wall-covering of the Sanatorio de Sant'Anna, Parede, 1903-05
Ania Gabriel Abrantes, Tunnel section panel, 2013
XIX century
Maria Helena Matos, Table service, 1972-73, stencilled faience
Joana Vasconcelos, Tiles Viuva Lamego factory, wool crochet, polyester props, Led lights,k plywood and iron. 'Flora' 2014.
Bela Silva, Wall, 2002-2003, stamped earthenware.
Lourdes Castro, whole vase, 1987
Ellen Jensen, Wall plate, 1977, modelled faience with polychrome enamels.
Cecilia de Sousa, Signs of Lisbon 1988, modelled clay with matte and gloss glazes.
Menez ( Maria Inês Da Silva Carmona Ribeiro da Fonseca) Panel section of Portugal pavilion at Expo 58 in brussels, 1957.
water colour zine of tiles from the tile museum Lisbon
Vasconcelos creates large-scale sculptures and installations, often with performance components, which encourage viewers to walk through and touch them. She is also known for enveloping everyday objects—pianos, laptops, commercially produced decorative objects—in crocheted or knitted material. Through such works, she contrasts mass-produced and handcrafted of the domestic environment using public space to questioning the status of women, consumerism society and collective identity. Vasconcelos’s work also confronts sexism in society by her use of craft techniques typically associated with women, such as crochet and sewing, which have been disregarded in the fine art world and largely dismissed. This phenomenon is something which has caught my interest recently, as I have been learning a new appreciation for various textile crafts.
Vasconcelos first attracted international acclaim at the 2005 Venice Biennale with A Noiva (The Bride), a chandelier crafted from 25,000 tampons. She was also the youngest artist and the only woman ever at Palace of Versailles, to a record breaking 1.6 million visitors, her 2012 exhibition was the most visited in France in 50 years. This year she has been working on her most ambitious project to date: the Wedding Cake for Lord Jacob Rothschild's Waddesdon Manor (in England).
https://nmwa.org/art/artists/joana-vasconcelos/ https://www.joanavasconcelos.com/biografia_en.aspx'Valkyrie Mumbet' at MassArt Art Museum- tribute to Elizabeth “Mumbet” Freeman, an enslaved African-American woman who was the first person to win a freedom lawsuit based on the newly adopted Massachusetts Constitution.
https://www.forbes.com/sites/natashagural/2022/02/10/awe-inspiring-monumental-joana-vasconcelos-installation-celebrates-pioneering-african-american-valkyrie-at-maam-bostons-only-free-contemporary-art-museum/?sh=2969c90266d9crochet enveloping everyday objects, an interesting question arrises does in increase or decrease the objects value, does it change it's function. I would argue it's heightened the value of an industrialised chair, so something which has been adorned with hand-craft delicate crochet. also giving the object a new life with colours and pattern created by the crochet.
'Flora' a better photo