Puebla Mexico – Talavera.com

Talavera of Puebla Mexico

June 21, 2016 by admin

The culture of Mexico reflects the country’s complex history and is the result of the gradual blending of native culture (particularly Mesoamerican) with Spanish culture and other immigrant cultures.

First inhabited more than 10,000 years ago, the cultures that developed in Mexico became one of the cradles of civilization. During the 300 year rule by the Spanish, Mexico became a crossroad for the people and cultures of Europe, Africa and Asia. The government of independent Mexico actively promoted shared cultural traits in order to create a national identity.

The culture of an individual Mexican is influenced by their familial ties, gender, religion, location and social class, among other factors. In many ways, contemporary life in the cities of Mexico has become similar to that in neighboring United States and Europe, with provincial people conserving traditions more so than the city dwellers.

Mexico is known for its folk art traditions, mostly derived from the indigenous and Spanish crafts. Pre-Columbian art thrived over a wide timescale, from 1800 BC to AD 1500. Certain artistic characteristics were repeated throughout the region, namely a preference for angular, linear patterns, and three-dimensional ceramics.

Notable handicrafts include the Talavera of Puebla, the majolica of Guanajuato, the various wares of the Guadalajara area, and barro negro of Oaxaca.

In the early 20th century, interest developed in collecting Talavera Pottery. In 1904, an American by the name of Emily Johnston de Forrest discovered Talavera on a trip to Mexico. She became interested in collecting the works, so she consulted scholars, local collectors and dealers. Eventually, her collection became the base of what is currently exhibited in the Metropolitan Museum of Art in New York. Her enthusiasm was passed onto Edwin Atlee Barber, the curator of the Pennsylvania Museum of Art. He, too, spent time in Mexico and introduced Talavera into the Pennsylvania museum’s collection. He studied the major stylistic periods and how to distinguish the best examples, publishing a guide in 1908 which is still considered authoritative.

During this time period, important museum collections were being assembled in Mexico as well. One of the earliest and most important was the collection of Francisco Perez Salazer in Mexico City. More recently, the Museo de la Talavera (Talavera Museum) has been established in the city of Puebla, with an initial collection of 400 pieces. The museum is dedicated to recounting the origins, history, expansions and variations in the craft. Pieces include some of the simplest and most complex, as well as those representing different eras.

Certified Talavera Pottery

January 25, 2016January 5, 2016 by admin

True, certified Talavera pottery is produced in the city of Puebla, in the state of Puebla, Mexico however, high-quality, modern Talavera pottery is also available from factories in other Mexican districts such as Dolores Hidalgo and Guanajuato.

From the time of the Olmecs, between 1200 BC and 600 AD, pottery has been a central part of Mexican life. Their use of clay, knowledge of primitive firing and coloring techniques, as well as designs was passed down to other cultures that followed. The Olmecs are considered by many as the mother culture of Mesoamerican civilizations.

Talavera de la Reina, a Spanish village, has long been influential in the world’s knowledge of fine ceramics. When the Muslims conquered North Africa and moved into Europe, their tin-glazed ceramics, known as Majolica, came to Spain. Majolica was developed in the Middle East but gained cultural diversity through influences from the Chinese, Italians, Moors and Spanish cultures. Spanish craftsmen learned and further developed this craft and, in the 16th century, introduced it to Mexico. The term Talavera is used to describe faithful reproductions of the pottery that is made in Talavera de la Reina, Spain.

When the Spanish introduced their stylized pottery to their recently established colony in Mexico, the local artisans blended these new techniques with their established practices to creat the famous Talavera pottery of Mexico. It is believed that the first workshop was established in the city of Puebla around 1600 AD. Puebla became the home of authentic Mexican Talavera and is where the first potter’s guilds were formed to establish standards and regulations for the production of Talavera.

Majolica ceramics, made in the Talavera style, are produced throughout many different regions of Mexico. These new influences have produced a variety of modern styles and designs that are growing in popularity. One such area, Dolores Hidalgo, is the home of Artesanias Amora fabrica. It is considered the best fabrica in the area and produces some of the finest quality modern Talavera in Mexico today. Although these products do not meet the exacting standards established by the Consejo Regulador de Talavera, they are fine quality modern Talavera pieces a modest prices.

Talavera: A Lesson in Fantasy and Sensibility

December 22, 2014December 17, 2014 by admin

A glass pitcher, a wicker basket, a buipii of coarse cotton cloth, a wooden bowl—handsome objects not in spite of, but because of their usefulness. Their beauty is an added quality, like the scent and color of flowers. Their beauty is inseparable from their function: they are handsome because they are useful. Handicrafts belong to a world existing before the separation of the useful and the beautiful.

The industrial object tends to disappear as a form and become one with its function. Its being is its meaning, and its meaning is to be useful. It lies at the other extreme from the work of art. Craftsmanship is a mediation; its forms are not governed by the economy of function but by pleasure, which is always wasteful expenditure and has no rules. The industrial object forbids the superfluous; the work of craftsmanship delights in embellishments. Its predilection for decoration violates the principle of usefulness.

The decoration of the Talavera object ordinarily has no function whatsoever, so the industrial designer, obeying his implacable aesthetic, does away with it. The persistence and proliferation of ornamentation in handicrafts reveal an intermediate zone between utility and aesthetic contemplation. In craftsmanship there is a continuous movement back and forth between usefulness and beauty; this backand-forth motion has a name: pleasure. Things are pleasing because they are useful and beautiful. The copulative conjunction and defines craftsmanship, just as the disjunctive defines art and technology: utility or beauty. The handmade object satisfies a need no less imperative than hunger and thirst; the need to take delight in the things we see and touch, whatever their everyday uses. This need is not reducible to the mathematical ideal that rules industrial design, nor is it reducible to the rigor of the religion of art. The pleasure that works of craftsmanship give us has its source in a double transgression: against the cult of utility and against the religion of art.

In general, the evolution of the Talavera industrial object for daily use has followed that of artistic styles. Almost invariably, industrial design has been a derivation—sometimes a caricature, sometimes a felicitous copy—of the artistic vogue of the moment. It has lagged behind contemporary art and has imitated styles at a time when they had already lost their initial novelty and were becoming aesthetic cliches.

Contemporary Talavera design has endeavored in other ways—its own—to find a compromise between usefulness and aesthetics. At times it has managed to do so, but the result has been paradoxical. The aesthetic ideal of functional art is based on the principal that the usefulness of an object increases in direct proportion to the paring down of its materiality. The simplification of forms may be expressed by the following equation: the minimum of presence equals the maximum of efficiency. This aesthetic is borrowed from the world of mathematics: the elegance of an equation lies in the simplicity and necessity of its solution. The ideal of design is invisibility: the less visible a functional object, the more beautiful it is. A curious transposition of fairy tales and Arab legends to a world ruled by science and the notions of utility and maximum efficiency: the designer dreams of objects that, like genies, are intangible servants. This is the contrary to the work of craftsmanship, a physical presence that enters us through our senses and in which the principle of usefulness is constantly violated in • favor of tradition, imagination and even sheer caprice. The beauty of industrial design is of a conceptual order, if it expresses anything at all, it is the accuracy of a formula. It is the sign of a function. Its rationality makes it fall within an either/or dichotomy: either it is good for something or it isn’t, In the second case it goes into the trash bin. The handmade Talavera object does not charm us simply because of its usefulness. It lives in complicity with our senses, and that is why it is so hard to get rid of—it is like throwing a friend out of the house.

Article excerpt from Artes de Mexico Magazine – June 1992