Talavera

Talavera Pottery

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Talavera Plate by Studio La CupulaTalavera Poblana is an exquisite type of pottery whose history goes back hundreds of years. The lovely and beautiful colonial city of Puebla, located just 70 miles from Mexico City, is home to this world-renowned art form. In addition to purchasing authentic Talavera pottery in Puebla, there are many reasons to visit the city, including sampling its fabulous regional cuisine. Some of Puebla’s delectable dishes include their famous mole poblana sauce as well as the seasonal delicious dish of chiles en nogada. Additionally, the historic center of Puebla has been named a UNESCO World Heritage Site. Undoubtedly, one of the reasons for this honor is due to the absolutely stunning tile work that decorates the town’s historic colonial buildings.

Mexico has a rich and long history with producing ceramics, predating the arrival of the Spanish by several centuries. Stunning pre-Columbian artifacts from its many civilizations attest to this fact. The indigenous peoples of Mexico, long acquainted with making items from clay, had their own distinct method of producing earthenware, one which did not involve glazing or the use of the potter’s wheel.

Shortly after Puebla was founded in 1531, the Spanish feverishly began building churches, monasteries and convents. To decorate these buildings, craftsman from the city of Talavera de la Reina, located in Spain, were commissioned to come to the New World to produce fine tiles as well as other ceramic ware. In addition, these same craftsman were to teach the indigenous artisans their technique of Majolica pottery, in order to increase production levels.

The tradition that the Spanish craftsmen brought from Talavera de la Reina to the New World has a fascinating history. During the 8th century, the Moors from Northern Africa conquered Spain and with their arrival, the customary blending of cultures occurred. One such consequence was the introduction of Majolica pottery, an art form known for its beautiful glazes and intricate design work. A major component of Majolica is its glazing technique which contains tin as an ingredient. This particular type of glaze provides a creamy white background that is ideal for applying design.

Spanish craftsman from Talavera de la Reina embraced the techniques of Majolica and also added to the art form. Chinese and Italian influences were incorporated and guilds of craftsmanship, where strict adherence to technique were required, were formed. This dedication was brought from Spain to Mexico. Guilds were summarily established in Mexico with appropriate standards and regulations. The indigenous craftsmen incorporated their artistic heritage with the techniques of Majolica pottery. A beautiful marriage was formed between the old world and the new, and Puebla became the birthplace of an exquisite art form known as Talavera Poblana.

An elaborate process is involved in making a piece of Talavera pottery. First, comes the selection of the clay, which is chosen from the area of Puebla and nearby vicinities. The clay found in this region is known for its fine quality. After a detailed process of washing and soaking the clay, it is then hand-formed or shaped on a potter’s wheel into its desired form. Next, it is allowed to dry in the sun for a matter of days, after which it is fired at 2,000 degrees Fahrenheit. A test is performed at this point, making sure there are no cracks in the object. This is followed by an initial glazing process after which the hand-painted design is applied. This stage differs in length, dependent upon the intricacy of the design work involved. A final firing is performed. Before being offered for sell, a certification process is next on the agenda. This is to ensure that the piece meets regulations and the level of excellence in craftsmanship has been achieved. It is at this time, provided all conditions have been met, that the piece is stamped with the maker’s mark along with a registration number.

One characteristic of authentic Talavera pottery is the quality of detail in the painting, expertly applied. There is a raised appearance to the painted line, accompanied by a glossy sheen. Only natural earth pigments are used for the colors found in true Talavera. In its early days, the finest pottery was painted with a deep blue mineral, the most expensive pigment. This color motif, placed on the creamy white of the fired clay, was much sought after. It also provided a quality measure, reassuring the buyer that the piece they were purchasing was of the highest caliber. Other colors were introduced in 18th century, including yellow, green and mauve.

Today, when visiting the city of Puebla, you will be able to purchase authentic Talavera tiles, vases and dishes, along with many other fine Talavera objects. As well, you can see first-hand how Talavera tiles were used extensively in the decoration of the city’s historic churches, monasteries and ex-convents.

Article source: MexOnline.com

Centuries-Old Art of Making Talavera Pottery

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MH461a - Talavera PlateSince its introduction by Spanish settlers in the 16th century, talavera pottery has become synonymous with Puebla. The beautifully hand-crafted ceramics, which take the form of everything from garden tiles to dinnerware, adorn building fronts in the historic center, replace china sets in Mexican households, and travel home with visitors as souvenirs. Talavera is so revered that President Calderón ordered a special bicentennial pattern last year for his Independence Day state dinner; Governor Rafael Moreno Valle buys centerpieces to give as personal gifts; and collectors worldwide seek out new and historical pieces to display as fine art.

The local tradition of making talavera started shortly after the city of Puebla was founded in 1531. “The Spanish feverishly began building churches, monasteries, and convents,” notes MexOnline.com. “To decorate these buildings, craftsman from Talavera de la Reina … were commissioned to come to the New World to produce fine tiles as well as other ceramic ware. In addition, these same craftsman were to teach the indigenous artisans their technique of Majolica pottery, in order to increase production levels.”

Nearly 500 years later, artisans continue to produce talavera in Puebla. In fact, the capital city is home to the longest continuously operating factory in Mexico and perhaps the world: Uriarte Talavera. Uriarte is one of the oldest businesses in the country, ranking in the top 10 behind José Cuervo’s tequila distillery in Jalisco and several other well-known enterprises.

Excerpt from Pueblo-Mexico.com

Applying Different Types Of Mexican Tile In Your Home

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When decorating the inside of your home, it is a good idea to consider what decorative theme you plan on making prevalent throughout your home. Many different types of furnishings can be used to convey a certain message in the environment, with accessories such as lighting fixtures and wall-mounted furnishings further solidifying the theme. One of the most important aspects of the decoration process, however, is considering what type of floor you want to have present in the room. Because of how the floor can be seen as both the backdrop and the centerpiece of the room, it is a good idea to plan your floor first before purchasing other furnishings for the home. Tiles are perhaps one of the most widely recognized and aesthetically pleasing types of flooring options available, and Mexican tile in particular can be an extremely attractive option for homes that emphasize a more traditional and quaint design.

talavera_tilesTypical Mexican tiles are unique furnace-fired terracotta pieces of tile that can have a wider variety of colors, finishes, and designs, each of which can provide something unique for your home. Authentic Mexican tiles are typically hand-made at local kilns, fired at low temperatures to ensure a strong, reliable surface. What makes these tiles truly special is the potential for charming flaws that it may have when it is made by hand. Some Mexican tile designs may not be perfectly flat or perfectly square, and some may even feature imprints of animal tracks or debris, creating a truly old-world feeling in the home.

Saltillo tiles are typically the traditional Mexican ceramic tile, which features a wide variety of colors, such as varying hues of browns, beiges, oranges, yellows, and even reds. These festive colors make them ideal for homes that feature such a color scheme. The tile is named for the city from which the strong clay is mined. Another type of tile is the Talavera tile, which is the most decorative type of tile because of the wide variety of patterns that are typically painted on them. These tiles are given a glossy finish to further emphasize their decorative appeal. These types of tiles are often wall-mounted in conjunction with the aforementioned Saltillo tiles because of how well the two types complement each other. By carefully planning out the design of your home beforehand, and researching different types of furnishings that can go along with the backdrop, you will no doubt be able to create a warm, cozy environment that is sure to please.

Article Source: http://www.articlesbase.com/diy-articles/applying-different-types-of-mexican-tile-in-your-home-6839202.html

 

Travelling Talavera Exhibits

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Several temporary and travelling Talavera exhibits of certain themes have been created from these permanent collections. One of these was called “El Aguila en la Historia de Mexico” (The Eagle in the History of Mexico). The forty-two-piece exhibit was sponsored by the Senate of Mexico to show how the eagle symbol has been used in the country throughout its history. This exhibit was sponsored in honor of the Bicentennial of Independence in 2010. These ceramics were chosen because of their combination of art and utility. Eagles depicted include that of Mexico’s coat of arms, as well as those of political figures such as José María Morelos y Pavón and Porfirio Díaz, and those used by institutions such as the Royal and Pontifical University of Mexico and the Mexican Senate itself.

Authentic Talavera TileAnother exhibit in Mexico centered on the creation of maps using Talavera tile. Most tiles during the colonial period were decorated with flowers and landscapes but a significant number were painted to create murals with maps. Those that survive show how a number of cities developed over the colonial period. Eight of the most representative 16th-century Talavera tile maps were at the El Carmen Museum at an exhibit called “Cartografia: Una Vision en Talavera del Mexico Colonial” (Cartography: A Talavera Vision of Colonial Mexico). This exhibit was of reproductions of the originals created by the Talavera de la Luz workshop in Puebla. The chosen maps show the development of Mexico City as well as representations of the Acapulco, Puebla and the Tesuco regions during this time period.

Exhibits have been held outside of Mexico as well. The Museum of the Americas in Spain held an exhibit called “Talaveras de Puebla, Cerámica colonial Mexicana. Siglos XVII a XXI” (Talavera Pottery of Puebla, Mexican colonial ceramics, XVII to 21st centuries). This was a temporary exhibit of 49 pieces, combined with pieces from Spain and China as references. The pieces were loaned by the Franz Mayer Museum and the Bello Museum.

Talavera History

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Talavera plates made in Pueblo, MexicoTechniques and designs of Islamic pottery were brought to Spain by the Moors by the end of the 12th century as Hispano-Moresque ware. From there they influenced late medieval pottery in the rest of Spain and Europe, under the name majolica.[5][15] Spanish craftsmen fromTalavera de la Reina (Castile, Spain) adopted and added to the art form. Further Italian influences were incorporated as the craft evolved in Spain, and guilds were formed to regulate the quality.

During roughly the same time period, pre-Hispanic cultures had their own tradition of pottery and ceramics, but they did not involve a potter’s wheel or glazing.  There are several theories as to how majolica pottery was introduced to Mexico. The most common and accepted theory is that it was introduced by monks who either sent for artisans from Spain or knew how to produce the ceramics themselves. These monks wanted tiles and other objects to decorate their new monasteries, so to keep up with this demand, either Spanish artists or the monks taught indigenous artists to produce the glazed pottery.  A significant number of secular potters came to Mexico from Seville and Talavera de la Reina, Spain during the very early colonial period. Later a notable potter by the name of Diego Gaytán, who was a native of Talavera, made an impact on pottery after he arrived in Puebla.

From the time that the city of Puebla was founded in 1531, a large number of churches and monasteries were being built. The demand for tiles to decorate these buildings plus the availability of high-quality clay in the area gave rise to the ceramic industry. It was soon produced by indigenous people as well as Spanish craftsmen, which resulted in a mixture of influences, especially in decorative design. The new tradition came to be known as Talavera Poblana to distinguish it from that of Talavera pottery from Spain.[2][6] By 1550, the city of Puebla was producing high-quality Talavera wares and, by 1580, it had become the center of Talavera production in Mexico.[5]

From 1580 to the mid-17th century, the number of potters and workshops kept growing, each having their own designs and techniques. The colonial government decided to regulate the industry with guilds and standards. In 1653, the first ordinances were passed. These regulated who could be called a craftsman, the categories of product quality, and norms of decoration.[14] The effect was to standardize the production of ceramics and increase the quality of what was produced. Some of the rules established by the ordinances included the use of blue cobalt on only the finest, quality pieces, the marking of pieces by craftsmen to avoid counterfeits, the creation of categories of quality (fine, semi-fine and daily use), and yearly inspections and examination of master potters.[1]

Talavera Snack Tray by Studio Tomas HuertaThe period between 1650 and 1750 was known as the Golden Age of Talavera. Puebla became the most important earthenware center of New Spain. Pieces were shipped all over the territory, and were sent to Guatemala, Cuba, Santo Domingo, Venezuela and Colombia. During this time, the preferred use of blue on Talavera pottery was reinforced by the influence of China’s Ming dynasty through imported Chinese ceramics that came to Mexico via the Manila galleons. Italian influences in the 18th century introduced the use of other colors.

During the Mexican War of Independence, the potters’ guild and the ordinances of the 17th century were abolished. This allowed anyone to make the ceramic in any way, leading to a decline in quality.The war disrupted trade among the Spanish colonies and cheaper English porcelain was being imported.  The Talavera market crashed. Out of the forty-six workshops that were producing in the 18th century, only seven remained after the war.

In 1897, a Catalan by the name of Enrique Luis Ventosa arrived to Puebla. Ventosa was fascinated by the history of the craft which was unique from other art forms in Mexico. He studied the original processes and combined it with his knowledge of contemporary, Spanish work. He published articles and poems about the tradition and worked to decorate ceramic pieces. In 1922, he befriended Ysauro Uriarte Martinez, a young potter, who had inherited his grandfather’s workshop. The two men collaborated to create new decorative designs, adding pre-Columbian and Art nouveau influences to the Islamic, Chinese, Spanish and Italian influences that were already present. They also worked to restore the former levels of quality. Their timing was good as the Mexican Revolution had ended and the country was in a period of reconstruction.

However, by the 1980s, there had been a further decline in the number of workshops until only four remained. Talavera had been under pressure in the latter part of the 20th century because of competition from pottery made in other Mexican states, cheap imports and the lack of more modern and imaginative designs.[4] In the early 1990s, the Talavera de la Reina workshop began revitalizing the craft by inviting artists to work with their artisans to create new pieces and new decorative designs. Among the artists wereJuan Soriano, Vicente Rojo Almazán, Javier Marín, Gustavo Pérez, Magali Lara and Francisco Toledo.  They did not change the ceramic processes, but added human forms, animals, other items and traditional images of flowers to the designs.

Since then there has been some resurgence in the craft. In the 2000s, seventeen workshops were producing Talavera in the old tradition. Eight were in the process of becoming certified. These workshops employed about 250 workers and exported their wares to the United States, Canada, South America and Europe.

Although the Spaniards introduced this type of pottery, ironically the term Talavera is used much more in Mexico than in Talavera de la Reina, Spain, its namesake.  In 1997, the Denominación de Origin de la Talavera was established to regulate what pieces could be officially called Talavera. Requisites included the city of production, the clay that was used, and the manufacturing methods. These pieces now carry holograms.  One of the reasons the federal law was passed was that the remaining Talavera workshops had maintained the high quality and crafting process from the early colonial period, and the goal was to protect the tradition.

However, the tradition still struggles. Angelica Moreno, owner of Talavera de la Reina, is concerned that the tradition of the craft is waning, despite her workshop’s efforts. One problem the craft faces is the lack of young people who are interested in learning it. An artisan earns about 700 to 800 pesos a week, which is not enough to meet expenses.

How Talavera is Used

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Talavera ceramic is mostly used to make utilitarian items such as plates, bowls, jars, flowerpots, sinks, religious items and decorative figures. However, a significant use of the ceramic is for tiles, which are used to decorate both the inside and outside of buildings in Mexico, especially in the city of Puebla.talavera_tilesThe Puebla kitchen is one of the traditional environments of Talavera pottery, from the tiles that decorate the walls and counters to the dishes and other food containers. It is a very distinct style of kitchen. In monastery kitchens of the area, many of the designs also incorporate the emblem of the religious order. Many of the facades in the historic center of Puebla are decorated with these tiles.

These tiles are called azulejos and can be found on fountains, patios, the facades of homes, churches and other buildings, forming an important part of Puebla’s Baroque architecture. This use of azulejos attested to the family’s or church’s wealth. This led to a saying “to never be able to build a house with tiles”, which meant to not amount to anything in life. Being able to show this kind of wealth was not restricted to Puebla. In Mexico City, the church of the Convent of La Encarnacion and the church of the Virgin of Valvanera both feature cupolas covered in Talavera. The most famous example of Talavera in the capital city is the Casa de los Azulejos, or House of Tiles, which is an 18th-century palace built by the Count del Valle de Orizaba family. What makes this palace, in the City of Palaces, distinct is that its facade on three sides is completely covered in expensive, blue-and-white tile – sensational at the time the tiles were applied.

Talavera Production

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The process to create Talavera pottery is elaborate and it has basically not changed since the early colonial period when the craft was first introduced.  The first step is to mix black sand from Amozoc and white sand from Tecali. It is then washed and filtered to keep only the finest particles. This can reduce the volume by fifty percent.  Next the piece is shaped by hand on a potter’s wheel, then left to dry for a number of days.  Then comes the first firing, done at 850 °C (1,560 °F). The piece is tested to see if there are any cracks in it. The initial glazing, which creates the milky-white background, is applied. After this, the design is hand painted. Finally, a second firing is applied to harden the glaze. This process takes about three months for most pieces,  but some pieces can take up to six months.MH453a Talavera

This process is so complicated and plagued with the possibility of irreparable damage that during colonial times, artisans prayed special prayers, especially during the firing process.

Some workshops in Puebla offer guided tours and explain the processes involved. The oldest certified, continuously operating workshop is in Uriarte.  It was founded in 1824 by Dimas Uriarte, and specialized in traditional colonial-era designs. Another certified workshop, Talavera de la Reina, is known for revitalizing the decoration of the ceramics with the work of 1990s Mexican artists.

Hand Thrown Talavera from Mexico

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Talavera Plates from MexicoTalavera:  all pieces are hand-thrown on a potter’s wheel and the glazes contain tin and lead, as they have since colonial times. This glaze must craze, be slightly porous and milky-white, but not pure white. There are only six permitted colors: blue, yellow, black, green, orange and mauve, and these colors must be made from natural pigments. The painted designs have a blurred appearance as they fuse slightly into the glaze. The base, the part that touches the table, is not glazed but exposes the terra cotta underneath. An inscription is required on the bottom that contains the following information: the logo of the manufacturer, the initials of the artist and the location of the manufacturer in Puebla.

The design of the pieces is highly regulated by tradition. The paint ends up slightly raised over the base. In the early days, only a cobalt blue was used, as this was the most expensive pigment, making it highly sought after not only for prestige but also because it ensured the quality of the entire piece. Only natural clays are used, rather than chemically treated and dyed clays and the handcrafting process takes three to four months. The process is risky because a piece can break at any point. This makes Talavera three times more costly than other types of pottery. Because of this, Talavera manufacturers have been under pressure from imitations, commonly from China,and similar ceramics from other parts of Mexico, especially Guanajuato. Guanajuato state petitioned the federal government for the right to share the Talavera demonimation with Puebla, but, since 1997, this has been denied and glazed ceramics from other parts of Mexico are called Maiolica or Mayolica.
Today, only pieces made by designated areas and from workshops that have been certified are permitted to call their work “Talavera.” Certification is issued by the Consejo Regulador de la Talavera, a special regulatory body. Only nine workshops have so far been certified: Uriarte Talavera, Talavera La Reyna, Talavera Armando, Talavera Celia, Talavera Santa Catarina, Talavera de la Nueva España, Talavera de la Luz, Talavera de las Americas, and Talavera Virglio Perez. Each of these needs to pass a twice-yearly inspection of the manufacturing processes. Pieces are subject to sixteen laboratory tests with internationally certified labs.  In addition, there is a test done by the Faculty of Sciences of the University of Puebla to ensure that the glaze does not have lead content of more than 2.5 parts per million or cadmium content of more than 0.25 parts per million, as many of the pieces are used to serve food.  Only pieces from workshops that meet the standards are authorized to have the signature of the potter, the logo of the workshop and the special hologram that certifies the piece’s authenticity.

 

Authentic Talavera Pottery

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Authentic Talavera pottery only comes from the city of Puebla and the nearby communities of Atlixco, Cholula, and Tecali, because of the quality of the natural clay found there and the tradition of production which goes back to the 16th century.  Much of this pottery was decorated only in blue, but colors such as yellow, black, green, orange and mauve have also been used. Authentic Talavera Plate - MH469a

Maiolica pottery was brought to Mexico by the Spanish in the first century of the colonial period. Production of this ceramic became highly developed in Puebla because of the availability of fine clays and the demand for tiles from the newly established churches and monasteries in the area. The industry had grown sufficiently that by the mid-17th century, standards and guilds had been established which further improved the quality, leading Puebla into what is called the “golden age” of Talavera pottery (from 1650 to 1750). Formally, the tradition that developed there is called Talavera Poblana to distinguish it from the similarly named Talavera pottery of Spain. It is a mixture of Italian, Spanish and indigenous ceramic techniques.

The tradition has struggled since the Mexican War of Independence in the early 19th century, during which the number of workshops were less than eight in the state of Puebla. Later efforts by artists and collectors revived the craft somewhat in the early 20th century and there are now significant collections of Talavera pottery in Puebla, Mexico City and New York City. Further efforts to preserve and promote the craft have occurred in the late 20th century, with the introduction of new, decorative designs and the passage of the Denominación de Origen de la Talavera law to protect authentic, Talavera pieces made with the original, 16th-century methods.

Article excerpt from Wikipedia

Puebla: Pottery Production

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Puebla was the most prominent of the Mexican centers of pottery production to employ the technique of tin-enameled earthenware, known in Europe as maiolica, or faience. This technique produced a hard opaque white glaze, which served as a background for colorful, enamel-painted designs.

MH456a - Talavera PlateThe name Talavera, as applied to this ware, alludes to the city of Talavera de la Reina, the major producer of colorful maiolica in Spain from the sixteenth to the mid-eighteenth century. One tradition holds that the technique was introduced to Puebla by immigrants from the Spanish pottery center before 1653, the year in which the Pueblan potters’ guild was founded. However, the majority of surviving eighteenth-century maiolica from Puebla, with its blue-and-white palette, reflects the position of this city on the Spanish trade route from the Far East via the Philippines and across Mexico. A vast quantity of Chinese export porcelain carried by galleons from Manila remained in New Spain and served as models for the potters in Puebla (who were undoubtedly also conscious of the vogue for blue-and-white pottery in seventeenth- and eighteenth-century Europe).

This collection of tin-enameled earthenware from Mexico was the gift of Emily Johnston de Forest, one of the Metropolitan Museum’s early patrons and a founder of The American Wing. Her pioneering interest in this material inspired the acquisition of similar collections by other American museums in the early twentieth century. In a letter to the Metropolitan at the time of her donation in 1911, Mrs. de Forest remarked:

The collection is important, in my opinion, not only as representing an artistic ceramic development, but, more particularly, as representing such a development in America. It seems to me to form a part of a collection representing the arts of Mexico which I hope will some time be fully represented in the Museum, as an American Museum.

Article source: Johanna Hecht, Dept. of European Sculpture and Decorative Arts, The Metropolitan Museum of Art