Tag Archive for: craft

Porcelain is essentially made of kaolin, sand and the mineral feldspar’

Vista Alegre – the country’s most famous porcelain brand – celebrates its 200th anniversary.
The factory in Ílhavo, founded in 1824 by José Ferreira Pinto Basto, has remained relevant for two centuries thanks to its quality, ability to reinvent itself and focus on the future.
 

An exhibition celebrating the bicentennial can be found in the Ajuda palace in Lisbon, where even today tableware from Vista Alegre is used in state dinners. ‘We not only want to show the finished products, that represent the history of Vista Alegre, but also elements from the factory itself, such as the carts in which the pieces are waiting to go into the oven or the moulds’, says Filipa Oliveira, who shares with Anísio Franco the curatorship.
  

‘Many Portuguese have a close relationship with Vista Alegre porcelain because it passed through their homes’ argues Anísio Franco, warning future visitors about the possibility that there are few pieces they will recognize.

The Vista Alegre factory initially began by manufacturing utilitarian objects in glass, such as jars and bowls but always with a quality that can be seen in the execution and decoration. In 1880 it discontinues glass production and starts dedicating itself exclusively to the manufacturing of porcelain, of greater importance to the national industry.

The first pieces were of imperfect soft paste porcelain, called ‘stone powder’ crockery. To produce high-quality porcelain, a clay capable of supporting the fusion of components was essential: kaolin. In 1832 a white clay – until that time used to whitewash homes – was accidentally discovered that later proved to be the sought-after kaolin.

The factory then hires specialized craftsman and accomplished painters and the factory establishes itself in the 19th century as a producer of true porcelain executed to tremendous perfection. Victor Rousseau, a prestigious French draftsman and painter who was exiled in England, is hired and gives the factory its own directive. He founds the factory’s first School of Painting responsible for teaching generations of masters to uphold the high level of artistry.

‘It is very important to know the genealogy of the masters of Vista Alegre to perceive each production period (f.e. neoclassical forms or already romanticism)’, says Anísio Franco. ‘Each one brought knowledge and taste of their own that marked what came out of the factory.’

In the 80s, a partnership with the businesswoman and collector Mildred Mottahedeh gives Vista Alegre access to the North American market, allowing the company to make pieces for the White House and the Rockefeller family.

This year, Portugal’s most famous player in the history of football– Christano Ronaldo – bought 10% of the capital of Vista Alegre with the aim of extending the company in the Middle East, where Ronaldo is playing nowadays.

The turnover of Vista Alegre in 2023 amounted to 130 million euros.
Seventy percent of the production is exported, especially to Germany, France, Spain, Italy, the US and Brazil.

The exhibition brings together 400 pieces and can be seen at the Ajuda Palace in Lisbon, until May 31.

Enjoy the week                                        Aproveite a semana     

Portuguese ceramic tiles encapsulate centuries of history and artistic evolution

Azulejo – derived from the Arab word Az-zulayi (‘polished stone’) – is a form of Portuguese and Spanish painted tin-glazed ceramic work found on the interior and exterior of churches, palaces, houses, restaurants, and even railway or subway stations. Although an ornamental art form, these tiles also serve a functional purpose by preventing humidity.

The earliest azulejos in the 13th century were panels of tile-mosaic known as alicatados – derived from the Arabic qata’a (‘to cut’) – introduced by the Moors to the Iberian Peninsula. Tiles were glazed in a single colour, cut into geometric shapes, and assembled to form geometric patterns (so-called Islamic or Mudejár design). Beautiful examples can be admired in the Alhambra of Granada and the Alcázar in Seville, Spain, and to the present day in Morocco.

Towards the late 15th and early 16th centuries, Seville became an important centre for the mass production of a type of tyle known as cuenca (‘hollow’) or arista (‘ridge’). In this techniques, motifs were formed by pressing a metal or wooden mould over the unbaked tile, leaving a motif delineated by thin ridges of clay that prevented the different colours from merging into each other during baking.

The same techniques were introduced into Portugal by King Manuel I – after a visit to Seville in 1503 – who subsequently decorated his residence palace in Sintra with azulejos. The Portuguese adopted the Moorish tradition of horror vacui (‘fear of empty spaces’) and covered both the walls and floors with tiles.

During the Era of Discovery and trade with the East, Europeans became fascinated by the elegance of Chinese porcelain and the Dutch began making tiles in similar blue and white tones in an attempt to imitate this technique.

In the second half of the 17th century, these blue-and-white tiles from Delft were introduced into Portugal. Craft shops in the Netherlands created large tile panels with historical scenes for rich Portuguese clients. However, at the end of the century, King Peter II stopped all Dutch imports and homemade blue-and-white figurative tiles became the dominant fashion, superseding the former taste for repeated patterns and abstract decoration.  

The late 17th and 18th centuries became the ‘Golden Age of the Azulejo’. Mass production not just started because of greater internal demand, but also because of large orders coming from the Portuguese colonies i.e. Brazil. Churches, monasteries, palaces, and even ordinary houses were covered inside and outside with azulejos, many with exuberant Baroque elements. Scenes of daily life, landscapes, and biblical stories graced the ceramic canvasses.

At the start of the 20th century Art Nouveau-azulejos started to appear. Rafael Bordalo Pinheiro founded a ceramics factory – nowadays a museum – in Caldas da Rainha, where he created pottery designs and decorative plates. Art Deco-azulejos made their appearance in the 1930s. The monumental decorations in the São Bento railway station in Porto – consisting of 20,000 azulejos – show historical themes of a romantic lifestyle.

The oldest, still functioning tile factory – called Sant’Anna – is situated in the capital since 1741. Today, 90% of its production is exported abroad.
The Museu Nacional do Azulejo (National Tile Museum) in Lisbon is worth a visit as it houses the largest collection of Portuguese tiles in the world.


Boa semana                                                       Enjoy the week