十八世纪德国瓷器 German Porcelain of the Eighteenth Century（pdf格式电子版）.pdf（59页）

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1、German Porcelain of the Eighteenth CenturyAuthor(s):Clare Le CorbeillerReviewed work(s):Source:The Metropolitan Museum of Art Bulletin,New Series,Vol.47,No.4,GermanPorcelain of the Eighteenth Century(Spring,1990),pp.1+4-56Published by:The Metropolitan Museum of ArtStable URL:http:/www.jstor.org/stab

2、le/3258738.Accessed:25/03/2012 06:01Your use of the JSTOR archive indicates your acceptance of the Terms&Conditions of Use,available at.http:/www.jstor.org/page/info/about/policies/terms.jspJSTOR is a not-for-profit service that helps scholars,researchers,and students discover,use,and build upon a w

3、ide range ofcontent in a trusted digital archive.We use information technology and tools to increase productivity and facilitate new formsof scholarship.For more information about JSTOR,please contact supportjstor.org.The Metropolitan Museum of Art is collaborating with JSTOR to digitize,preserve an

4、d extend access to TheMetropolitan Museum of Art Bulletin.http:/www.jstor.orgofCSthe Eighteenth Centuryi4 PORCELAIN of the Eighteenth Century Clare Le Corbeiller r4 i*a?j M4LI/i,I 1 I,.L iii iji j-?:?:-I?:a L;I 7r.z/,:,I,0t:Baltic Sea North Sea BRANDENBURG Oranienburg Bli Berli Brunswick*Brunswick N

5、WESTPHALIA SAXONY(e SAXONY Fiirsten:berg?4?.F?urstenberg*Colditz.Meissen Dresden AUSTRIAN*Cologne*Aue AUSTRIANFulda THURINGIA NETHE RLAN DS HERLANDS Hohsr*Kloster Veilsdorf Mainz.Frankenthal4*Wurbur BC oMannheim ALAINATE oNuremberg*Ludwigsburg*Stuttgart y.Augsburg WURTTEMBERG*Nymphenburg*Munich BAVA

6、RIA*Bres)HEMIA Vienna?AUSTRIA Adriatic Sea Mediterranean Sea Porcelain manufacturing centers of eighteenth-century Germany 4 Ceiling decoration,by Augustin Terwesten,before 1695,Oranienburg Palace,near Berlin rom Prussia in the north to Bavaria and the Palatinate in the south and west,eighteenth-cen

7、tury Germany,in the aftermath of the Thirty Years War(1618-48),was studded with a host of princely domains,presided over by electors,prince-bishops,or dukes.Each do-main was independent in its spiritual or temporal power,and each ruler sought to assert his authority through the building and furnishi

8、ng of palaces and the laying out of extensive gardens graced with statues and pleasure pavilions.To the patronage of architects,sculptors,painters,and craftsmen these projects entailed was added another,unique to the eighteenth century,that of the manufacturers of porcelain.Germany was not the first

9、 European country to produce porcelain.Several manufactories had been attempted in France and one,Saint Cloud,was flourishing by the 1690s.But it was in Germany,at Meissen,that hard-paste porcelain approximating the Chinese was reinvented,and the commercial and artistic success of the factory genera

10、ted by the sup-port of Augustus the Strong,elector of Saxony and king of Poland,es-tablished a pattern that was to be emulated at one court after another throughout Germany.Westerners enthusiasm for porcelain resulted from decades of trade with China.In the course of the seventeenth century over thr

11、ee million pieces of blue-and-white Chinese porcelain were imported and dis-persed throughout northern Europe,and the demand they created later extended to Japanese porcelain as well.One consequence of this enor-mous volume of trade was the transformation of relatively ordinary bowls,bottles,dishes,

12、and plates into decorative components of the great porcelain rooms of the seventeenth and eighteenth centuries.The first of 5 these was in Germany,at the palace of Oranienburg,outside Berlin,where the wife of Friedrich Wilhelm I of Brandenburg-Prussia formed her Porzellankabinett between 1652 and 16

13、67.The collection was rearranged after 1688,when Oranienburg was rebuilt by the future Frederick I of Prussia;and Frederick included a mirrored Kabinett to display his collec-tion of 400 pieces of Chinese porcelain in his palace of Charlottenburg(1695-1706).Visiting Berlin in 1709,Augustus the Stron

14、g would cer-tainly have seen these rooms,which must have set the stage for the future acquisition of his own collection of oriental porcelain and a building to house it,the Japanese Palace.A second effect of the China trade was that it gradually accustomed Europeans to the appearance of porcelain on

15、 the table,promoting an increasing elaboration and refinement of table etiquette and,consequently,the need for forms and decorations that could not be satisfied by the comparatively limited oriental reper-toire even when supplemented by European shapes made to special order.That the first European h

16、ard-paste porcelain should have been pro-duced at Meissen is almost fortuitous,requiring the unpredictable convergence of several circumstances.It was not porcelain but alchemy that brought Johann Friedrich Bottger(1682-1719)into the electors service in 1701,and not until about 1705 did he begin to

17、concentrate on white gold.Given Bottgers unsettled background,it is unlikely that he would have been so quickly successful had he not been able to build on fusion experiments by the mathematician and physicist Ehrenfried Walther von Tschirnhaus(1651-1708).These in turn would have been to little purp

18、ose without a suitable white clay,of which the first deposits were found at Colditz in 1700.(Kaolin from Aue was not used until after 1708.)For Augustus the manufacture of porcelain was at first as much an industry that would contribute to the improvement of the Saxon econ-omy as it was a potential

19、resource of profound cultural importance.Plan for the decoration of the porcelain room at Charlottenburg Palace,by Johann Friedrich Eosander,about 1 706 6 Indeed,not only was a material invented,but an entirely new artistic medium.Hard-paste porcelain introduced into European ceramics a white body t

20、hat could be potted to a thin translucency,molded and cast in intricate forms with precise detail,and decorated in a previously un-attainable range of colors.The important requirements were kaolin,the clay,and kilns capable of reaching temperatures of 1300 to 1400 degrees Celsius necessary to fuse t

21、he kaolin with quartz and feldspar and,in a separate firing,to fix the glaze(the enamel colors,applied over the glaze,were fired at lower temperatures already familiar to the decorators of earthenware and glass).Because Meissen was the only porcelain factory in operation in Germany between 1710 and

22、1750,the precedents it set in matters of style were to carry considerable weight.From the beginning the employment of court artists such as the silversmith Johann Jakob Irminger and the lacquerer Martin Schnell assured the electors influence;and Augustus was also active in forming the artistic chara

23、cter of the factory through commissions of porcelain for his personal use or as diplomatic gifts,as well as through the loan of objects from his collection of oriental porce-lain to be copied.With such gestures he was effective in promoting Meissen productions as reflections of electoral taste,addin

24、g to the factorys prestige as well as his own.The increasing role of porcelain in court life demanded an appropriate repertoire,and two main lines of production evolved at Meissen that were to remain standard for the later German factories.One was the table service,which was a natural outgrowth of t

25、he China trade.Although unmatched in pattern and execution,the assembled sets of bowls,plates,and dishes of export porcelain were unified by their blue-and-white pal-ette and certainly suggested the possibility of a planned ensemble.Added to this was the influence of the French silver table service,

26、fully devel-An elevation from theplanfora room on the groundfloor of the Japanese Palace,by Zacharias Longuelune,about 1 735 7 I IBS oped by the end of the seventeenth century and an established feature of the court at Versailles,whose splendor Augustus the Strong so much admired.In Dresden court fe

27、stivities required banquets,and the porce-lain table service gradually evolved into a requisite form of display,cul-minating in the unequaled extravagance of the Swan Service(pp.28-29).Eventually associated with princely dining was sculpture,a genre that was Meissens most original and influential co

28、ntribution to the art of porcelain.As vivified by Johann Joachim Kandler(1706-1775),the small porcelain figure emerged during the late 1730s primarily as an element of the banquet table in the decorative scheme for the dessert course,replacing sugar sculptures,or trionfi,whose popularity had spread

29、north from the Italian courts,where they had been prominent during the six-teenth and seventeenth centuries.The subjects of these sugar sculptures,part of the thematic program of a court festival,were chosen for their symbolic content;in the eighteenth century the porcelain figure frequently reflect

30、ed the specific tastes and interests of a court but was rarely of any particular political significance.Arranged in gardenlike settings amid parterres of colored sands and artificial flowers,such figures mirrored the pageantry of court fetes,which,spread over many days,included ballets,hunts,and the

31、atrical performances,many of them in gardens with statuary that was occasionally echoed in small porcelain versions on the banqueting table.Following in Meissens steps were numerous factories that started up about 1750.Almost all,for some period of their existence,were either subsidized or owned out

32、right by a member of the ruling nobility,whose favor,like that of Augustus the Strong,was active and influential.At Ludwigsburg Duke Carl Eugen of Wurttemberg maintained a court of exceptionally cosmopolitan splendor.Traveling in Rome as a young man,he had been accompanied by Johann Christian Wilhel

33、m Beyer,who be-came a modeler at his porcelain factory;and the pleasures of the dukes stay in Paris were later translated into performances of the French ballet at Ludwigsburg during his birthday celebrations,festivities that were commemorated by numerous porcelain figures of dancers produced for th

34、e banqueting tables.At Mainz and Mannheim the court sculptors were modelers for their patrons respective porcelain factories of Hochst and Frankenthal;at Fiirstenberg,Carl I,duke of Brunswick,opened his Kunst-und-Naturalienkabinett to the public in 1754 and made available to the factory artists for

35、copying his extensive collection of bronzes,ivories,medals,and prints.Frederick the Great of Prussia dominated his Berlin factory with commissions of table services for his own use and for gifts.Throughout the country,between about 1750 and 1775,this type of prideful patronage encouraged and support

36、ed the German porcelain factories.8 Black-lacqueredpilgrim bottle,Meissen,about 1710-15 hen Meissen was formally established in 1710,B6ttgers red porcelain,a hard,fine-grained stoneware imitating Dutch red earthenware,was the first material put on sale;white por-celain was not marketed until 1713.Th

37、e beauty of this stoneware was its receptivity to a wide range of treatments,such as carving(by glass cut-ters hired by the factory)and polishing on a lapidary wheel.Its hardness made it well suited to the crisp designs of metalwork origin introduced by Johann Jakob Irminger(1635-1724),the Dresden c

38、ourt silversmith appointed artistic director of Meissen in 1712.This little pilgrim bottle is an Irminger design of about 1710-12 and is known in a number of undecorated versions.Here it has been sheathed in a glossy black that,as Bottger boasted to Augustus in 1710,true connoisseurs preferred by fa

39、r to oriental lacquer.The decoration in unfired colors has traditionally been attributed to Martin Schnell(ca.1685-ca.1740),the Dresden court lacquerer whose name appears in the Meissen wage lists of 1711-12,but the schematic composition and bright flat colors differ from the softer palette and more

40、 painterly style now considered to be characteristic of his work and may indicate the hand of another artist.9 wo figures of Pantaloon announce the early importance of the com-media dellarte as a subject for porcelain sculpture.The stock characters in this improvisatory Italian theatrical genre were

41、 widely known,both from prints and from the wandering troupes of actors who had made their robust antics popular throughout Europe since the sixteenth century.Pantaloon,by custom a Venetian merchant and,in the plays,usually the father of one of the heroines,is seen in this unpainted version in his t

42、raditional costume.The model,copied from a 1597 print by Robert Boissard,has recently been attributed to Paul Heermann(ca.1673-1732),who has shown off the fine textural capabilities of B6ttgers stone-ware by contrasting matte and polished surfaces.The other figure,attributed to the Dresden court scu

43、lptor Benjamin Thomae(1682-1751),has been painted in unfired,or cold,colors,which,as expected,are now worn and abraded.The character represented has long been identified as the swaggering servant Brighella,but the costume does not cor-respond exactly to any character in the Italian Comedy,and the mo

44、del is here considered to be an atypical portrayal of Pantaloon.The occasion for the model-ing of these and four other characters en suite may well have been the perfor-mance of a troupe at Dresden in 1709 during festivities held in honor of the visit of Frederick IV of Denmark.Pantaloon,painted in

45、unfired colors,Meissen,about 1710-12 Pantaloon,unpainted stoneware,Meissen,about 1710-12 10 Pair of vases,Meissen,about 1 715,decorated in Breslau by Ignaz Preissler about 1720-25 with scenes of a naval battle he pair of vases are in Bottgers white porcelain,which is characterized by a warm,faintly

46、tawny tint(the clear,cool white generally associated with the Meissen paste came later only after several changes of formula).The band of springing acanthus foliage is certainly from an Irminger design,but the pictorial decoration is not factory work.From this time until about 1740 blanks-usually sl

47、ightly warped or considered defective in some other way-were sold off to in-dependent decorators or Hausmaler(literally,painters at home).The decoration of these vases,and of two others from the same set in the Art Institute of Chicago,is by the Hausmaler Ignaz Preissler(1676-1741)in his characteris

48、tic manner of painting in black enamel(Schwarzlot).Basing his compositions on a set of engravings commemorating the War of the Spanish Succession(1701-14)published after 1714,Preissler re-versed the engravers method of printing in black on white by laying down a ground of enamel and scratching throu

49、gh it with a fine needle,so that the waves of his stormy seas are literally white capped.11 Chocolate cup and saucer,Meissen,about 1716 he firing of enamel colors was not satisfactorily accomplished until after Bottgers death,but experiments with glazes led to the development of a particularly lumin

50、ous lavender luster that is found on a very few cups,teabowls,and saucers,of which the Museum is fortunate to have examples.Described in 1717 as mother of pearl by the factory inspector Johann Melchior Steinbriick,the subtle iridescence of the glaze beautifully complements the soft gilding.Some year