The Greek krater is only one of many forms of ceramics found throughout the Greek world. The existence of the krater stems from the Greek’s custom of drinking wine diluted with water. The krater was used for mixing. While all kraters feature a large open mouth for dispensing the wine, there are four distinctive styles recognised by Historians. This investigation will be focusing on a krater that is currently housed in the Classics Museum at the Australian National University. The krater is a particular style known as the ‘column krater’ identifiable by the position of its handles.
The handle of the kettle look simple and is curved with balance” (Abdulaziz . par 5). These unique design elements that Bernhs created combined gave the kettle a industrial design look to them, balanced yet very modern and trendy during that time period. The last design standard of industrial design was the use of technology in this product. This technology used inside the kettle was a very innovative design; there was no product like it. In fact, according to collections.com, in the Inside of the kettle there was electric wiring, and it ran along the inside of the kettle. This technology heated the liquid up (either tea or coffee) in the kettle just by plugging it into the wall (collections .par 1). This innovative industrial technology made it possible for people’s lives to be easier, it allowed people to use this appliance anytime and anywhere. Looking at this invention, this was a unique industrial artifact because it was not only a household appliance that convenient to use anywhere, it was also a stylish statement piece in any household. This is an example of form follows
The earliest recognized kettle-shaped vessel was discovered in Mesopotamia and dates back to between 3500 and 2000 B.C.E. It’s made from bronze and features a decorated spout. However, aside from its similar shape, experts don’t believe that it shares any comparable functions with the kettle which has evolved over the past 200 years. The history of the electric kettle is linked with that of early iron and copper kettles, which were originally used for cooking. Kettles for cooking eventually evolved into tea kettles, which took different forms in various countries. The elegant Russian samovar, made of metal, is thought to have originated in Persia. In England, silver kettles became part of the English tea tradition
a conical flask which has a piece of paper under it with a black cross
In Hercules, the five muses use Grecian vases to help narrate the story throughout the film. Along with the excellent use of these vases in the story telling, the vases are matching to old vases made in Greece around this time. The animators used an iconic vase, which is black paint on a red pot, which would have been common in Greece
As curious museum goers pass by the various displays, one in particular stands out. Within it are various bowls, vases, figurines, and other objects. Looking more closely I notice two vases. They are placed on a type of podium next to two figurines. They have a relatively thin stand compared to the body which gives them a bulbous shape. The plaque with the information on them states that the two vases are known as the pair of Potpourri Vases. It then goes on to state the specific form of the vases was not part of the Vincennes manufactory until 1752 was is given credit to a Jean-Claude Duplessis. The colors in the two vases are key to knowing when the two pieces were made. The blue was popular in Vincennes and Sèvres during the years of 1752 through 1763. The red color was used in works from the 1740s and onward. With this information, it was relatively easy to date the artifacts since Vincennes started using a different type of paint for its products during the 1780s (Geoffrey). The description also states the name of the vases is derived from the mistress of Louis XV, named Madam de Pompadour, who was an avid costumer of the manufactory.
The exhibition of recent stoneware vessels by Peter Voulkos at Frank Lloyd Gallery featured the sort of work on which the artist established reputation in the 1950s. The work was greeted with stunned amazement. However now it is too, but it's amazement of a different order -- the kind that comes from being in the presence of effortless artistic mastery. These astonishing vessels are truly amaising. Every ceramic artist knows that what goes into a kiln looks very different from what comes out, and although what comes out can be controlled to varying degrees, it's never certain. Uncertainty feels actively courted in Voulkos' vessels, and this embrace of chance gives them a surprisingly contradictory sense of ease. Critical to the emergence of a significant art scene in Los Angeles in the second half of the 1950s, the 75-year-old artist has lived in Northern California since 1959 and this was his only second solo show in an L.A gallery in 30 years.”These days, L.A. is recognized as a center for the production of contemporary art. But in the 1950s, the scene was slim -- few galleries and fewer museums. Despite the obscurity, a handful of solitary and determined artists broke ground here, stretching the inflexible definitions of what constitutes painting, sculpture and other media. Among these avant-gardists was Peter Voulkos.” In 1954, Voulkos was hired as chairman of the fledgling ceramics department at the L.A. County Art Institute, now Otis College of Art and Design, and during the five years that followed, he led what came to be known as the "Clay Revolution." Students like John Mason, Paul Soldner, Ken Price and Billy Al Bengston, all of whom went on to become respected artists, were among his foot soldiers in the battle to free clay from its handicraft associations.
Shiho Kanzaki had an influence on the history and development of Ceramics. Shiho’s work shows the purpose of what it means for a pottery to be really appealing to people. He got a hold of all details of the use of the completed product into account in the foundation of his pieces. His jars, bowls, urns, and teapots have a simple beauty where the form meets the purpose of the mission, featured by a beautiful glazing. These works of his continue an unharmed line of tradition culture that is as important throughout the globe as it is for the people of Shigaraki, where he grew up.
Looking at this artifact would allow people to believe in many people view as a good luck and accessory to jewelry. Many people use amulet for different reasons. Some for good luck or wealth. Other to grant desires and many to get rid of bad spirits.
The artist is unknown as most Chinese ceramics of the finest quality are industrially made and very few names of artists are known or recorded. The piece has a fairly large size (18 in. x 19 in.) compared to other Chinese porcelain. The upper part of the piece is curved inwards, creating a thin and elegantly constructed “lip”. The downward length of the neck takes slightly less than half of the whole size of the piece, as it connects to a “body” characterized by a strong curvature in the “shoulder” area of the piece. The shoulders connect to the “foot” with an inward curve. This particular vase does not have handles. The foot of the vase is thin and elegantly made, like the lips. The size of the figures painted on the vase varies and, relative to the size of the trees, the scale used to make the images smaller is not realistic. The artist has painted a horizontal line that starts from the lips of the vase and ends at the foot, marking the start of the panorama view that the audience should follow when observing the