Toast of the Month
'Tis easy to say "Fill 'em"
When your account's not overdrawn.
But the man worthwhile,
Is the man who can smile,
When every damn cent is gone.
The most famous painter of art that contains steins is Eduard von Grutzner (1846-1925)
His popular scenes depict the merry atmosphere in cellars, kitchens and alehouses in a humorous and anecdotal manner. Apart from his monastic pictures Grützner also produced a Falstaff-cycle, theatre and hunting scenes and affectionately detailed interior studies, which he often included in his monastic scenes. He also worked as a free-lance illustrator, caricaturist and graphic artist.
Eduard von Grützner died in 1925 in Munich. The numerous "Trinkbilder" were already very much appreciated in his lifetime and nearly all museums harbour a work by this copious artist
Discover Passau, Vienna and Salzburg
July 7 - 18th
(follow link below for details)
Walpurgis Night is celebrated in Germany on April 30th as a secular holiday named for St Walpurgis, and is a time to welcome back the summer with parties and bonfires and with folk dances serious enough to chase away the evil spirits that lurk in the Brocken - the highest mountain in Germany.
Fill your stein this night with the finest spring beer, a maibock a dark German lager.
However you choose to celebrate Walpurgis, may the fires in your heart burn bright, may the light you carry be ever reborn, and may the bounty of summer be yours in wealth, health, and joy.
The Art of German Stoneware, 1300-1900
Beautiful and eminently useful, stonewares produced in the German-speaking lands from the Middle Ages onward were highly valued for their durability and suitability for a range of domestic and social uses. Widely traded throughout Europe, they were also among the first European ceramics to reach colonial North America. During the Renaissance the addition of brilliant salt glazes—s well as relief imagery that communicated with the user—raised the status of these wares. Later examples introduced abstract floral or geometric decorations and more unusual, original forms, which retained broad cultural significance.
About ninety fine stoneware pieces from the Philadelphia Museum of Art and a promised private collection testify here to the success, artful decoration, and fascinating variety of this medium. Jack Hinton describes the developments in stoneware through these notable examples, and beautiful color images bring their details vividly to life.
Jack Hinton is assistant curator of European decorative arts and sculpture at the Philadelphia Museum of Art.
May 29, 2012
60 p., 8 1/4 x 11
90 color + 1 b/w illus.
PB-with Flaps: $20.00
Published in association with the Philadelphia Museum of Art
Early Stoneware Steins from the Les Paul Collection: A Survey of All German Stoneware Centers from 1500 to 1850 - Fruhe Steinzeug Kruge Aus Der Sammlung Les Paul Ein Uberblick uber Alle Deutschen Steinzeugzentren Von 1500 Bis 1850
THE SALTY SECRET OF GERMAN POTTERY
Siegburg DE Museum Stoneware Pottery
"following article from the New York Times"
While the Government in Bonn exhorts German workers to enter the computer age, potters in nearby H"ohr-Grenzhausen stubbornly cling to practices handed down from the Middle Ages. The salt-glazed gray pottery, with its curling blue flourishes and simple floral and leaf patterns, has been produced in this central German town since the 1500's. It is still molded by hand and fired in wood-burning kilns.
ELIZABETH KOLBERT is an American writer who lives in Hamburg. Few spots in the world possess a higher concentration of potters and pottery workshops than the town of Hohr-Grenzhausen and the surrounding region of Westerwald. The area contains abundant supplies of the essentials of pottery production - clay and wood - but little else. The relative poverty and seclusion of Westerwald spared the region from the plundering armies that destroyed much of Germany during the Thirty Years' War . After the war left most of the ceramic centers in the Rhine Valley in ruins, potters congregated in undisturbed Westerwald, and the area quickly attained the prominence it still enjoys.
Some say salt-glazing was first discovered by Dutch potters who noticed an interesting effect when they used old herring barrels to fuel their kilns - unglazed pots emerged with a shiny, but somewhat rough, finish. A salt glaze results when sodium combines at extremely high temperatures with the quartz in clay to produce a substance similar to glass. Chemically bound to the clay itself, the glaze provides an unusually strong finish.
Salt-glazing is responsible not only for the texture, but also for the gray and blue colors of Westerwald pottery. The salt combines with the clay only at temperatures over 2,200 degrees Fahrenheit, so only high-quality clay able to withstand such temperatures can be used. In Westerwald, the natural color of such clay is gray - hence the gray background of the pottery. Neither can most colored glazes stand up to 2,200 degrees. Cobalt blue is one of the few that does not simply burn off.
A good place to begin your visit to Hohr- Grenzhausen, today the center of traditional pottery production, is the Keramik-Museum Westerwald at Rathausstrasse 131,
Around 1600 many potters emigrated to Westerwald from
Siegburg, Raeren,and Lothringen bringing with them new tendencies in both art and craft.