The Golden Bowl Analysis

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INTRODUCTION -The Golden Bowl

The maiolica Golden Bowl by Galileo Chini the simple object on first glance seems devoid of special significance, just a decorative object to be enjoyed at face value. But the void is a repository of of hidden meaning. A signifier of luxury, taste, display of intellectual erudition, disposable income, high versus applied art, craftsmanship and tradition. I think the study of ceramics can be opened up to a wider range of social and cultural aesthetics by exposing it to the kind of analysis applied to paintings
I think the study of ceramics can be opened up to a wider range of social and cultural aesthetics
A ceramic bowl carries just as much cultural meaning as a painting or architecture. The visual design
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The ceramic bowl in the novel was imbued with ideas of value, whether in terms of economic status or questions of taste. The nineteenth century was a period when ceramics acquired many associations that have followed it into the modern world, such as consumerism, tourism and souvenirs as cultural markers of material culture today. I would argue that a ceramic vase or bowl carries just as much cultural meaning as a painting or buildings.

Objects of what would be classed as applied art play important roles in the novel The Golden Bowl, including the flawed golden bowl itself. The action of the book is set around the age when the American museums were being established, the hero of the book wanted to establish a great museum, a "museum of museums" to fill it with his collected treasures. Neither James nor his characters draws any special distinction between the golden bowl and the other works of art. They will all be displayed in the Museum of Museums.

Galileo
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The excellent results achieved by the company are technical merit of Vittorio Giunti whose preparation is due not only to its own research , but also to the teachings received from the chemist and pharmacist Siena Bernardino Pepi, prominent personalities in the field of technical ceramics . Indeed, there is a correspondence, which began in 1897 and the joints between the Pepi which shows how his teachings are the basis of the high quality of the artefacts of The Art of Ceramics. Another important result of this collaboration is the application of the technique of metallic lustre. The metallic lustre had exercised always a great attraction on the potters of the nineteenth century, especially on those who, towards the middle of the century under the influence of the culture of historicism , set out to discover the secrets of ceramics of past centuries and in particular the chance to rediscover the procedures to cover metallic lustres . The first significant results are obtained at the Ginori, in 1848. Since then, the attention for this technique was spreading quickly in Europe thanks to the presence of Italian maiolica in decades in the world exhibitions. We remember how William de Morgan is one of the most tenacious investigators much to go to Florence at the factory Cantagalli to perfect its results. The metallic lustre is also

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