PART 2 MEDIA AND PROCESSES Chapter 2.8 The Tradition of Craft Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields Introduction to Craft By the 1700’s, certain media came to be considered as , while others were termed crafts Crafts meant items made to be used rather than simply looked at Historically, one learned craft from a master (on in the family), then later, one joined a guild-not always easy The distinction today between craft and fine arts is blurred
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Chapter 2.8 MEDIA AND PROCESSES Introduction to Craft
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PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Introduction to Craft
By the 1700’s, certain media came to be considered as ,
while others were termed crafts
Crafts meant items made to be used rather than simply looked at
Historically, one learned craft from a master (on in the family),
then later, one joined a guild-not always easy
The distinction today between craft and fine arts is blurred
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Ceramics The manufacture of a ceramic object requires the shaping of
clay, which is then baked at high temperatures to make it hard
In a process called wedging,
the clay is kneaded to work out
pockets of air and make the clay
easier to work.
Once it has been shaped,
the clay is left to dry.
Once dry, the clay is fired in an oven
called a kiln at a high temperature.
To add the finishing touches,
artists apply a glaze-
then usually fired again
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Ceramics studio equipment. 2: Electric ceramic wheels for pottery production
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Ceramics studio equipment. 3: Kilns for firing the ceramic objects
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Coiling to create a clay objects has been around since ancient
times
A coil is created by rolling the clay on a flat surface so
that it extends into a long rope-like shape
When making a round vessel,
the artist wraps the coil around
upon itself and then fuses
the sections together by smoothing
Seated Figure, Oaxaca, Mexico,
Zapotec style, 300 BCE–700 CE.
Ceramic,12⅝ x 7 x 7⅜”.
Cleveland Museum of Art, Ohio
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Seated Figure, Oaxaca, Mexico, Zapotec-style
This figure was made to be buried
in the tomb of a Zapotec ruler and
may portray a god or possibly a
companion for the deceased
The coil method was preferred for
constructing rounded objects
because the organic line of the coil
could be controlled in a way that
would complement the piece’s
essence or spirit
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Throwing A potter’s wheel consists of a round disk that revolves while the
ceramist shapes the object
By 3000 BCE the Chinese were using potter’s wheels
The potter centers a mound of clay on the turning wheel and
then shapes a pot by poking a hole in the middle of the mound,
and then pushing and pulling the wall of the pot up and out with
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Tlingit Chilkat dancing blanket
The Tlingit people, from the western coast of Canada and Alaska,
wove this entirely by hand from goat wool and cedar bark
In many cases these designs are abstract depictions of animals
Blankets were worn on ceremonial occasions
Very expensive, and the prized possessions
Leisa Rich 2010
Organic Fiber Wall Piece
Dave Rich Teddy Bear
2003 Fiberglass
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Wood
Wood, an organic plant-based material, deteriorates over
time, so we have few ancient examples of art objects made
in this medium
Detail of studiolo from the Ducal Palace in Gubbio, Italy, Giuliano da Maiano, after a design by Francesco di Giorgio Martini, c. 1480. Walnut, beech, rosewood, oak, and fruit woods in walnut base, 15’11” x 16’11” x 12’7¼”. Metropolitan Museum of Art, New York
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Detail of studiolo from the Ducal Palace in Gubbio, Italy
Intarsia is a kind of wood mosaic using woods of
different colors
The artist took very thin, shaped pieces of wood and
organized them to create a masterpiece of illusionistic
depth and value
Federico da Montefeltro, the duke of Urbino wanted the
symbols in this design to reflect his achievements as a ruler,
military commander, collector of books, and patron of the
arts
PART 2
MEDIA AND PROCESSES
Chapter 2.8 The Tradition of Craft
Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields
Conclusion
Functional crafts are still practiced and remembered as
a part of national histories and cultures, and sometimes
as part of a region’s identity
The makers of functional items refined and improved them
until they became objects of art
The artist of hand-made objects understands the attributes
of various materials and chooses those that fit the function
he or she needs it to fulfill
Not all crafts are considered art. But many craft works
have been recognized for their excellence and attention