Above: A Stunning trompe-l'oeil majolica technique based on a 16th century Lisbon original, the above work..
"Even now I quiver with emotion when I paint the majolica, because you never know what will be the final result...." Gabriele Reina
On the Art of the Magic of Majolica
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"The techniques involved in the creation of majolica constitute the most fascinating of all forms of art. In fact, in the past centuries it was considered almost an alchemical science, as colours literally transform themselves! This art first consists of immersing the terracotta object in a bath of "white tin glaze". Apparently simple, this operation already requires a lot of skill on the part of the master. Once dry, imagine you are painting with watercolours on top of a layer of flour (!) To avoid inaccuracies in the drawing, a sheet of paper is placed on this very delicate surface; before, it was pierced with a needle along the contours of the drawing to be reproduced. It, placed on the surface, is beaten with a cloth pad containing coal dust which is deposited on the surface tracing the contours of the drawing on which the final colours will be applied. The trace left by the carbon dust is brushed over by the painter with special maiolica colours (various oxides) to complete the drawing. You cannot go wrong and you have to calculate the final effect, because the reds and blues are much paler and powdery. Colours and enamel must then be fired inside a special kiln to acquire an extraordinary intensity and brilliance at around 920-940 ° C." --Gabriele Reina Below: Original majolica tile, burned into its dazzling blue beauty in the classic furnaces of Milan. The square below measures approximately 1.5 sq meters. |
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Below: "Trompe l'oeil" oil on canvas majolica-technique, after the classical Portuguese portraiture style. Our marchesa on the left, measuring 2.5 sq meters is EUR 4500 (with handmade frame); our two Alberquerque princes, each a soaring 4.5 x 2.5 sq meters are each EUR 6500 (with handmade frame)
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Hand crafted majolica plates
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For a complete catalogue of majolica tiles, artworks and ceramic plates please contact [email protected]
"My master Piero[Luigi Bossi, the Futurist "Sibo"] mastered all the art techniques, but what fascinated me most was the ancient art of majolica. At that time, it was not like nowadays; the electrical and computerized furnaces of Curti from Milan did not exist yet. After preparing the dishes with white stanniferous enamel, we had to paint them (and it was like to paint on a surface of plaster or flour!). The colours were powdered and pale. The blue was a very light pink or pale purple, the red was a pink, yellow was so diaphanous that you could not imagine. You needed to predict the final result. Then, gently, majolicas were pinned in the brick kiln. When it was was full of pieces, we used to close the mouth sealing it with other bricks and mortar. Then, we kindled under it a fire of chestnut wood (not oak that was customary for the Renaissance bronzes and artillery, and that is the “terrible fire” used by Benvenuto Cellini to resurrect the clotted bronze of Perseus!); we had to foster the fire for three days and nights, roasting and burning our faces and hands. A small hole left in the bricks allowed the master to look inside the kiln, checking the hot plates at 900°: the red colour of a river stone wedged between the bricks served as the ideal cooking temperature thermometer. However, from the hole came out a draft of heat rather strong, and in fact many ceramic masters at the end they became blind. Eventually, we did not put any wood, we let the fire die, we broke the seals and we extracted the majolicas."--Gabriele Reina, Interviews "I taccuni di viaggio", Conversazioni d'arte all' “eremo di Brunate”, dipingendo acquerelli con i miei amici Honora Reardon e Giovanni Maurizio Litta-Modignani.