The presence of clay objects is one of the foremost symbols of the onset of technology associated to art. Initially decorated with incised, molded or modeled elements, with different colours of clay and pigments, the objects became increasingly sophisticated. The introduction of a glaze amplified the options for more refined decorative solutions, including in architectural integration. But it was with the spread of the majolica (or faïence) technique, low fired tin-glazed earthenware originally developed in Eastern Islamic countries, that Europe developed its most iconic ceramic productions.
In the 15th century potters perfected the production of this specific kind of glazed ceramics and from the kilns of Italy it disseminated to the Low Countries, France, Spain and Portugal in waves of influence that would determine the European ceramic profile. If porcelain is what defines the oriental productions and characterizes the sophistication of the Chinese and Japanese societies, majolica represents the more down-to-earth approach to life that characterizes the aesthetical advancement of European societies.
The majolica technique allowed for each European country to express their sensitivity, creating from common daily life objects to beautiful and unique works of art. The increasing changes in European lifestyle, the contact with other civilizations, discovering new life forms, foods and artistic expressions, together with technological novelties and increasing combinations of materials, would mark the next centuries and create distinctive artistic languages characterizing the productions of each country.
Constructions became covered with majolica items: tiles, medallions, sculptures and other elements. Majolica artifacts were used to decorate, participate in religious practices, hygienize rooms or contain medicines, produce, hold and conserve edibles…
Notwithstanding the increasing role of porcelain as it too started being produced in Europe, majolica never lost its prime place as the more genuine expression of European creativity. Its appeal remains and can be seen appreciated from the Dutch delftware to the walls tiled with Portuguese azulejos and from the sophisticated and colorful Italian maiolica plates to the dense decorations of Spanish objects, the eye-catching French productions or the sinuous British Liberty pieces, to name only a few. The presence and forms of majolica production are as diverse as the European geography and diversity is one of the characteristic strengths of this continent.
GlazeArt2018 will dwell on scientific research on tin-glazed ceramics and is a networking activity of H2020 Project IPERION CH and an outcome of the Portuguese-funded FCT-AzuRe Project.
PROGRAMATHEMESThe conference will aim to discuss azulejos, other architectural glazed ceramics of historic interest and also maiolica and heritage faïence in general: their history, technology, characteristics, decay, conservation, artists, museology, as well as related issues. Main themes to be addressed are:
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CALL FOR PAPERSThe official language of the conference is English. Abstracts are accepted until
27 May, 2018. The Scientific Committee will select the form of presentation of
communications considering the slots available, their originality and thematic
affinities. A decision on the proposed abstract will be communicated no later
than 15 calendar days after the abstract was received. |
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IMPORTANT DATES
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PARTICIPATION FEES
Reduced fee: € 160.00 for payments received until 16 September, 2018. The registration fee includes admission to all conference presentations, a copy of the Book of Proceedings, a certificate of attendance, full lunch at the premises and morning & afternoon coffee breaks.
Payment of fee on behalf of FUNDCIC (VAT NUMBER 502972076) the registrations will only be considered when accompanied by proof of payment to cursos@lnec.pt. |
ORGANIZING COMMITTEE
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SCIENTIFIC COMMITTEE
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LNEC Congress Centre
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Avenida do Brasil, 101 Congress Centre Coordinates: |
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From hostels or B&B rooms to 5 starts hotels, in old quarters or in the newest areas, facing the river or with a view to the hills, each participant can find in Lisbon the most suitable accommodation.
LNEC provides a list of hotels that have special prices for participants, but sometimes better terms are obtainable through hotel reservation websites.
LNEC’s guest centre / STUDENT accomodation
LNEC houses in its campus a Guest Centre for trainees, scholarship holders, guests and participants in meetings, seminars, projects and any other events or activities organized by LNEC. A small number of rooms is therefore available at very convenient prices for students and other participants attending GlazeArt2018. Details are available here.
Make your reservation directly to grpt@lnec.pt
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