Explorez tous les épisodes du podcast The History of Ceramics

From a struggling pottery factory in nineteenth-century Hungary to one of Europe's most celebrated ceramic manufacturers, the story of Zsolnay is one of extraordinary ambition, artistic innovation and family genius. In the first of two episodes, Paul Greenhalgh and Stephanie Rozene explore how the visionary businessman Vilmos Zsolnay transformed a modest factory in the city of Pécs into an international centre of ceramic excellence. At the heart of this remarkable transformation were his two daughters, Teréz and Júlia, whose pioneering designs drew on Hungarian folk traditions and influences from across the world. Against the backdrop of the Austro-Hungarian Empire, industrial expansion and the rise of Art Nouveau, they uncover the revolutionary techniques, dazzling iridescent glazes and extraordinary craftsmanship that made Zsolnay famous. This is the story of a family's creative vision, a nation's cultural identity and the golden age of one of Europe's most remarkable ceramic manufactories. Chapters 00:00:00 Introduction: The Zsolnay Family and the Golden Age of Hungarian Ceramics 00:02:47 Pecs: A Mediterranean City in the Heart of Hungary 00:04:02 The Zsolnay Factory Origins: From Pipes to Prestige 00:07:49 Political Context: The 1867 Austro-Hungarian Compromise 00:09:39 Vilmos Zsolnay: The Visionary Businessman 00:12:44 The Zsolnay Sisters: Terez and Julia's Design Revolution 00:15:32 Terez Zsolnay: Traditionalist and the Floral Renaissance 00:20:05 Julia Zsolnay: Avant-Garde Fusion of East and West 00:23:21 The Alhambra Vase: A Masterpiece of Islamic Homage 00:30:12 Eosin Glaze: The Iridescent Revolution of 1893 00:34:34 Art Nouveau and International Success 00:40:51 The Golden Age: 1870 to 1910 Images from this episode: Vase with Flowers ca. 1901 and Vase with Bird Ca. 1902, Sándor Apáti Abt, Creative commons, Wikimedia https://commons.wikimedia.org/wiki/Category:P%C3%A9cs_Zsolnay_cultural_quarter#/media/File:Gyugyi_collection_2.JPG  Panoramic of Pécs, Ca. 1840, L. Rohbock, Creative Commons https://commons.wikimedia.org/wiki/File:Pecs_panoramic_c1840.jpg Miklós Zsolnay Senior, 1800 – 1800, public domain Buildings owned by the Zsolnay Family Ca. 19th c.public domain Ignác Zsolnay, 1826 – 1900 Vilmos Zsolnay at the Zsolnay Museum, Creative Commons, https://commons.wikimedia.org/wiki/P%C3%A9cs#/media/File:Zsolnay_Sz%C3%A9kely.JPG  Advertisement for Zsolnay Department Store, ca. 1850s  Locomotive at Déli Railway Station, Hungary, Ca. 1905 Vilmos Zsolnay, Ca. 1890s, Creative Commons https://etruscanmajolica.blogspot.com/2023/01/the-majolica-of-zsolnay.html  Houses and Cottages Bordering Zsolnay Factory, Ca. 2010s,  Rowntree Chocolate Factory, Ca. Late 19th C Rowntree Chocolate Factory, Ca. 1933 The Development of Cite Ouvriere in Mulhouse, Ca. 19th c. Archives de Mulhouse. The Zsolnay Family, Ca. 1890s Teréz Zsolnay, 1854 – 1944, as above Júlia Zsolnay, 1856 – 1950, as above Vilmos Zsolnay and his family, Ca. 1860s as above Teréz Zsolnay, 1854 – 1944 Júlia Zsolnay, 1856 – 1950,  Bread Plate Ca. 1850, Augustus Pugin,The Met Collection Janus Pannoninus Museum, Photo of Tádé Sikorski, Ca. 1907, Public Domain Creative Commons, Alhambra Vase, Ca. 1883-5, Tádé Sikorski, V & A Collection Alhambra, Ca. 1878, Joseph-Theodore Deck, V & A Collection Alhambra, Ca. 1877-90, Crown Derby Factory, The Met Collection Zsolnay Logo, Ca. 1898-1900, Júlia Zsolnay,  Brick Stacks, Zsolnay Cultural Quarter, Ca. 2015, Creative Commons, Original Alhambra Vessel, Drawn by Diego Sánchez Saraboa, Ca. 1762, Creative Commons, Public Domain, Eosin Glaze of Zsolnay Fountain, Installed in 1930, Creative Commons, Public Domain, Memento Mori, Ca. 1900, Lászlo Mattyasovzky Zsolnay, Vincze Wartha 1844 – 1914, Eos, by Evelyn de Morgan, Ca. 1895 Creative Commons, Public Domain Eosin Parrot, Ca. 1910, Zsolnay Factory, Creative Commons, Public Domain, Roman Glass Fragments Ca. 43 - 410 CE, Creative Commons, Early photograph of Hôtel Tassel, Creative Commons, Public Domian Main Façade of Hôtel Tassel Built by Victor Horta, Ca. 1893, Creative Commons, L’Art Nouveau Museum, Ca. 1900s, Zsolnay at the Vienna World Fair, Ca. 1873. Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Dennis Caouki Executive Producer: Emma Cahusac

At the heart of the Aztec Empire stood one of the most extraordinary cities in the ancient world – Tenochtitlan, built on an island and filled with temples, warriors, craftsmen and gods. Stephanie Rozene and Paul Greenhalgh explore the ceramics of the Aztecs, or Mexica, from beautifully made redware used for everyday food to extraordinary effigy vessels and monumental terracotta figures created for ritual and sacrifice. Through objects including the Eagle Warrior and the terrifying Lord of the Underworld, they uncover a world in which clay connected daily life with mythology, warfare, nature and the supernatural. Finally, they explore the arrival of the Spanish conquistadors and the devastating collapse of the Aztec Empire – and ask what its surviving ceramics can reveal about a civilisation whose influence can still be felt today. Chapters 00:00:00 Introduction: Mesoamerica - The Aztecs: Clay, Gods and Sacrifice 00:00:41 The Mexica People and the Founding of Tenochtitlan 00:04:06 Engineering Marvels: Chinampa Agriculture and City Planning 00:07:16 Trade Networks and the Spanish Conquest 00:08:31 Domestic Redwares: Pottery for Daily Life 00:12:57 The Symbolic Power of Red: Blood, Sun, and Warfare 00:13:54 Templo Mayor: The Sacred Heart of the Empire 00:16:22 Tlaloc the Rain God: Turquoise Effigy Vessels 00:20:08 Animal Symbolism: Vessels as Gods and Creatures 00:22:28 The Eagle Warrior: Life-Size Ceramic Sculpture 00:26:39 The Lord of the Underworld: Terror in Clay 00:28:40 Sacrifice and Ceremony: Clay as Ritual Mediator 00:31:53 The Spanish Arrival and Cultural Devastation 00:37:35 Legacy: The Aztec Influence on Modern Life Featured Images: Codex Bourgia, c.16th century, Public Domain, Creative Commons Map Aztex Empire, Public Domain, Creative Commons Image of Eagle, Mendoza Codex, c.1541, Public Domain Map of Tenochtitlan, ca. 1524, Public Domain Model of Sacred Precincts in Tenochtitlan Capital City of Tenochtitlan Axtec Redware Bowl, c.15th-16th century, The Met Collection, Public Domain Eagle Warrior from the Hosue of Eagles, ca. 1400-152, Photograph by Steven Zucker, CC BY-NC-SA 2.0. Vessel with Codex style ca.1350-1500, Public Domain Image of Eagle, Mendoza Codex, c.1541, Public Domain Aztec bowl, Public Domain Aztec redware pitcher, 15-16th century, Public Domain Aztec Bowl with Monkeys, 1400-1521, Public Domain Aztec Bowl, Public Domain Ceramic Tilaloc Effigy Vessel c.1440-1470 Vulture Vessel, c.1200-1521, The Met Collection, Public Domain Warrior Codex Menoza, ca. 1541-1542, Public Domain Lifesize Terracotta of Mictlantecuhtli, ca.1400-1521 Painting depicting the Fall of Tenochtitlan, second half of the 17th century, unknown artist. Wikimedia Commons. Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Executive Producer: Emma Cahusac For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks

What if a pot could be read like a book? In the second part of their journey through Mesoamerica, Stephanie Rozene and Paul Greenhalgh travel to the great ancient city of Cholula – a bustling centre of trade, pilgrimage and cultural exchange – to explore the extraordinary ceramics of the Mixtec-Puebla tradition. Painted with gods, symbols and intricate bands of imagery, these highly prized vessels transformed clay into a sophisticated visual language that could communicate across cultures and linguistic barriers. From stories of warfare and sacrifice to sunlight, death and the worship of the gods, they reveal a world in which ceramics could be read as well as admired. Traded across vast distances, these remarkable pots offer a glimpse into the beliefs, rituals and interconnected cultures of Mesoamerica – and lead us towards the rise of the Aztec Empire. Chapters 00:00:00 Introduction: Mesoamerica - Mixtec Puebla: When Pots Told Stories 00:02:36 The Great City of Cholula: A Multi-Ethnic Trading Hub 00:05:44 Writing on Clay: Vessels as Visual Language 00:08:22 High-Value Commodities: Ritual Vessels and Elite Status 00:09:57 The Codex Style: Pictorial Manuscripts on Pottery 00:11:20 Forms and Materials: Earthenware Goblets and Burnished Surfaces 00:12:52 The Iconic Principle: Symbols for Gods and Rituals 00:14:35 Sacrifice, Duality, and the Pantheon of Gods 00:17:12 Color as Communication: Orange for Light, Black for Darkness 00:18:48 The Notational Principle: Bands That Resemble Speech 00:20:58 Reading the Bands: From Solar Gods to Darkness and Death 00:23:57 Narrative-Driven Culture: Pots That Tell Stories 00:25:54 Legacy and Connection: Linking to the Aztec Empire Featured Images: Map of Mixteca-Puebla and Mesoamerica, Creative Commons Map of Cholula George Vaillant, archaeologist, ca. 1937, Creative Commons, https://en.wikipedia.org/wiki/George_Clapp_Vaillant#/media/File:AMNH_staff,_1937.jpg Pyramids of the Sun, Pre-Hispanic City of Teotihuacan, Mexico, by Burkhard Mücke created by SA CC 4.0 Map of Cholula, Ttlaxcala, 1581 Pyramid of Cholula, Ca. 1813, Alexander von Humboldt Pedestal Bowl, 1300–1500 CE, Mixtec artists, The Met Collection, Public Domain Vessel with Codex-Style Scenes, Creative Commons, Mixteca-Puebla Pottery Vessel, c. 1300–1521, Codex Borgia, from the 1898 Faximilie Edition, Public Domain, Creative Commons Bowl, 1200–1400, Mixtec, Oaxaca, Mexico, National Gallery of Victoria, Public Domain Pedestal Cup from Cholula, c. 1350–1521, Public Domain, Leo Stein Collection, National Museum of the American Indian, New York. Thematic Complexes on Codex-Style Vessels from Cholula, Mixteca-Puebla, Americae, Public Domain https://creativecommons.org/licenses/by-nc-nd/4.0/ Tripod Vase Polichrome Ceramic, 1300–1521 Bowl with Rattle Base, c. 900–1519, Cleveland Museum of Art, Public Domain Censer with the Complex of Powerful Lords and Deities, Mixteca-Puebla, Americae, Public Domain https://creativecommons.org/licenses/by-nc-nd/4.0/ Codex, 1200–1521, Mixteca Whistle with the Maize God emerging from the Flower, 600 – 900 CE, The Met Collection, Public Domain Cholula-Style Ceramic Goblet with Skeletal Serpent and Mountain Sign, Mixteca-Puebla, 1300 – 1500 CE Rain God Mask, Metropolitan Museum of Art, The Met Collection, Public Domain Sun and Light Painted on Middle Polychrome Plate, https://creativecommons.org/licenses/by-nc-nd/4.0/ Polychrome Figural Vessel of Chicomecoatl, c. 1000–1500, Mixteca-Puebla Goblet with a Complex of Darkness, Ca. 1300 – 1500, Mixtec Goblet, Ca. 1000 – 1500 Polychrome Ceramic Bowl, 800–1300, Mexico, Penn Museum, Public Domain Pulque Drinking Cup, 900–1519, Cholula, Mixteca-Puebla style, Cleveland Museum of Art, Public Domain Montezuma in the Codex Mendoza, 16th century, Creative Commons, Public Domain Mixteca-Puebla Pottery Vessel, c. 1300–1521, The Met Collection, Public Domain, Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Dennis Caouki Executive Producer: Emma Cahusac For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks

Journey into the extraordinary world of the Classic Maya, where ceramics were far more than objects for everyday use; they were vessels for food, status, storytelling, ritual and belief. Stephanie Rozene and Paul Greenhalgh explore the golden age of Maya ceramics, discovering how skilled potters created sophisticated hand-built vessels without the potter’s wheel. From humble cooking pots used to prepare maize to beautifully painted polychrome vessels and prized cacao cups, ceramics offer a remarkable window into Maya life. They uncover the profound relationship between food and mythology, including the Maya creation story in which the first humans were made from corn, and explore how gods, rulers and ancient stories were painted across the surfaces of pots. They also enter the dramatic world of the Maya ball game, where sport, political power, sacrifice and the struggle between life and death became intertwined. Beautiful, complex and sometimes unsettling, these surviving ceramics allow us to glimpse a civilisation in which the everyday and the sacred were inseparable – and where a simple clay vessel could tell the story of the cosmos. Chapters 00:00:00 Introduction: Mesoamerica - The Maya: Gods, Myths and Ceramics 00:00:22 Defining Mesoamerica: Geography and the Maya World 00:04:31 Hand-Built Mastery: Pottery Without the Wheel 00:07:31 Corn and Clay: The Kitchen as Sacred Space 00:14:06 The Creation Myth: Humans Made from Corn 00:17:21 Forms and Functions: The Ceramic Repertoire 00:19:11 The Sensory Feast: Vessels That Ring and Sing 00:22:23 Codex Style Pottery: Visual Narratives and Funerary Offerings 00:27:11 The Ritual Ball Game: Life, Death, and Cosmic Balance 00:27:20 The Golden Age: Classic Maya Polychrome Ceramics Map of Mesoamerica Map of Mesoamerica, Wikipedia, Public Domain Vessel Depicting a Sacrificial Ceremony for a Royal Accession, ca. 750–800 CE, Maya. Public Domain, Art Institute of Chicago Cylindrical Vessel, 6th–9th century, Maya. The The Metropolitan Museum of Art, Public Domain Tripod Bird Bowl, 3rd–4th century, Maya. The Metropolitan Museum of Art, Pubic Domain Death of Penthesilia, ca. 540–530 BCE.  Mayan Kitchen Fresco, Preparing Cacao, Maya. Plate with the God Chahk, 600–800 CE, Maya artist(s). The Metropolitan Museum of Art, Public Domain Maya Ceramic Bowl Offering of Tamales to the Gods, Creative Commons, Public Domain Jomon Pot, Late Jomon Period, 2500–1000 BCE, creative commons, public domain Olla-Shape Pottery, 21st century, earthenware, Mexico Plate with Trumpeter, 700–800 CE, Maya. The Metropolitan Museum of Art, Public Domain Pinchancha, 21st century, earthenware, Zacualpan, Guerrero, Mexico.  Maya Tripod Plate, Late Classic period, ca. 550–950 CE, Maya, public domain  Tripod Plate, Maya. The Metropolitan Museum of Art, Pubilc Domain Model of the Various Structures that Make Up the Pyramid of Cholula.  Whistle with the Maize God Emerging from a Flower, 600–900 CE, Maya artist(s). The Metropolitan Museum of Art, Public Domain Mural Depicting the Maize God, Maya. https://commons.wikimedia.org/wiki/File:Maya_maize_god.jpg  Freshly Fired Comales Cooling, 21st century, earthenware, San Mateo Mixtepec, Mexico.  Tetrapod Bowl, 1st–4th century, Maya. The Metropolitan Museum of Art, Public Domain Vessel with Mythological Scene, 600–800 CE, Metropolitan Painter. The Metropolitan Museum of Art, Public Domain Vessel Depicting the Rain God Chahk, ca. 600–800 CE, Maya. Facsimile of the Madrid Codex. Museum of the Americas, Public Domain Lidded Vessel, 3rd–4th century, Maya. The Metropolitan Museum of Art, public domain Itzamna Seated in a Classic Period Polychrome Ceramic (Kerr 504), Maya, public domain https://commons.wikimedia.org/wiki/File:God_D_Itzam.jpg  Ixchel with Rabbit, Maya, Public Domain https://en.wikipedia.org/wiki/Maya_Moon_Goddess#/media/File:Goddess_O_Ixchel.jpg  Codex-Style Plate Featuring the Maize God and the Hero Twins, 680–740 CE, Maya, El Petén, Guatemala. Museum of Fine Arts, Boston, Public Domain Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Dennis Caouki Executive Producer: Emma Cahusac For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks

In the second of two episodes, Stephanie Rozene and Paul Greenhalgh follow Peter Voulkos through the explosive years that transformed him from master potter into one of the most radical figures in modern ceramics. From the experimental studios of Otis and Berkeley to his monumental Blackwares, stacks and platters, Voulkos tears, cuts, pounds and rebuilds clay, pushing it far beyond the traditional vessel. His performances become legendary, while a generation of students go on to reshape American ceramics themselves. But behind the charismatic “wild man” lies a more complicated story of addiction, recovery and relentless creativity. Stephanie and Paul explore Voulkos’s later years and the extraordinary legacy of an artist who changed not simply how ceramics looked, but what clay could be. Featured Images: Rocking Pot, 1956, Peter Voulkos. Pot Shop, UC Berkeley, c. 1960s, Jim Melchert. Last Temptation of Ming, 2015, Ron Nagle. Blue Face with White Stripe, 1971, Stephen De Staebler. Looking at Pictures, 2016, Mary Heilmann. Installation View of “New Talent XIII”, 1960, Peter Voulkos. Peter Voulkos at Work in the Faith and Charity in Hope Gallery, 1984, Peter Voulkos. Sunset Rip, 2008, Mary Heilmann. Paul Soldner’s MFA Show, 1956, Paul Soldner, Peter Voulkos and John Mason. Arlene Schechet in the Jewish Museum, 2018, Sara Wasserman. Peter Voulkos at Work, by Stephanie Rozene Installation View of Voulkos: The Breakthrough Years, [date unknown], Butcher Walsh. Untitled Chicken Pot, 1958, Peter Voulkos. The New York Times, 2021. Little Big Horn, 1959, Peter Voulkos. ientos, 1959, Peter Voulkos. Sitting Bull, 1959, Peter Voulkos. Annon, 1959, Peter Voulkos. Photograph by E. G. Schempf, Museum of Arts and Design. Pauline Annon,  circa 1950, Estate of Pauline Anon   Peter Voulkos at Work, c. 1960s,  Pinatubo, 1994, Peter Voulkos. Ice Bucket, [date unknown], Peter Voulkos. Bronze Ice Bucket, 1986, Peter Voulkos. Iron Head, 1979, Peter Voulkos. Selfies at the V and A, Stephanie Rosine and Paul Greenhalgh Chapters 00:00:00 Introduction: Peter Voulkos - A Revolution in Clay Part 2 00:00:59 Otis College and Building the Studio from Scratch 00:03:46 Industrial Scale: Dough Mixers, Modified Wheels, and Forklift Kilns 00:05:34 The Roll Call: Students Who Became Titans 00:07:26 New York Connections: MoMA and Abstract Expressionism 00:08:31 Berkeley Years: Founding a Program and Pure Theater 00:12:26 The Female Legacy: Mary Heilman and Breaking Boundaries 00:18:07 The Blackwares: Breakthrough Pieces and New Language 00:18:52 The Breakthrough Years: 15 Years of Frantic Experimentation 00:27:23 Settling Into Iconic Forms: Stacks, Ice Buckets, and Platters 00:28:06 Struggles and Redemption: The 1970s and 1980s 00:32:34 Recognition and Retrospective: The 1978 SFMOMA Show 00:34:02 Legacy: The Man Who Changed Everything Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Executive Producer: Emma Cahusac

What happens when a master potter decides to break all the rules? In the first of two episodes, Stephanie Rozene and Paul Greenhalgh explore the life and work of Peter Voulkos, the artist who helped transform American ceramics after the Second World War. From his Montana childhood and wartime service to his first encounter with clay, Voulkos begins as a brilliantly skilled traditional potter. But through teachers, fellow artists and the experimental world of 1950s America, he starts cutting, tearing and rebuilding clay in radically new ways.    By the mid-1950s, pottery was becoming sculpture and a revolution in clay was underway. To see the images from this podcast, please switch to video in your podcasting app. Featured Images: Photo of Voulkos doing pottery by Stephanie Rozene Photo Filming Voulkos at work, by Stephanie Rozene Voulkos Correcting a student, Stephanie Rozene. VOulkos nished platers on table, Stephanie Rozene Photo of John Balistreri assisting Peter Voulkos. 1990s (Creative Commons) Voulkos at Potters wheel, ca. 1956 Photo of Frances Senzka smiling Photo of Edith Heath, Date Unknown, (Wikipedia) Photograph of Maija-Grotell-1920s (Wikiedpia) Marguerite finishing a vase, ca.1950s. 1998 Center for Creative Photography, The University of Arizona Foundation Face Vessel, ca. 1970s, Marguerite Wildenhain Archie Bray and Rudy Autio photograph, ca. 1951 Photograph of Frances Senska and her pots, 1988, Linda Best photo / Bozeman Daily Chronicle. Chicken and Wine Set, 1960, Frances Senzka Ya Ba Bo jar, 1970, Frances Senzka Bottom of Ya Ba Bo jar, 1970, Frances Senzka Peter Voulkos Painting his Ceramics, ca. 1950s Ceramic National Piece, 1950, Peter Voulkos ???? Gourd Shaped Vases, Vases with Leaf, Green-Swirled Vases, 1952, Peter Voulkous Archie Bray Putting Soda in Beehive Kiln ca. 1950s Yanagi, Leach, Autio, Voulkous and Hamada at the Archie Bray Foundation Voulkos kicking the wheel for Hamada at Archie Bray Foundation, 1952 Karen Karnes, (1925-2016), Western Regional Archives, State Archives of North Carolina David Weinrib, (1924 – 2016) Robert Rauschenberg at Black Mountain College, Black Mountain, NC, United States, circa 1951. Photo: Cy Twomble M.C Richards (1914 – 1999) Wikipedia Picture Untitled Stoneware with Acrylic Paint, ca. 1953, MC Richards Collaboration with Peter Voulkos Covered Jar, 1953, Peter Voulkos Jackson Pollock at work – photograph by Hans Namuth (Wikipedia) Marguerite Wildenhaine, ca. 1962, Wikipedia page. Rocking Pot, 1956 Peter Voulkos (Smithsonian ART Museum) Peter Voulkos working, ca. 1960. Tony Prieto Tall Vase, Stoneware, 1950. The Everson Museum of Art. Photo credit Stephanie Rozene. Chapters 00:00:00 Introduction: Peter Voulkos - The Man Who Broke the Rules 00:00:58 Stephanie's Personal Encounter with Voulkos at Alfred University 00:05:07 The Two Sides of Peter Voulkos: Machismo and the Dance 00:07:47 Early Life: Montana, Greek Immigrant Roots, and World War II 00:10:37 Finding Clay: Frances Senska and Montana State College 00:14:54 The Foundations of Mastery: Learning Traditional Pottery Skills 00:17:31 Early Success and the Archie Bray Foundation 00:21:09 The 1952 Leach and Hamada Tour: International Influences 00:22:09 Black Mountain College and M.C. Richards: Opening New Doors 00:32:33 New York City 1953: Abstract Expressionism and Transformation 00:39:47 Breaking with Tradition: The Rocking Pot and Radical Experimentation 00:44:59 Setting the Stage: Otis College and What's to Come Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Dennis Caouki Executive Producer: Emma Cahusac

The story of Greek ceramics continues with a revolution in pottery. Around 530 BC, Athenian potters began turning the familiar world of black-figure decoration on its head, creating the extraordinary red-figure vessels that would come to define Classical Greek ceramics. Stephanie Rozene and Paul Greenhalgh explore the potters, workshops and innovations behind this transformation, and discover how ceramics became part of everyday Greek life – from wine-drinking symposia to sporting prizes and simple household wares. As Greek influence spreads across the Mediterranean, so too do its ceramic traditions, before a new power emerges: Rome. Yet conquest would not bring the story to an end. The Romans absorbed and reinvented Greek forms, ensuring their influence would survive for centuries. Please switch to video in your podcasting app, to see the pots being spoken about in this episode. Featured Artworks: Black Figure Amphore, Attributed to Group E (British Museum, CC BY-NC-SA 4.0) Red Figure amphora, signed by Andokides, c.530 BCE Terracotta amphora (jar) Red Figure bell krater, Anonymous, often referred to as by the Berlin Painter, Greek, c.480 BCE, Louvre Museum. Anonymous, possibly Apulian, possibly Boeotian, 480 BCE Francois Vase, Black Figure krater, decorated by Kleitias, made by Ergotimos, Greek, 570-560 BCE, Archaeological Museum, Florence. (CC 3.0) Terracotta kyathos (cup-shaped ladle), Attributed to the Group of Berlin 2095, c. 530–500 BCE Terracotta amphora (jar), Attributed to the Orvieto Painter, c. 540 BCE Small terracotta amphora (jar), Greek, Attic, c. 800–750 BCE Terracotta neck-amphora (storage jar), Greek, Corinthian, c. 620–590 BCE Terracotta neck-amphora (jar), Attributed to the Edinburgh Painter, c. 500 BCE Terracotta neck-amphora (jar) with lid and knob (27.16), Attributed to Exekias, c. 540 BCE Terracotta lekythos (oil flask), Attributed to the Amasis Painter, c. 550–530 BCE Terracotta column-krater (bowl for mixing wine and water), Attributed to Lydos, c. 550 BCE Terracotta Nolan neck-amphora (jar), Attributed to the Ethiop Painter, c. 450 BCE Terracotta neck-amphora (jar) with twisted handles, Attributed to the Lykaon Painter, c. 440 BCE  Terracotta amphora (jar), Attributed to the Berlin Painter, c. 490 BCE Terracotta skyphos (deep drinking cup), Greek, Attic mid-5th century BCE Chapters 00:00:00 Introduction: The Ancient Greeks - From Red Figure to the Rise of Rome 00:01:29 Recap: From Geometric to Black Figure Pottery 00:02:49 The Potters: Immigrant Makers and Family Workshops 00:04:52 The Red Figure Revolution: A Technical Breakthrough 00:06:45 Andokides and Bilingual Pottery 00:09:18 Pattern Bands and Workshop Signatures 00:11:33 Sophistication and Space: The Classical Aesthetic 00:14:13 The Berlin Painter: Minimalist Mastery 00:16:37 Shapes and Function: The Symposium Culture 00:18:54 Slavery, Democracy, and Greek Society 00:22:06 The Value Question: Cheap Plastic or Precious Art? 00:25:43 Production and Economics: From Souvenir Cups to Masterworks 00:28:01 Greeks Had No Word for Art 00:29:14 Legacy and Permanence: Objects That Tell Stories 00:31:40 The Hellenistic Expansion: Red Figure Goes Global 00:33:36 The Roman Conquest: 146 BC and the End of Greek Independence 00:37:20 Ceramic Memory: How Clay Survives Empire Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Executive Producer: Emma Cahusac

Emerging from the turmoil of the Bronze Age collapse, ancient Greece would become one of the most influential cultures in history – and ceramics were at the heart of its story. Stephanie Rozene and Paul Greenhalgh trace the extraordinary rise of Greek pottery, from the bold patterns of the Geometric period to the great workshops of Athens and Corinth and the exquisite black-figure vessels of the Golden Age. Against a backdrop of warring city-states, expanding trade and the looming threat of the Persian Empire, they discover how these pots became vessels for myth, storytelling and everyday life – and an extraordinary record of a civilisation taking shape. To view the ceramics being discussed in this episode, please switch to video in your podcasting app. Featured Artworks: Images featured in this episode:Terracotta volute-krater (bowl for mixing wine and water), Etruscan, c. 340–300 BCE Terracotta hydria (water jar), Greek, Euboean, mid-6th century BCE Terracotta lekythos (oil flask), Attributed to the Painter of Athens 1943, c. 450–440 BCE Map of Peloponnesian War 431 BC Map of Athens Proto-geometric pottery, c. 950-800, made at Kerameikos © The Trustees of the British Museum. Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International (CC BY-NC-SA 4.0) Plan of Kerameikos, Athens Creative Commons Attribution-Share Alike 4.0 International (CC 4.0) Kerameikos Photo, Athens Courtesy of Paul Greenhalgh Terracotta amphora (jar), Signed by Andokides, Attributed to the Andokides Painter, Attributed to the Lysippides Painter, c. 530 BCE Terracotta neck-amphora, Greek, Attic, c. 710 BCE Dipylon Amphora, 760-750 BCE, National Archaeological Museum of Greece, Athens , Courtesy of Paul Greenhalgh Dipylon krater, Attributed to the Trachones Workshop, c. 725 BCE Hellenistic Amphorae Marble funerary stele, c. 4th century BCE, National Archaeological Museum of Greece, Athens Courtesy of Paul Greenhalgh Terracotta oinochoe (wine jug), Attributed to the Chigi Group, c. 625 BC Vase, first half of 6th century BC (made) Black Figure amphora, Exekias, Greek, c.530-525 BCE, Vatican Museum. Terracotta lekythos (oil flask) (2), Attributed to the Amasis Painter, c. 550–530 BCE Terracotta neck-amphora (jar) (2) with lid and knob (27.16), Attributed to Exekias, c. 540 BCE Signature Exekias Louvre Death of Penthesileia, by Exekias, c. 550-543 BC, CC 4.0 Chapters 00:00:00 Introduction: The Ancient Greeks - Pots, Power and the Birth of a Civilisation 00:00:59 Historical Baggage: Reinventing the Greeks 00:04:35 The Greek Polis: City-States and Cosmopolitan Culture 00:07:06 The Bronze Age Collapse: Sea Peoples and Dark Ages 00:10:18 Geometric Pottery: The Ceramic Renaissance 00:23:02 Corinthian Innovation: New Visual Languages 00:26:31 The Persian Threat: Marathon and Military Culture 00:33:22 Black Figure Revolution: Exekias and Master Potters 00:43:15 Terra Sigillata: The Technology Behind the Beauty 00:46:20 Rebuilding Athens: Setting the Stage for Red Figure Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Sound Mix and Engineering: Joe Little Executive Producer: Emma Cahusac

Nearly 4,000 years ago, the Minoans flourished on the island of Crete, trading across the Mediterranean and creating some of the most extraordinary ceramics of the Bronze Age. Stephanie Rozene and Paul Greenhalgh explore a world where myth and archaeology collide – from King Minos, the Minotaur and the labyrinth to the discovery of Knossos. Through monumental storage vessels, exquisite Kamares wares and spectacular octopus jars, they uncover the creativity, power and mysterious decline of one of the ancient world’s great civilisations. If you would like to see the images from this podcast, please switch to video in your podcasting app. Images in this programme: Image off map of Crete, Greece and Turkey  Terracotta vase in the form of a bull's head ca 1450 – 1400 BCE, The Met Collection Heinrich Schliemann  (1822–1890)  https://creativecommons.org/licenses/by-sa/4.0/  Sir Arthur Evans 1851- 1941 at Knossos Photograph of Knossos, courtesy of Paul Greenhalgh Reconstruction of Knossos  Bull-Leaping Fresco found at Knossos ,1450 BC,  Linear A inscription on a clay tablet from Hagia Triada, Crete, ca 2100 – 1450 BC  Linear B Tablet from Knossos, ca 1375 – 1350 BC  Procession fresco from Knossos; reconstructed by Émile Gilliéron from the late Minoan period, CC 4.0 Minoan pithos Storage jars at the Palace of Knossos, ca  1700 BCE Large scale Caskets “bath tubs” and storage units, c.1750 BCE Terracotta beak-spouted jar, Vasiliki ware, 2600-2200 BCE, The Met Collection Terracotta bridge spouted jar, Minoan ware, 1900-1600 BCE, The Met Collection Kamares Ware Jug, Protopalatial period (2100-1700 BCE). Heraklion Archaeological Museum, Crete, courtesy of Paul Greenhalgh Kamares Ware Jug, Heraklion Museum, by Wolfgang Sauber, CC Kamares wares in the Archaeological Museum of Heraklion ca 1900 - 1700 BCE photo: Bernard Gagnon, CC 1.0 license Kamares wares jugs, Archaeological Museum of Heraklion, 1900-1700 BCE, CC 3.0 Octopus Flask ca 1500 – 1450 BCE,  Furman University,  3.0 Mycenaean-Minoan Ware, c. 1450, courtesy of Paul Greenhalgh Terracotta jar with three handles ca 1525 – 1490 BCE,The MetCollection  Terracotta stirrup jam with Octopus Helladic, Mycenaean, c.1200-1100 BCE, The Met Collection   Chapters 00:00:00 Introduction: The Minoans - Europe's First Great Civilization 00:00:54 Placing the Minoans in Greek History 00:02:37 Island Power: Geography and the Rise of Crete 00:04:56 The Legend of the Minotaur and King Minos 00:09:15 Heinrich Schliemann: Chasing Homer's Myths 00:11:35 Sir Arthur Evans and the Discovery of Knossos 00:13:32 The Palace at Knossos: Architecture and Bull Imagery 00:17:48 Linear A and Linear B: Decoding Ancient Languages 00:20:40 Giant Pithoi: Monumental Storage Vessels 00:24:23 Early Minoan: Vasiliki Ware and Beak-Spouted Jars 00:28:15 Middle Minoan: The Glorious Kamares Ware 00:33:47 Late Minoan: Marine Style and Octopus Jars 00:36:47 The Mycenaean Question: Trade or Invasion 00:40:51 The Bronze Age Collapse of 1177 BC 00:43:45 Legacy: The First Europeans Remembered in Clay Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Executive Producer: Emma Cahusac

How did Bernard Leach’s ideas travel from a small pottery in St Ives to influence generations of potters around the world? In the final episode of our three-part series, we follow Leach as his influence spreads beyond Britain. We explore his relationship with American potters Warren and Alix MacKenzie, his travels across the United States, and his celebrated 1952 tour with Shōji Hamada and Sōetsu Yanagi. From Black Mountain College to the emerging American studio pottery movement, we meet artists including Marguerite Wildenhain, Karen Karnes and Peter Voulkos, and discover how a new generation embraced, challenged and transformed Leach’s ideas. This is the story of how Bernard Leach became an international figure — and how his philosophy helped reshape studio pottery for generations to come. If you would like to see the images featured in this podcast, please switch to video in your podcasting app. Artworks and images in this episode: Bernard Leach, David Leach, and students at the Leach Pottery, St. Ives, Cornwall c.1945 A Potter’s Book, by Bernard Leach, 1940 David Leach, 1911-2005 Standard Ware Bowls, Bernard Leach Pottery Dinnerware, The LeachPottery, St. Ives Michael Cardew, William Marshall, Bernard Leach, Picnicking at Cardew’s Pottery in 1970, Courtesy of Jeff Oestrich Bernard Leach at Alfred University, 1950, Warren & Alix MacKenzie, 1953, Bowl, Warren MacKenzie, c. 1969-1970 Ceramics, Warren MacKenzie, 1924-2018 Hamada, Leach, Yanagi and Wildenhain at Black Mountain College, 1952 Sōetsu Yanagi, Bernard Leach and Shōji Hamada, 1952 Black Mountain College Seminar, 1952 Vases, Margaurite Wildenhain, c. 1940’s-50’s Bottle Vase, Margurite Wildenhain, 1970 Vase, Bernard Leach, c. 1959 Shōji Hamada, c.1970 Sōetsu Yanagi, Bernard Leach, Rudy Autio, Peter Voulkos, Shōji Hamada, 1959 Covered Jar, Peter Voulkos, c.1954 Peter Voulkos kicking the potters wheel, 1952 Cup and Signed Box, Shōji Hamada Robert Rauschenberg at Black Mountain College, c.1952 Bernard Leach, c.1920’s Chapters 00:00:00 Introduction: Bernard Leach's Later Life and International Impact 00:01:00 David Leach and the Standard Wares: Professionalizing the Pottery 00:03:09 The Apprentice Model: Learning Philosophy and Craft 00:05:26 Warren McKenzie: The First American Apprentice 00:10:29 Leach's First American Tour: Land of Money, Speed and Gadgetry 00:13:11 The Three Musketeers: Leach, Hamada and Yanagi Tour America 00:17:05 Black Mountain College: Clash of Philosophies 00:22:59 Hamada's Magic: Improvisation and Visual Language 00:25:38 Archie Bray Foundation: Meeting the Young Peter Voulkos 00:33:10 Legacy: Bernard Leach as Big as Wedgwood Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Executive Producer: Emma Cahusac

How did Bernard Leach turn a small pottery in St Ives into the centre of a new ceramics movement? In the second episode of our three-part series, we follow Leach as he returns to Britain with Shōji Hamada and establishes the Leach Pottery in St Ives. We explore the challenges of those early years, the development of his distinctive approach to making, and the ideas that would eventually be captured in his influential A Potter’s Book. As Leach’s reputation grows, so does his influence. Through teaching, writing and a new generation of apprentices, his pottery becomes a meeting place for ideas drawn from East and West. This is the story of how Bernard Leach helped transform the status of the studio potter — and began building a movement that would reach far beyond St Ives. To see images of the pots being discussed on this podcast, please switch to video in your podcasting apps. Featured Artworks: Bernard Leach 1913 early Raku Vase,   The V&A Collection Photo of Bernard Leach with Shōji Hamada and Sōetsu Yanagi, 1952 St. Ives Harbour and Porthminster Beach - Cornwall – UK Cornwall - St. Ives, Back Lane - 1920's Photochrom Postcard The Leach Pottery, St. Ives, Cornwall Blueprint of “The Leach Pottery Japanese Style of climbing Kiln. Design by Tsurunosuke Matsubayashi”, 1923. Crafts Study Centre, University for the Creative Arts Grade II Listed Climbing Kiln, Leach Pottery Raku Firing Kiln Bowl, early 20’s, Bernard Leach Barbara Hepworth & Bernard Leach, 1968, St Ives Museum 1934 (relief), Ben Nicholson, 1934, Tate Shōji Hamada, 1894-1978 Tsurunosuke Matsubayashi, 1894-1932 D W & L K Elmhirst,' 1893-1970, Dartington Hall Trust Archive Two Bowls by Bernard Leach and Teabowl By Shoji Hamada Herbert Read by Mark Gerson, 1967, The National Gallery A Potters Book by Bernard Leach, 1940 Salmon Vase, Bernard leach, 1950 Slipware Plate, Bernard Leach, c. early 1930’s Early Slipware dish, Bernard Leach, c. early 1930’s Early Jar with Firing crack, Bernard Leach, c. early 1930’s, courtesy of Paul Greenhalgh Charger, 1929, Bernard Leach, courtesy of Paul Greenhalgh The Mermaid dish, 1670-1689, Thomas Toft, The V&A Collection A Dartington Pottery Salt Glazed Stoneware Flagon Photo of David Leach, 1911-2005 Teapot, David Leach and Charger, Bernard Leach, courtesy of Paul Greenhalgh Vase, c. 1959, Bernard Leach, The V&A Collection, courtesy of Paul Greenhalgh Standard Ware, c. 1941, Bernard Leach, The V&A Collection, courtesy of Paul Greenhalgh Chapters 00:00:00 Introduction: Bernard Leach Returns to England 00:01:30 St. Ives: A Haven for Artists and Traditional Craft 00:07:48 Building the Pottery: Early Struggles and Failures 00:14:06 Hamada's Departure and the Kiln Rebuilt 00:15:02 The Elmhursts and Dartington: Patronage and Philosophy 00:17:36 Pottery as Art: Breaking Down the Barriers 00:22:25 The Leach Aesthetic: Japanese Meets English Slipware 00:30:44 A Potter's Book: The Ceramic Bible Published 00:35:44 David Leach Takes Over: Professionalization and Production 00:36:58 Legacy: The Apprentice Model and Global Influence Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Executive Producer: Emma Cahusac

How did an English artist in Japan become one of the most influential figures in modern ceramics? In the first of our three-part series on Bernard Leach, we explore the extraordinary early years that shaped his life and work. From his return to Japan and his first encounters with pottery to his friendship with Shōji Hamada, we discover how Japanese culture transformed Leach's understanding of what a pot could be. This is the story of the meeting of East and West — and how the ideas Leach discovered in Japan would eventually help change the course of modern ceramics. To see images of the ceramics being discussed in this podcast, please switch to video in your podcasting app. Featured Artwork: Bernard Leach and bookcase, Tokyo, 1917-1919  Bernard Leach, A Potters Book, 1940 Bernard Leach with grandparents in Japan, c. 1890 Frank Brangwyn, by Reinhold Thiele, c 1900 John Ruskin, by W. & D. Downey, 1863 William Morris by Frederick Hollyer, 1887 Leaping Salmon Vase, c.1950, Bernard Leach; Okinawa Style Teabowl, c.1970, Shōji Hamada, Oxford Ceramics Gallery Harmony in Blue and Gold, The Peacock Room, by James McNeill Whistler, 1834-1903, Public Domain Temple of Heaven, Peking, 1916, printed signature in the plate Bernard Leach 1916,  Public Domain Photograph of rural Japan, C.1900, Public Domain Early Raku Vase, Bernard Leach, c.1925 Raku Firing Kiln Portrait of Ogata Kenzan VI, by Bernard Leach, 1924 Mokko-shaped Food Bowl, by Uruno Shigekichi, 1881-1923 Cup, Ogata Kenzan, 18th Century Photo of Shõji Hamada, 1894-1978 Photo of Sõetsu Yanagi, 1889-1961 Photo of Bernard Leach with Shõji Hamada & Sõetsu Yanagi, Dartington 1952 Cup and Signed Box, Shõji Hamada Large Dish, Shõji Hamada Stoneware Bottle, Shoji Hamada Hamada’s Kiln in Moshiko, Creative Commons License, CC3.0 Unknown Craftsman, Sõetsu Yanagi , 1972 Chapters 00:00:00 Introduction: Bernard Leach - The Making of a Master 00:03:57 Early Life: Colonial Beginnings and Artistic Awakening 00:12:01 The Arts and Crafts Movement: Ruskin, Morris, and Moral Philosophy 00:15:15 Japan's Meiji Period: Transformation and Cultural Identity 00:18:10 Return to Japan: Teaching Etching and Finding Community 00:23:52 The Raku Party: A Life-Changing Moment 00:27:05 Training with Kenzan VI: Entering the Japanese Pottery Tradition 00:28:57 Hamada and Yanagi: The Birth of Mingei 00:30:57 Philosophical Foundations: Arts of the People 00:33:30 The Bold Decision: Sailing for St. Ives Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Executive Producer: Emma Cahusac

In 16th century Japan, a bowl of tea could get you killed. This episode traces the birth of the Ancient Japanese tea ceremony and the aesthetic of wabi-sabi, or the art of finding beauty in imperfection. Paul and Stephanie tell the story of tea master Sen no Rikyu, whose humble, handmade Raku bowls stood in defiance of warlord Toyotomi Hideyoshi's golden excess, in a tale of philosophy, political power, and two tea masters who paid for their art with their lives. To see the pots Stephanie and Paul are discussing in this episode, be sure to switch to video in your podcast app. Featured Artworks Toyotomi Hideyoshi, by Kanō Mitsunobu, 1598, Public Domain Sen No Rikyū, by Tōhaku Hasegawa,1595, Public Domain   Sen no Rikyū's Tai-an Teahouse, Kyoto, Japan, 1952   Black Raku ware tea bowl, late 16th century, The Smithsonian, CC0 Black Raku Tea Bowl, Named “Kaedegure” (Twilight by the Maples), attributed to Raku Cojiro, late 16th Century, The Met Collection, Public Domain Furuta Oribe,  c. 17th Century Square Serving Dish with Bail Handle,  late 16th century, Asia Society Museum, Public Domain Sake Bottle (Tokkuri) with Decoration of Three-Leaf Arrowhead, Early 17th century, Public Domain  Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Sound Mix and Engineering: Joseph Little Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: Secrets of The Japanese Tea Ceremony 00:01:41 Origins of Tea in Japan: From Monasteries to Cultural Power 00:03:00 The Political Tea Ceremony: Toyotomi Hideyoshi's Vision 00:05:09 Wabi Sabi: The Perfection of Imperfection 00:09:23 Sen no Rikyu: The Master Who Stripped Away Ego 00:11:17 The Tea Ceremony Experience 00:14:45 Chojiro and Raku Ware: Hand-Built Tea Bowls 00:19:47 The Death of Sen no Rikyu: When Simplicity Threatened Power 00:24:03 Furuta Oribe: A Warrior's Energy Transforms the Ceremony 00:26:17 Oribe Ware: Chaos, Asymmetry, and the Happy Accident 00:32:35 The Second Suicide: Oribe's Violent End 00:35:23 Legacy: Wabi Sabi and the Birth of Studio Ceramics

Bernard Palissy was an artist, scientist, inventor and one of the most extraordinary figures in the history of ceramics. Driven by religious faith, a fascination with nature, and an obsession to discover the secret of white enamel, he devoted years to relentless experimentation, sacrificing his fortune, and burning almost everything he owned in pursuit of perfection. In this episode Paul Greenhalgh and Stephanie Rozene uncover the remarkable life of the French Renaissance potter whose distinctive rustic wares transformed European ceramics.  Featured Artworks: Self Portrait in Faience, Bernard Palissy, 1862  Rustique figuline, attributed to Bernard Palissy, French c.1560, J. Paul Getty Museum. ‘Rustique Figuline’ Dish with a white background, Bernard Palissy, c. 1550, National Ceramic Museum Maiolica Plate, Italian, ca. 1500, The Met Collection, Public Domain Bowl, Majolica, Italian, 1480-1500, The V&A Collection Dish, Bernard Palissy, 17th century, The Met Collection, Public Domain Plaque depicting Bernard Palissy, Multiple Artists and Makers, 1846, The Met Collection, Public Domain Pilgrim Flask, Bernard Palissy, 1556-67, The Met Collection, Public Domain Still-life platter, Bernard Palissy, c. 1550, Dish, Bernard Palissy, c. 1580,  Moule, Fragment, 16th century, Musee du Louvre Grenouille de fontaine, Atelier de Bernard Palissy, 1565-1610, Musee du Louvre Château de la Bâstie d'Urfé, France, 1550 Henry II, King of France, François Clouet, 1559 Catherine de' Medici, François Clouet, c. 1560 Fontaine en forme de dauphin, 1600-1650, Musee du Louvre Ewer, Saint Porchaire Ware, c. 1550, The Met Collection, Public Domain Mould of Palissy Basin, Musee du Louvre Tazza with cover, Mid 16th century, The Met Collection, Public Domain La Nourrice, Guillaume Dupré (unconfirmed), c. 1640, The Met Collection, Public Domain Plate, Manner of Bernard Palissy, Late 19th century, The Met Collection, Public Domain Platter, Follower of Bernard Palissy, Last Quarter 16th Century, The Met Collection, Public Domain Platter, Manner of Bernard Palissy, 2nd half of 19th Century, The Met Collection, Public Domain Round Plate with Lobster, Rafael Bordalo Pinheiro, 1889, The Met Collection, Public Domain Turkey, Bordallo Pinheiro Factory,19th Century Artichoke Jar, Bordallo Pinheiro Factory Cabbage Ware, Bordallo Pinheiro Factory Round Dish with Lobster and Shells, Thomas Victor-Sergent, 1870-80, The Met Collection, Public Domain Large Basin with Snake, Ferns, and Bark, Charles-Jean Avisseau, C. 1850-55, The Met Collection, Public Domain Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Sam Bond Sound Mix and Engineering: Joe Little Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: Bernard Palissy - Obsession, Faith and Myth 00:02:13 A Troubled Age: France in Religious Turmoil 00:04:24 Early Life: The Self-Taught Rustique 00:12:08 The Catalytic Moment: Falling in Love with a Cup 00:17:07 Obsession and Sacrifice: Burning the Floorboards 00:20:03 The Rustiques Figulines: Nature Cast in Clay 00:24:18 Royal Patronage: Catherine de Medici and the Court 00:26:16 The Saint-Porchaire Mystery: A Lost Attribution 00:29:20 Public Intellectual: Lecturer on Science and Nature 00:30:54 Dangerous Faith: The Huguenot Who Wouldn't Hide 00:32:41 The Bastille: A Tragic End 00:33:22 Legacy: From Sons to Revival 00:34:33 Attribution Challenges: Real, School, or Revival? 00:39:37 Eternal Inspiration: Palissy's Enduring Impact

This week Paul Greenhalgh and Stephanie Rozene explore the extraordinary ceramics of the Ming Dynasty, the period that established China as the world's greatest producer of porcelain. From the famous blue-and-white wares of Jingdezhen to magnificent imperial commissions and the global trade that carried Chinese porcelain across Asia, the Middle East, and Europe, we uncover how Ming potters achieved levels of craftsmanship that have rarely been surpassed. We also discover how these exquisite objects became symbols of wealth, power, and cultural exchange, inspiring generations of potters around the world. Emperor Hongwu (21 October 1328 – 24 June 1398) – Public Domain Monks Cape Ewer, 1368-1644, The Met Collection, Public Domain Bowl with Chrysanthemums, late 14th Century, The Met Collection, Public Domain Porcelain Plate with Animals, mid 14th Century, The Met Collection, Public Domain Jar with Dragon, 1426-1435, The Met Collection, Public Domain Bowl with Pomegranates, lotus scrolls, and chrysanthemum Petals, early 15th century, Public Domain Flask with Medallion, early 15th century, The Met Collection, Public Domain Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Jim Fuller & Sam Bond Sound Engineer and Mixer: Joe Little Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: The Ming Dynasty - When Porcelain Became Power 00:02:36 The Rise of Emperor Hongwu: From Peasant to Power 00:14:19 Technical Mastery: Copper Reds and Chrysanthemum Bowls 00:16:38 Infrastructure and Imperial Ambition: Building the Ming Empire 00:23:00 Emperor Yongle and the Golden Age of Blue and White 00:21:06 The Dragon Jar: Symbolism, Status, and Visual Mastery 00:28:11 Islamic Influences: Cross-Cultural Design and Pattern 00:33:13 The Great Voyages: Porcelain as White Gold 00:36:47 The Inward Turn: Crisis, Capture, and Conservative Retreat 00:41:54 Legacy: Jingdezhen and the Story Written in Glaze

This week Paul Greenhalgh and Stephanie Rozene explore the remarkable ceramics of the Tang Dynasty, one of China's greatest periods of artistic innovation. We venture down into the depths of their magnificent tombs and discover the wonders of their funerary wares. Ceramics creations that capture life in the Imperial Court from dancers, polo players, concubines, warriors and magnificent horses. These treasures open a window into a golden period of Chinese history but also show how the Tang potters transformed the art of clay and influenced ceramic traditions around the world. FEATURED ARTWORKS IN THIS EPISODE: Emperor Li Yuan, 618-626, unknown, Public Domain Excerpt from the handscroll Viewing the Pass List, c. 1540 by Qiu Ying Tang Court Playing Polo, 706AD, Public Domain Cosmetics Box, 8th Century, The Met Collection, Public Domain Figure of a Horse, 700-750, The British Museum, Public Domain Amphora, Late 7th Century, The Met Collection, Public Domain Covered Jar, 8thcentury, The Met Collection, Public Domain Set of Ten Entertainers and Two Dancers, 618-907, Miho Museum, Public Domain Camel and Rider, 701-750, Art Institute of Chicago, Public Domain Horse and Rider, early 8th Century, The Met Collection, Public Domain Camel with Musicians, 723, National Museum of China, Public Domain Horse with Lead Glaze, 728, The British Museum, Public Domain Seated Court Lady, 8th Century, the Met Collection, Public Domain Female Attendant, Mid 7th Century, The Met Collection, Public Domain Female Attendant, 7th-8th Century, The Met Collection, Public Domain Seated girl holding Mirror, first half 8th Century, Art Institute Chicago, Public Domain Polo Player, ca. 618-907, Public Domain Young Female Polo Player,  early 8th Century, Musée Guimet Female Polo Player, c. 750, Musée Guimet For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Jim Fuller & Sam Bond Sound Engineer: Joe Little Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: Tang Dynasty - A Golden Age of Chinese Ceramics 00:00:35 Context: From Terracotta Warriors to Tang Dynasty 00:01:33 The Tang Renaissance: Arts, Innovation, and the Birth of Porcelain 00:07:27 Emperor Li Yuan and the Reunification of China 00:09:40 Cosmopolitan Influences: Turkish Origins and Foreign Ideas 00:10:27 The Qianling Mausoleum: Royal Graves and Funerary Traditions 00:16:37 Craft and Technique: How the Figurines Were Made 00:18:58 Sancai Glaze: The Three-Colour Ceramic Revolution 00:22:10 Masterworks: The Covered Jar and Ewer 00:24:00 Ten Musicians and Two Dancers: Capturing Movement in Clay 00:25:44 Colour Theory and Cultural Openness in Tang Art 00:26:47 The Silk Road and Sea Trade: Expanding Horizons 00:28:02 Camels and Foreigners: Depicting a Cosmopolitan World 00:29:07 What Makes a Tang Dynasty Piece? Poise, Pride, and Individuality 00:30:36 The Camel with Five Musicians: A Traveling Band 00:33:10 Heavenly Horses: The Prized Steeds of the Tang Dynasty 00:37:17 Court Life and Leisure: Snapshots of Tang Society 00:39:43 Women Playing Polo: Sport, Warfare Training, and Social Inclusion 00:40:55 Equality and Sophistication: Women in Tang Society 00:42:11 Conclusion: Windows into the Tang World

This week we continue the story by following the extraordinary journey of Hans Coper, a man who arrived in Britain as a refugee with no experience of pottery, yet went on to become one of the greatest ceramic artists of the modern age. Forced to flee Nazi Germany as a teenager, Hans Coper rebuilt his life from scratch in wartime Britain. When he began working in Lucie Rie's studio, he discovered not only a new craft but an entirely new way of expressing himself. Although Rie taught him the fundamentals of working with clay, Coper soon developed a powerful artistic language all his own creating bold, sculptural vessels that blurred the boundaries between pottery and sculpture. In this episode, we explore Coper's remarkable transformation from refugee to internationally celebrated artist, the creative partnership and lifelong friendship he shared with Lucie Rie, and the innovations that changed the direction of modern ceramics forever. More than a story about beautiful objects, this is a story of resilience, identity, and the extraordinary power of art to reshape a life. Join Stephanie Rozene and Paul Greenhalgh as they uncover the life and work of Hans Coper and discover how a man who began with no training in ceramics became one of the defining voices of twentieth-century studio pottery. IMAGES FOR HANS COPER EPISODE: Lucie Rie, Bronzed bowls from the 1980s Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Hans Coper, A group of Cycladic forms, late- 1970s – early-1970s Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Hans Coper, Early composite form, c.1950 and Large jug, c.1953 Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Hans Coper, Portrait of Lucie Rie, conceived c.1953 Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Hans Coper, Ovoid pot c.1970, Small ovoid pot, c.1972 and Ovoid pot, c.1972 Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Monumental Altar Candlesticks, Coventry Cathedral, by Hans Coper, Image courtesy of Julian Osley – CC BY-SA 2.0 ADDITIONAL WORKS: Bernard Leach, Thrown Bowl, 1973 Provided by York Museum https://creativecommons.org/licenses/by-sa/3.0 Bernard Leach Studio St Ives https://creativecommons.org/licenses/by/2.0/ Henry Moore, Three Way Piece No. 2 ( The Archer), 1964-65 On display in front of Toronto City Hall since 1966 https://creativecommons.org/licenses/sa/1.0/ Henry Moore, Large Reclining Figure 1982 (LH 192b), fibreglass. As of 2004 sited outside the Fitzwilliam Museum, Cambridge. On loan from the Henry Moore Foundation. https://creativecommons.org/licenses/by-sa/2.0/ Brâncuși's Paris studio, 1920,  Photograph by Edward Steichen, Public Domain Constantin Brancusi, The Kiss, 1907-08, Public Domain PHOTOGRAPHS: Lucie Rie and Hans Coper in front of Albion Mews, 1950s Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation Image Courtesy of the Crafts Study Centre, University for the Creative Arts, Farnham Lucie Rie and Hans Coper in front of Albion (B&W) Mews, early 1950s Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation Lucie Rie and Hans Coper, 1959-69 (in vehicle) Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation Hans Coper, Albion Mews, c.1956 Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation Hans Coper, Albion Mews, c.1967 Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation ‘Lucie Rie / Hans Coper: Life at the Wheel’ will be at Offer Waterman in London from 18 September - 31 October 2026. For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Fraser Watson Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: Hans Coper Arrives at Lucy Rie's Door 00:01:49 Hans Coper's Early Life: A Comfortable Beginning in Germany 00:03:04 The Nazi Rise: A Childhood Shattered 00:06:04 Escape from Germany: Hanging from a Moving Train 00:09:13 Internment and the Pioneer Corps: Survival in Canada and Britain 00:12:53 Gone with the Wind: The Day That Changed Everything 00:13:33 The Button Factory: A Hive of Refugee Activity 00:17:39 Learning the Potter's Wheel: A Natural Talent Emerges 00:22:11 The Relationship: Big Sister, Younger Brother 00:27:48 Two Different Visions: Potter vs. Sculptor 00:30:29 The Aesthetic: Delicate Bowls and Textured Monuments 00:34:47 Teaching Philosophies: Steel Fist vs. Graceful Integrity 00:38:43 Architectural Commissions: From Pots to Coventry Cathedral 00:41:28 Legacy: Changing the Direction of British Ceramics

This week on The History of Ceramics, we begin the remarkable story of two artists who transformed the course of modern ceramics. Our journey starts with the extraordinary life of Lucie Rie. Born into the rich cultural world of Vienna, Lucie Rie was already an accomplished ceramic artist when the rise of Nazism forced her to leave everything behind. Arriving in London as a refugee in 1938, she faced the daunting challenge of rebuilding her life and career in an unfamiliar country. Yet through determination, technical brilliance, and an unmistakable artistic vision, she would become one of the defining figures of twentieth-century ceramics. In this episode, we explore Rie's early life in Vienna, the artistic influences that shaped her distinctive style, and the resilience that carried her through exile and war. We discover how her elegant forms and luminous glazes challenged traditional ideas about pottery, and how her tiny London studio became the birthplace of a revolution in ceramic art. This is more than the story of a remarkable potter. It is a story of courage, reinvention, and creativity flourishing against the odds. Join Stephanie Rozene and Paul Greenhalgh as they uncover the life and work of Lucie Rie—and discover how one extraordinary artist helped redefine the possibilities of clay. Featured Images: Lucie Rie, Bronzed bowls from the 1980s,  Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Hans Coper, A group of Cycladic forms, late- 1970s – early-1970s Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation  Lucie Rie, Teapot Designed and Made for Ernst Plischke, 1928 Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Lucie Rie, Early London period bowl, c.1945  Lucie Rie & Hans Coper, Early London period cylindrical lidded pot, c.1947  Photograph by Sylvain Deleu © Estate of the artists/The Lucie Rie and Hans Coper Foundation  Lucie Rie, Vase from the 'Black Firing', 1981 and Composite vase, known as the 'God Pot', c.1980 Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Lucie Rie, Vase with sgraffito design, c.1982 Footed bowl, c.1978 Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Lucie Rie, Pink footed bowl, c.1980 Photograph by Sylvain Deleu © Estate of the artist/The Lucie Rie and Hans Coper Foundation Bernard Leach, Thrown Bowl,, 1973 Provided by York Museum  https://creativecommons.org/licenses/by-sa/3.0 Bernard Leach Studio St Ives  https://creativecommons.org/licenses/by/2.0/ PHOTOGRAPHS: Lucie Rie and Hans Coper in front of Albion Mews, 1950s Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation Image Courtesy of the Crafts Study Centre, University for the Creative Arts, Farnham Lucie Rie and Hans Coper in front of Albion Mews, early 1950s Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation Lucie Rie and Hans Coper, 1959-69 (in vehicle) Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation Lucie Rie, Albion Mews, c.1960 (at wheel) Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation  Lucie Rie, Albion Mews, c.1960 (at wheel with pot) Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation Lucie Rie, Albion Mews, c.1967 (in studio) Photograph by Jane Coper © Estate of Jane Coper /The Lucie Rie and Hans Coper Foundation ‘Lucie Rie / Hans Coper: Life at the Wheel’ will be at Offer Waterman in London from 18 September - 31 October 2026.  For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks.    Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Jim Fuller & Fraser Watson Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: Lucy Rie and Hans Coper - Titans of Studio Ceramics 00:03:31 Vienna's Golden Age: The Wiener Werkstätte and Gesamtkunstwerk 00:10:03 Lucy's Upbringing: An Intellectual Jewish Family in Vienna 00:17:18 World War I and Tragedy: The Loss of Her Brother 00:20:53 Discovery of Clay: Finding Her Medium at the Kunstgewerbeschule 00:29:23 Marriage and Early Success: Building a Career in 1920s Vienna 00:32:40 The 1937 Paris Expo: Career Triumph and Rising Darkness 00:36:07 Flight from Vienna: Escaping the Nazis in 1938 00:38:37 Starting Over in London: Albion Mews and the Button Business 00:48:28 A Knock on the Door: Hans Coper Arrives

In 1974, a group of farmers digging a well in rural China made one of the greatest archaeological discoveries in history: an underground army of thousands of life-sized terracotta warriors, standing silently in battle formation for more than two thousand years. But why was this extraordinary army created? Who was the powerful ruler it was built to protect? And what does it reveal about the ambitions, beliefs, and astonishing technological achievements of ancient China? In this episode of The History of Ceramics, we explore the story behind the Terracotta Army and the remarkable reign of Qin Shi Huang, the emperor who unified China and transformed its future. We uncover the extraordinary craftsmanship behind the figures, the vast workforce that produced them, the secrets still buried beneath the emperor's mausoleum, and the ongoing archaeological discoveries that continue to reshape our understanding of one of the world's greatest ceramic masterpieces. From imperial power and military might to artistry, innovation, and the enduring legacy of clay, this is the story of how an army that was never meant to be seen became one of the greatest treasures of human civilisation. Join Stephanie Rozene and Paul Greenhalgh as they uncover the fascinating history behind the Terracotta Warriors—and discover why these silent guardians continue to captivate the world over two millennia after they were made. All artworks included in this episode are courtesy of: Creative Commons license Zero, Public Domain Dedication For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Joe Little Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: The Greatest Ceramic Project Ever 00:00:52 Discovery in 1974: Farmers Uncover a Lost Army 00:04:55 The Secret Keeper: Zhao Kangmin and the Cultural Revolution 00:08:11 Qin Shi Huang: The First Emperor of China 00:11:16 Fear of Death and the Quest for Immortality 00:13:09 Building an Army for the Afterlife 00:15:07 The Mausoleum Complex: The Size of Manhattan 00:22:41 Industrial Scale Ceramic Production 00:29:27 Individual Faces: Eight Types, Infinite Variations 00:34:38 Color and Paint: The Lost Vibrancy 00:39:43 The Emperor's Death and the Fall of Qin 00:42:04 Fire and Destruction: The Tomb Under Attack 00:43:39 Legacy: From Fear to Forever

Paul Greenhalgh and Stephanie Rozene travel to the American South at the end the 19th C to explore the life and work of George E. Ohr - otherwise known as the Mad Potter of Biloxi. Overlooked for much of his life this eccentric character worked tirelessly creating innovative, wild and exquisitely crafted art pottery. He was a renowned showman using slogans, banners and sales gimmicks to market his wares and was the self proclaimed "world's best art-potter". His life’s work remained undiscovered gathering dust in a garage for decades before an antiques dealer happened upon them in his son's auto shop. Today his legacy is firmly recognised as a founding father of the art pottery movement and there is a museum in his name, designed by Frank Gehry, in his hometown of Biloxi. Images of artworks and photographs in this episode: Pitcher, 1889-1910, George E. Ohr. Image courtesy of TheMET, N.Y. Vase (Blue/Twist), 1987-1900, George E. Ohr. Image courtesy of TheMET, N.Y. Vase (Red), 1895-1910, George E. Ohr. Image courtesy of TheMET, N.Y. Vase (pink/purple/pinched), 1897-1910, George E. Ohr. Image courtesy of TheMET, N.Y. Photo of George E. Ohr – The Mad Potter of Biloxi (1857-1918) Photo of George E. Ohr (1857-1918) – outside studio with signage Photo of George E. Ohr (1857-1918) – studio with “Greatest Potter on Earth” signage Photo of George E. Ohr (1857-1918) – inside studio with pots George E. Ohr, The Mad Potter of Biloxi. Harpers Magazine, 1892-1893 Burnt Babies, 1894, George E. Ohr Burnt Babies, 1894, George E. Ohr Vase (Red), 1895-96, George E. Ohr. Image courtesy of TheMET Tea Pot, 1897-1900, George E. Ohr. Image courtesy of TheMET Pitcher (Brown/Gold/Pinched), 1896, George E. Ohr. Image courtesy of TheMET Photo of George E. Ohr (1895-1918) - workshop Bowl (Green/Gold), 1897-1910, George E. Ohr. Image courtesy of TheMET Bowl (Pinched Clay), 1898-1910, George E. Ohr. Image courtesy of TheMET Vase (Black/Blue), 1900, George E. Ohr. Image courtesy of TheMET Vase (Red/Brown), 1890-1905, George E. Ohr. Image courtesy of TheMET Pitcher (Green), 1890-1905, George E. Ohr. Image courtesy of TheMet Clockface and Vase (Pink), 1898, George E. Ohr. Image courtesy of TheMET. (TBC) Photo of Ohr and O’Keefe Museum of Art in Biloxi, Mississippi – architect Frank Gehry. For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Credits: Hosts: Paul Greenhalgh & Stephanie Rozene Editor: Joe Little Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: The Mad Potter of Biloxi 00:04:20 Early Life and Civil War Era Biloxi 00:07:01 The Misfit: Education and Early Jobs 00:10:50 Discovery of Clay: The Duck Finds Water 00:12:04 Research Journey and Return to Biloxi 00:14:10 Building a Life: Marriage and Early Success 00:20:08 World's Fairs and the Great Biloxi Fire 00:26:26 The Golden Age: Reinvention and Masterworks 00:31:29 The Mad Potter Persona and World's Fair Recognition 00:38:51 Rejection and the End of Production 00:44:29 The 50-Year Wait and Miraculous Discovery 00:48:17 Legacy: From Forgotten to Greatest Potter on Earth

Stephanie Rozene and curator Garth Johnson pick up the story of Funk Art and look at the life and work of artist Clayton Bailey who would go on to form the breakaway movement called Nut Art. Taking ceramics into a new realm of world making, eccentricity and humour, Bailey would inhabit an alter egos, stage pranks with the press and take the museum world on an unexpected journey. 00:00 Introduction: Clayton Bailey and the Nut Artists 00:52 Peter Volkos and the Abstract Expressionist Revolution 02:32 Harvey Littleton, Clayton Bailey, and the Wisconsin Connection 04:12 The First Funk Object: Caterpillar with Flying Buttresses 10:01 The Night Pots: Sex, Function, and Subversion 08:38 Make It Ugly: Building a Ceramics Program in Whitewater 13:24 Connecting with Robert Arneson and Moving to California 17:23 The Vermilion Festival and Experimental Education 23:59 Port Costa and the Birth of Nut Art 25:47 World Building and Imagination: The Nut Art Aesthetic 28:10 Dr. Gladstone and the Science of Kaolism 31:54 The Bigfoot Discovery and Media Pranks 32:38 The Wonders of the World Museum 35:36 Performance Art and Compression Testing 37:52 Partner in Mischief: A Personal Relationship 44:06 Legacy: The Greatest Conceptual Ceramic Artist

Join Stephanie Rozene and guest Garth Johnson as they travel back to 1967 and the West Coast of America where an exhibition named Funk would showcase ceramics as a provocative art form. Using humour, satire, colour and form these Funk artists critiqued the world around them and changed ceramics forever. No longer utilitarian vessels - this was art that shocked. Artwork in this episode: Banded White Bottle, 1958, Robert Arneson Spouted Footed Vase, 1959, Robert Arneson No Deposit, No Return, 1961, Robert Arneson Jack and John Trophy, 1964, Robert Arneson His and Her’s, 1964 , Robert Arneson John with Art, 1964, Robert Arneson Typewriter #1 (Touch System) 1965, Robert Arneson Self Portrait of the Artists Losing His Marbles, 1965, Robert Arneson Alice House Wall, 1967, Robert Arnson Assassination of a Famous Nut Artist, 1971, Robert Arneson Portrait of George, 1981, Robert Arneson Other Images: Relax in Electric Chair (Dirty Guy),” 1965, Peter Saul Rocking Pot, 1956, Peter Voulkos, Hole in One, 1978, Peter Voulkos, Bottle, circa 1955. Antonio Prieto Fur Rat, 1962, Joan Brown Cakes, 1963, Wayne Thiebaud For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Fraser Watson Executive Producer: Emma Cahusac

How Art Nouveau transformed Parisian Architecture. In this episode we travel to France to meet Hector Guimard the father of French Art Nouveau and the sweeping organic forms that came to define one of the most exciting eras in European culture. We’ll be exploring how ceramic tiles became a key element in the architecture at the turn of the 19th and 20th centuries, and we venture underground, down into the Paris Metro where to this day tiles continue to reign supreme. Ceramics and artwork in this week’s episode include: Hector Guimard, 1867–1942 Café-Restaurant Au Grand Neptune, 1888, Hector Guimard Tassel House, Brussels, 1892—93, Victor Horta Photo: kat_hly.1608 / Wikimedia Commons (CC BY 2.0) Illustrations to Salome by Oscar Wilde, Aubrey Beardsley The Art Nouveau Bing Pavilion, Paris Exposition, 1900, Siegfried Bing Courtesy of V&A Museum Castel Béranger, 1895—98, Hector Guimard Wikimedia Commons (CC BY 1.0) Alexandre Bigot, 1862—1927 Photo: Absecon 59 / Wikimedia Commons (CC BY-SA 4.0) Inside Castel Béranger, 1895—98, Hector Guimard 29 Avenue Rapp, Paris, 1899—1901 Photo: marsupilami92 / Wikimedia Commons (CC BY 2.0) Photo: Pline / Wikimedia Commons (CC BY-SA 3.0) Maison Coilliot, 1898—1900 Illustrations to Salome by Oscar Wilde, Aubrey Beardsley Porte Dauphine Metro Station, Paris, 1900 Photo :Jean-Pierre Dalbéra / Wikimedia Commons (CC BY 2.0) Abbesses Metro Station, Paris, 1913 Hector Guimard — Andrzej O / Wikimedia Commons (CC BY-SA 4.0) Thesupermat / Wikimedia Commons (CC BY-SA 3.0) Porte Dauphine Metro Station, Paris, 1900 For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Alessandro Ruocco Executive Producer: Emma Cahusac Chapters: 00:00 Introduction: Hector Guimard and French Art Nouveau 00:25 Tile as Architecture: The Third Component of Ceramics 03:57 Guimard's Early Life and Training in the Decorative Arts 08:34 The 1889 Paris World's Fair and New Technologies 10:38 Travels to London and Brussels: Discovering Art Nouveau 12:54 Defining Art Nouveau: Curvilinear Lines and Organic Forms 18:06 Art Nouveau as the First Modernism 19:48 Castel Béranger: Guimard's First Major Building 22:03 The Golden Age of Tile: Technology and Innovation 29:43 Alexandre Bigot: The Chemistry Teacher Turned Ceramic Artist 36:17 Maison Coilliot: Ceramic Architecture in Lille 43:51 The Paris Metro Commission: Art for the People 46:55 Designing the Metro Stations: Cast Iron and Subway Tile 52:38 Controversy and Politics: Art Nouveau Under Fire 55:20 The Decline of Art Nouveau and Rise of Nationalism 1:00:23 Guimard's Later Years and Legacy

How did Wedgwood combine pottery with politics? Paul Greenhalgh is joined by Sir Tristram Hunt to discuss the life and work of potter and abolitionist Josiah Wedgwood who created one of the most famous ceramic companies in British history. Ceramics and artwork in this week’s episode include: Dinner Plate ‘Frog Service’, 1773, Josiah Wedgwood & Sons Courtesy of V&A Museum Plate ‘Frog Service’, 1773–1774, Josiah Wedgwood & Sons Courtesy of V&A Museum Portland Vase, 1790, Josiah Wedgwood & Sons Courtesy of V&A Museum Vase (Creamware), 1764–68, Josiah Wedgwood & Sons Courtesy of V&A Museum The Founding of Australia. By Capt. Arthur Phillip R.N., Sydney Cove, Jan. 26th 1788 Algernon Talmage Medallion, 1790–95, Josiah Wedgwood & Sons Courtesy of V&A Museum Vase (Black Basalt), 1775–80, Josiah Wedgwood & Sons Courtesy of V&A Museum Milk Jug, 1785—95, Josiah Wedgwood & Sons Courtesy of V&A Museum Saucer, 1795—1810 , Josiah Wedgwood & Sons Courtesy of V&A Museum Portrait Medallion, 1775–80, Josiah Wedgwood & Sons Courtesy of V&A Museum Vase, Circa 1800—10, Josiah Wedgwood & Sons Courtesy of V&A Museum Dancing Hours Plaque, 1778, Josiah Wedgwood & Sons and John Flaxman Courtesy of V&A Museum Dancing Hours Salt Cellar, 1786—90, Josiah Wedgwood & Sons and John Flaxman Courtesy of V&A Museum Vase, Circa 1800—10, Josiah Wedgwood & Sons Courtesy of V&A Museum Teapot and cover (Black Basalt), 1810, Josiah Wedgwood & Sons Courtesy of V&A Museum Bust (Black Basalt), 1770–80, Josiah Wedgwood & Sons Courtesy of V&A Museum Teapot (Caneware), 18th Century, Josiah Wedgwood & Sons Courtesy of V&A Museum Edward Gibbon, 1737–94 Portland Vase, Circa 1–25 AD Portland Vase, 1790, Josiah Wedgwood & Sons Courtesy of V&A Museum Josiah Wedgwood statue, Stoke-on-Trent, 1862–3, Edward Davis Anti-slavery medallion, Circa 1787, Josiah Wedgwood & Sons Courtesy of V&A Museum For more great art content visit www.heni.com or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Alessandro Ruocco Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: Josiah Wedgwood - Turning Pottery into Politics 00:01:32 The London Shop and Marketing Genius 00:04:26 Art Meets Commerce: Wedgwood's Philosophy 00:06:12 Global Ambition: 80% Export Market 00:11:29 Countering Porcelain: Creamware vs European Tradition 00:13:09 Black Basalt and the Innovation of Jasperware 00:15:40 John Flaxman and Ceramics as High Art 00:20:03 The Portland Vase: Artistic Triumph and Commercial Challenge 00:22:03 Free Trade and Empire: A Businessman's Contradictions 00:24:34 Radical Patriotism: Politics and Revolution 00:29:24 The Abolition Badge: Pottery Against Slavery 00:35:37 Legacy and Decline: After Josiah's Death in 1795 00:40:27 The Wedgwood Brand: Surviving 200 Years of Mismanagement 00:43:16 Conclusion: Wedgwood's Enduring Importance to Ceramic History

How did Wedgwood create one of the most famous ceramic companies in British history? And what fueled his obsession with science and experimentation? Join Paul Greenhalgh is joined by Sir Tristram Hunt to discuss 18th century England and the life and work of potter, scientist and abolitionist in part 1 of a 2 part series on Josiah Wedgwood. Ceramics and artwork in this week’s episode include: Josiah Wedgwood, 1730—17 Soup Tureen with Lid (Creamware), Circa 1770—80, Josiah Wedgwood & Sons Terrine With Lid and Saucer (Creamware), Circa 1800—15, Josiah Wedgwood & Sons Platter (Creamware), Circa 1780., Josiah Wedgwood & Sons The First Day's Vase (Black Basalt), 1769, Josiah Wedgwood & Sons Courtesy of V&A Museum Dinner Plate ‘Frog Service’, 1773, Josiah Wedgwood & Sons Courtesy of V&A Museum Platter ‘Frog Service’, 1773—74, Josiah Wedgwood & Sons Courtesy of V&A Museum Plate ‘Frog Service’, 1773—74, Josiah Wedgwood & Sons Courtesy of V&A Museum "To see this and all our episodes go to heni.com/thehistoryofceramics or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks" Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Alessandro Ruocco Executive Producer: Emma Cahusac

In this episode Paul and Stephanie discuss how Louis XV and Madame de Pompadour, and Louis XVI and Marie Antoinette's passion for porcelain created one of the most famous and revered names in the history of ceramics, Sèvres. Ceramics and artwork in this week’s episode include: Tureen (Japanese Kakiemon style), 1725–51, Chantilly Porcelain Manufactory Wikimedia Commons (CC BY-SA 3.0) Tureen, 1749–50, Vincennes Porcelain Manufactory Wikimedia Commons (CC BY-SA 3.0) Madame de Pompadour, 1756, François Boucher Wikimedia Commons (CC BY-SA 3.0) Madame de Pompadour, 1759, François Boucher Postcard – Sèvres – National Sèvres Manufactory – Gilding Workshop Wikimedia Commons (French Open Licence 1.0) Dinner Plate, 1788, Sèvres Porcelain Manufactory Tureen (Rococo Style), 1758, Sèvres Porcelain Manufactory Courtesy of The Met Collection Bleu Céleste Vase, 1779, Sèvres Porcelain Manufactory Walters Art Museum, via Wikimedia Commons (CC BY-SA 3.0) Louis XVI and Marie Antoinette, Circa 1890 Charles Louis Müller Wikimedia Commons (CC BY 4.0) Bleu Céleste Dinner Plates (Manchester Service), 1776–83, Sèvres Porcelain Manufactory The Louis XVI Dinner Service, 1783—93 , Sèvres Porcelain Manufactory "To see images of the artworks in this episode go to heni.com/thehistoryofceramics or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks" Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Alessandro Ruocco Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: Power, Porcelain and Prestige at Sèvres 00:02:02 The European Porcelain Race and France's Soft-Paste Experiments 00:07:07 The Birth of Vincennes: Defectors and Royal Patronage 00:09:25 Madame de Pompadour: The Power Behind Sèvres 00:13:30 The Move to Sèvres and Royal Ownership 00:14:43 Inside the Sèvres Factory: Division of Labor and Craftsmanship 00:24:42 The Rococo Style: Opulence and Decadence 00:27:38 Porcelain as Diplomatic Currency: The Bedford and Manchester Services 00:31:46 Louis XVI and Marie Antoinette Take the Throne 00:40:10 The Most Extravagant Service Ever Made 00:45:59 Revolution and the Fall of the Monarchy 00:48:44 Sèvres Survives: From Royal to National Manufactory 00:52:40 Napoleon and the Continuing Legacy of Sèvres

How did an alchemist discover the recipe for porcelain? And why did his discovery ultimately drive him mad? Join Paul Greenhalgh and Stephanie Rozene as they pick up the story of Europe’s obsession with porcelain and the race to discover its secret formula. Stranger than fiction this is another great story in the history of ceramics. Ceramics and artwork in this week’s episode include: King Augustus II the Strong, 1670–1733 Johann Friedrich Böttger, 1682–1719 Friedrich Zorn, 1711–89 King Frederick I of Prussia, 1657–1713 Ehrenfried Walther von Tschirnhaus, 1651–1708 Plate, Circa 1730–35, Meissen Manufactory Courtesy of The Met Collection Vase with cover, 1725, Meissen Manufactory Courtesy of The Met Collection Vase, 1710 –13, Meissen Manufactory Courtesy of The Met Collection Tea caddy, 1710 –13, Meissen Manufactory To see images of the artworks in this episode go to heni.com/thehistoryofceramics or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Chapters 00:00:00 Introduction: The Race for Porcelain Continues 00:02:21 Augustus the Strong: The Porcelain-Obsessed Ruler 00:06:37 Enter Johann Friedrich Böttger: The Young Alchemist 00:12:11 The Fateful Demonstration and Escape to Saxony 00:15:12 Imprisoned by Augustus: The Gold House Laboratory 00:19:13 Ehrenfried Walther von Tschirnhaus: The Scientific Mind 00:20:44 Dark Days: Failed Promises and Attempted Escape 00:28:41 The Turning Point: Discovery of Kaolin 00:31:41 The Breakthrough: Creating European Porcelain 00:41:46 Freedom and Legacy: Böttger's Final Years 00:44:51 The Ironic Twist: China's Secrets Revealed

How did Europe become obsessed with porcelain? And who would win the race to discover the secret formula for this “white gold?” In this episode Paul Greenhalgh and Stephanie Rozene travel from Marco Polo’s China to the courts and palaces of Europe, where this mysterious material bewitched all those that encountered it. Artworks featured in this episode: King Louis XIV King William III & Queen Mary II A late 17th-century engraving of a porcelain room in the style popularised by Mary II Courtesy of The Met Collection Porcelain Room, Charlottenburg Palace, Berlin, Germany Marco Polo Unglazed Ewer (Earthenware) 9th–10th century Courtesy of The Met Collection Francesco de' Medici, 1541—87 Bowl with Variation of 'Baba Nakkas' Design, Circa 1500—25 Courtesy of The Met Collection Iznik Mosque Lamp (Turkey) 1585—95 Courtesy of The Cleveland Museum of Art Potpourri jar (France)Circa 1690—95 Courtesy of The Met Collection Terracotta Jug, Circa 1400–1190 BC Courtesy of The Met Collection Maiolica Plate (Italy), Circa 1500 Courtesy of The Met Collection Handled Vase (Spain), 17th Century Rouen Faience Jug (France), Circa 1720 - Wikimedia Commons (CC BY-SA 3.0) Pilgrim Flask (Italy), Circa 1580, Medici Porcelain Manufactory King Augustus II the Strong, 1670–1733 To see images of the artworks in this episode go to heni.com/thehistoryofceramics or visit the Heni Talks YouTube channel: www.youtube.com/@HENITalks Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Alessandro Ruocco Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: White Gold - The Race for Porcelain 00:01:00 Porcelain Fever: Europe's Obsession with China 00:04:12 The Magical Properties of Porcelain 00:06:20 Status Symbol of Monarchs: Porcelain Rooms and Collections 00:08:34 The Portuguese Trade Route and China's Monopoly 00:09:57 Marco Polo and the Mystery of Porcelain 00:15:02 What Porcelain Actually Is: The Science Revealed 00:19:04 Early European Attempts: Medici Porcelain and Soft Paste 00:21:36 The Failed Experiments: Grinding Shells and Burying Clay 00:25:58 Tin Glaze Traditions: Maiolica, Faience, and Delftware 00:30:02 The Race Intensifies: Setting Up for Discovery

Why were Korean potters kidnapped and held hostage by Japanese invaders? And how did they transform the history of Japanese ceramics? In this episode Paul Greenhalgh and Stephanie Rozene explore the complicated relations between Korea and Japan in the 16th and 17th centuries, and show how ceramics became a major factor in the bitter conflict between the two of them during what has become known as the Ceramic Wars. Ceramics and artwork in this week’s episode include: Maebyeong Vase, Late 13th Century Stoneware carving and filling with white and black slip. Toyotomi Hideyoshi (Cropped) - Wikimedia Commons Toyotomi Hideyoshi, Kodai Temple - Wikimedia Commons Toyotomi Hideyoshi on his horse - Wikimedia Commons Wine Ewer, First half of the 13th Century Shigaraki climbing kiln - Wikimedia Commons (CC BY-SA 3.0) Water Jar, 17th Century Noborigama, Tokoname - Wikimedia Commons Raku Tea Bowl, Circa 1600 Ko Tamba Ware Water Jar, Mid 1500’s Shigaraki Ware Vessel, 15th Century Arita Ware Hexagonal Jars, Late 17th Century Shigaraki Ware Vessel, 15th Century Dish Depicting Lady with a Parasol, 1734—1737 Hagi Ware Tea Bowl, 19th Century - Freer Gallery of Art, Wikimedia Commons Hagi Ware Tea Bowl, 20th Century - Wikimedia Commons (CC BY-SA) "To see images of the artworks in this episode go to heni.com/thehistoryofceramics or visit the HENI Talks YouTube channel: www.youtube.com/@HENITalks" Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Alessandro Ruocco Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: The Ceramic Wars 00:01:05 East Asia in the 16th Century: Three Powers 00:03:55 Korean Ceramics: The Beauty of Seladon 00:09:33 Japanese Ceramics Before the Wars 00:09:54 Toyotomi Hideyoshi and the Unification of Japan 00:15:10 The Japanese Invasions of Korea Begin 00:18:31 The Enslavement of Korean Potters 00:20:02 Korean Potters Transform Japanese Ceramics 00:23:08 Arita: The Birth of Japanese Porcelain 00:26:59 Satsuma Ware and Korean Innovation 00:30:54 Hagi Ware and the Tea Ceremony 00:37:15 Legacy and Lasting Tensions

How did Picasso discover pottery? And how did he transform the fortunes of an ancient town in the process? Join Paul Greenhalgh and Stephanie Rozene to discuss Picasso’s life in the South of France just after the Second World War where he found a new and exciting creative outlet bringing together painting and sculpture and in doing so transformed the history of art. Ceramics and artwork in this week’s episode include: Guernica, 1937 by Pablo Picasso Head Plate, 1957 by Pablo Picasso "Tete au Masque" Plate, 1956 by Pablo Picasso Owl Pitcher, 1957 by Pablo Picasso Three Sardines, 1947 by Pablo Picasso Bull In The Arena, 1948 by Pablo Picasso Vase with Two High Handles, The Queen, 1953 by Pablo Picasso To see images of the artworks in this episode go to heni.com/thehistoryofceramics or visit the HENI Talks YouTube channel: www.youtube.com/@HENITalks Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Alessandro Ruocco Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: Picasso the Potter 00:00:53 The Dark Years: Picasso During World War II 00:05:27 Discovering Vallauris: A Holiday That Changed Everything 00:07:41 The Madoura Pottery and First Experiments 00:11:23 Working with Clay: Technique and Collaboration 00:14:04 Picasso's Ceramic Vocabulary 00:22:11 Domestic Life and the South of France 00:28:10 Jacqueline Roque and New Beginnings 00:31:42 Revitalizing Vallauris: Community and Legacy 00:34:29 What Picasso Did for Ceramics

Who created the Mona Lisa of American Ceramics? And how was it stolen from under the noses of museum guards? In this episode Paul Greenhalgh and Stephanie Rozene travel to the American Gilded Age at the end of the 19th C to discuss the life and work of Adelaide Alsop Robineau, the pioneering potter who fought to make her own work her own way, and went on to win the top prize at the prestigious World’s Fair, putting American ceramics on the map. Ceramics and artwork in this week’s episode include: Cup with beetles, 1901 by Adelaide Alsop Robineau Courtesy of The Met Collection Vase (Crystalline)1910 by Adelaide Alsop Robineau Courtesy of the Everson Museum of Art Staff of the University City Pottery and Art Institute, 1910 Courtesy of the Everson Museum of Art Archives Scarab Vase, 1910 by Adelaide Alsop Robineau Courtesy of the Everson Museum of Art Cinerary Urn, Circa 1929 by Adelaide Alsop Robineau Courtesy of the Everson Museum of Art Stolen Art Alert Poster International Foundation for Art Research Courtesy of the Everson Museum of Art Archives To see images of the artworks in this episode go to heni.com/thehistoryofceramics or visit the HENITalks YouTube channel: www.youtube.com/@HENITalks Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Alessandro Ruocco Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: Adelaide Alsop Robineau and the Scarab Vase 00:01:37 America's Gilded Age and the Rise of Art Pottery 00:03:10 Adelaide's Early Life 00:04:56 China Painting: A Technical Note 00:07:20 Meeting Samuel Robineau and Starting Keramic Studio Magazine 00:09:25 Syracuse: A Hub of the Arts and Crafts Movement 00:11:37 The Magazine Empire and Teaching Women 00:16:47 The Radical Switch from China Painting to Porcelain 00:21:50 Learning from Taxile Doat: Porcelain Secrets Revealed 00:25:10 Mastering Crystalline Glazes 00:29:30 The First Female Studio Potter Working in Porcelain 00:30:19 University City and the Dream Team of Potters 00:32:58 Creating the Scarab Vase: 1000 Hours of Carving 00:38:38 Catastrophic Cracks and Miraculous Repair 00:41:35 The Grand Prix at Turin 1911 00:43:30 Return to Syracuse and Teaching Legacy 00:45:02 Final Years and the Funerary Urn 00:49:08 The Great Scarab Vase Heist of 1989 00:52:27 Recovery: David Rago and the Polaroid Evidence 00:56:15 Adelaide's Legacy: Never Lacking in Self-Confidence

What was the first piece of pottery that humans ever made? What does it reveal about our earliest ancestors? In this episode Paul Greenhalgh and Stephanie Rozene travel back to the earliest civilisations to find out how they created the very first ceramic objects and what that meant to the story of mankind. Ceramics and artwork in this week’s episode include: Venus of Dolní Věstonice, 29,000—25,000 BC Vestonicka venuse edit by Petr Novák, Wikipedia Source - https://commons.wikimedia.org/wiki/File:Vestonicka_venuse_edit.jpg For the full legal code, see the Creative Commons Attribution-ShareAlike 2.5 Generic license. https://creativecommons.org/licenses/by-sa/2.5/legalcode.en Vestonicka venuse back by Petr Novák, Wikipedia Source - https://commons.wikimedia.org/wiki/File:Vestonicka_venuse_back.jpg For the full legal code, see the Creative Commons Attribution-ShareAlike 2.5 Generic license. https://creativecommons.org/licenses/by-sa/2.5/legalcode.en Fire-Flame Cooking Vessel, 2750—2500 BC Deep Vessel with Decorative Handles, 3500—2500 BC Met Museum Bell Beaker, 2475–1800 BC Bell Beaker Rijksmuseum of Oudheden by Gary Todd Source - https://commons.wikimedia.org/wiki/File:Bell_Beaker_Rijksmuseum_of_Oudheden.jpg For the full legal code, see the Creative Commons Attribution ShareAlike 3.0 Unported https://creativecommons.org/licenses/by-sa/3.0/deed.en To see images of the artworks in this episode go to heni.com/thehistoryofceramics or visit the HENI Talks YouTube channel: www.youtube.com/@HENITalks Hosts: Paul Greenhalgh & Stephanie Rozene Additional Research: Catherine Ingram Editor: Alessandro Ruocco Executive Producer: Emma Cahusac Chapters 00:00:00 Introduction: How Ceramics Changed History 00:02:13 Clay vs Ceramic 00:04:50 The Oldest Writing About Potters 00:06:58 The Venus of Dolni Vestonice: The First Ceramic Object 00:12:41 How Early Societies Discovered Ceramic Technology 00:15:32 The First Pots: From China to Japan 00:17:58 The Jomon People 00:19:24 Jomon Pots: Decoration, Function, and Meaning 00:25:01 Fire, Food, and Transformation 00:25:57 Nomadic Potters 00:32:00 Pottery as Archaeological Evidence 00:33:12 The Bell Beaker People of Britain 00:35:25 Ceramics as a Mark of Civilization 00:37:21 An Ancient Technology Still in Use Today

The History of Ceramics brings together British art historian & curator Paul Greenhalgh and U.S. maker and academic Stephanie Rozene as they reveal the most compelling and often surprising stories from this often-overlooked corner of art history.  Travelling around the world and through time, from the very first shards that shed light on early civilizations, to stories of power, political intrigue and espionage.  Famous artists, extraordinary characters, pioneers and rebels from the world of pottery, architecture and design who have all played a role in elevating ceramics to the heart of the art world but also into the homes and lives enthusiasts right around the globe.  Full of revelation, insight and practical expertise, The History of Ceramics offers an alternative history to our times.