Academic literature on the topic 'Art pottery'
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Journal articles on the topic "Art pottery"
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Lykova, Oksana. "The Formation of the Personal Collection of Ivan Bilyk at the National Museum of Pottery." Ethnic History of European Nations, no. 73 (2024): 127–32. http://dx.doi.org/10.17721/2518-1270.2024.73.16.
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The outstanding Opishnia potter Ivan Bilyk devoted his whole life to the production of pottery. His work has been awarded numerous prizes, diplomas, certificates, medals. He is one of the three potters from Opishnia whose work was awarded the Taras Shevchenko State Prize of Ukraine in 1999. Ivan Bilyk was born in the family of a shoemaker, although his grandfather was a potter. The boy went through a long way of learning the pottery craft – in other potters, in educational institutions, at the enterprise. The master’s personal life also seemed difficult (illnesses, injuries during the Second World War, which caused disability). For many years, Ivan Bilyk worked at the «Art Ceramics» plant as a creative master of the artistic and experimental creative laboratory. He produced everything that local`s potters created – various tableware, zoomorphic sculpture, plates, vases for the floor, children’s toys, etc. The image of a lion became a favorite image in Ivan Bilyk’s creative works. The master repeatedly claimed that he was the author of the zoomorphic sculpture «Lion». It was this image that brought the potter world recognition at the international biennial in Faenza (Italy). In Ivan Bilyk’s personal collection of ceramics in the National Museum of Pottery, lion sculptures make up a third of all available zoomorphic sculptures in the collection. Today, most of Ivan Bilyk’s products are concentrated in the National Museum-Reserve of Ukrainian Pottery in Opishnia. This collection has about 300 storage units. The personal collection illustrates all the creative diversity of the potter. In the article, against the background of Ivan Bilyk’s biographical facts, the main events that influenced the formation of his personal collection in the National Museum of Pottery are determined. The time frames for the production of the existing products are outlined. Separate form-forming and decorative changes in the potter’s works have been traced.
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Espenshade, Christopher T. "Mimbres Pottery, Births, and Gender: A Reconsideration." American Antiquity 62, no. 4 (October 1997): 733–36. http://dx.doi.org/10.2307/281893.
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In their 1996 article, Hegmon and Trevathan argue that the nature of birth scenes depicted on Mimbres pottery bowls provides insight into the gender of the pottery painters. Specifically, they argue that the birth position illustrated is extremely uncommon, suggesting that the potter(s) had not had exposure to birth episodes. Hegmon and Trevathan conclude that the potters were male. Their arguments are flawed by faulty premises and a severe misunderstanding of the nature of Mimbres art. A review of the evidence regarding birth-depiction bowls indicates that the images do not imply either male or female potters.
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Tharu, Manoj Kumar. "Kohar, the Potters of Terai: An Ethnicity Sustaining the Art of Pottery." East African Journal of Traditions, Culture and Religion 7, no. 1 (February 18, 2024): 1–13. http://dx.doi.org/10.37284/eajtcr.7.1.1761.
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Potters are artists, and pottery is an ancient art of making artifacts from clay. The earthenware mainly includes items like lamps, pots, idols, etc., which are baked in fire and have been used in day-to-day activities, including cooking, decorations, and religious functions since the earliest date of human civilization. This paper is based on the descriptive method and aims to assess the traditional lifestyle of Kohar, the potter community in the Terai of Nepal. The direct interview was conducted with active pot makers residents of Rupandehi district, Nepal, to know they utilize what raw materials and equipment, what procedures for making a typical pottery are, what kinds of general earthenware are being produced, and what current difficulties affecting their tradition and culture. This cross-sectional study was conducted on the occasion of Dipawali, a Hindu festival in November 2023, and leads to the conclusion that the Kohar community of Nepal is encountering issues like shortage of quality soil, lack of market, and decreased interest of new generation in the pottery
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Tsoumas, Johannis. "Traditional Japanese pottery and its influence on the American mid 20th century ceramic art." Matèria. Revista internacional d'Art, no. 18-19 (September 16, 2021): 139–53. http://dx.doi.org/10.1344/materia2021.18-19.6.
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The Japanese ceramic tradition that was to emerge along with other forms of traditional crafts through the Mingei Movement during the interwar period, as a form of reaction to the barbaric and expansive industrialization that swept Japan from the late nineteenth century, brought to light the traditional, moral, philosophical, functional, technical and aesthetic values that had begun to eliminate. Great Japanese artists, art critics and ceramists, such as Soetsu Yanagi and Shōji Hamada, as well as the emblematic personality of the English potter Bernard Leach, after caring for the revival of Japanese pottery, believed that they should disseminate the philosophy of traditional Japanese pottery around the world and especially in the post-war U.S.A. where it found a significant response from great American potters and clay artists, but also from the educational system of the country. This article aims to focus precisely on the significant influence that postwar American ceramic art received from traditional Japanese pottery ideals. The author in order to document the reasons for this new order of things, will study and analyze the work of important American potters and ceramic artists of the time, and will highlight the social, philosophical and cultural context of the time in which the whole endeavor took place.
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Lykova, Oksana. "Сlay «Horses» by Mykhailo Kytrysh." Ethnic History of European Nations, no. 65 (2021): 36–40. http://dx.doi.org/10.17721/2518-1270.2021.65.04.
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The outstanding Opishne potter Mykhailo Kytrysh devoted his whole life to the production of pottery. His work has been awarded numerous prizes, diplomas, certificates, medals. The potter paid considerable attention to the creation of zoomorphic sculpture, in particular «horses». This is a favorite work of the potter, which he reproduced throughout his career. Emphasis is placed on changing the proportions and decor of these products (glued and the use of colored glazes). For analysis, a personal collection of potter’s pottery from the funds of the National Museum of Ukrainian Pottery in Opishne and a private collection of pottery of the Kytrysh family were taken. For comparison, photos of Mykhailo Kytrysh’s products from private archives and various publications were used. The article traces the transformation of Mykhailo Kytrysh’s «horses». The image of the “horse” runs through all the works of the author. The potter turned to him not by chance. When he came to work at the Art Ceramics Factory, Mykhailo Kytrysh first carried clay on a horse, which became a true friend to his husband and was remembered for a lifetime. The first known zoomorphic sculpture «horse» dates back to 1962, the last – 2007. Since Mychailo Kytrysh did not specialize in decorating products with engobes, and horses decorated with paintings, in his legacy is not found. The master focused on the glued decor and color glazes. The development of Mykhailo Kytrysh’s creative handwriting was influenced by several factors. In 1971, an art-experimental creative laboratory was established at the Art Ceramics Factory. Mykhaylo Kytrysh became one of her creative masters. In his free time he worked at home, so he could experiment with molds, glazes, without worrying about factory norms and standards. In addition, the potter constantly participated in various exhibitions, which required a variety of forms. All this contributed to the improvement and diversification of the image of the «horse», as well as other products
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Lykova, Oksana. "Development of individual creative style of potter Mykhailo Kytrysh." Ethnic History of European Nations, no. 67 (2022): 98–102. http://dx.doi.org/10.17721/2518-1270.2022.67.12.
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The outstanding Opishnia potter Mykhailo Kytrysh devoted his whole life to the production of pottery. His work has been awarded numerous prizes, diplomas, certificates, medals. For many years, Mykhailo Kytrysh worked at the Art Ceramics Factory as a creative master of the art-experimental creative laboratory, which was founded thanks to the efforts of Petro Ganzha in 1971. Working in the laboratory gave more time for creativity. The master had the opportunity to conduct various experiments with the form and decor of products. However, there were rules and plans for the manufacture of products, as in all others. Mykhailo Kytrysh is one of the few local potters who has had his own workshop at home since the 1970s. At the same time, with the help of local potter Joseph Sulym, he built a kiln for firing pottery. This to some extent contributed to the formation of the individual style of the master. In his free time he worked at home, so he could experiment with forms, glazes, without worrying about factory norms and standards. According to the potter, he has not missed a single exhibition since he had kiln, which has helped to popularize his art. One of the reasons for appearance of the workshop and the kiln by Mykhailo Kytrysh was the fact that he was overlooked when the first Opishnia’s potters were admitted to the Union of Artists of Ukraine. One of the reasons for the appearance of the horn by Mykhailo Kytrysh was the fact that it was overlooked when the first Opishnia potters were admitted to the Union of Artists of Ukraine. Mykhailo Kytrysh was admitted to the Union for the second time in 1971. The potter decided that he would work independently and would not depend on anyone in the future. Thanks to the opportunity to work at home without the guidance of management, Mykhailo Kytrysh developed his own creative style in the art of ceramics. His works are unique due to a unique way of decorating – a combination of different color glazes.
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Peters, Edem Etim, and Ruth Mataba Gadzama. "Influence of British Pottery on Pottery Practice in Nigeria." European Journal of Engineering Research and Science 4, no. 6 (June 12, 2019): 19–24. http://dx.doi.org/10.24018/ejers.2019.4.6.1254.
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The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
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Peters, Edem Etim, and Ruth Mataba Gadzama. "Influence of British Pottery on Pottery Practice in Nigeria." European Journal of Engineering and Technology Research 4, no. 6 (June 12, 2019): 19–24. http://dx.doi.org/10.24018/ejeng.2019.4.6.1254.
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The pottery narratives of Nigeria majorly linked with the activities of a great British potter Michael Cardew who Established pottery centres in Nigeria, and trained many Nigerians in Pottery. Cardew studied under Bernard Leach (1887 – 1979) who travels extensively and taught pottery around the world.Leach studied pottery under Master Kenzan VI in Japan and returned to England in 1920 to establish his own pottery at St. Ives with Shoji Hamada. The impact in pottery created by Cardew in Nigeria from 1950 is a direct British Pottery influence imparted to him by leach at St. Ives. A British potter and artist, Kenneth C. Murray studied pottery under Bernard Leach at St. Ives in 1929 and returned back to Uyo in Nigeria to produce and teach students pottery. Murray produced pottery wares from the Kiln he built at Uyo and took his students to exhibit the ware along with other art works at Zwember gallery (Britain) in 1937. Chief Adam Joshua Udo Ema also studied pottery in 1949 in Britain and later returned to work as a pottery officer at Okigwe Pottery centre as well as established three pottery centres in Nigeria Namely; Ikot Abasi Pottery centre at Etinan, Pottery centre at Mbiafun Ikono, and pottery centre at Ikot Ntot in Abak. Many other Nigerian studied pottery in Nigeria. Lady Kwalii pottery experience was influenced by Michael Cardew. Her pottery influence seen pottery products exhibited in various parts of the world depicted a coordination of Niger and British Pottery influences. A case study design is considered for methodological approach. Data were taken from primary and secondary sources and analyzed respectively. British influence on Nigeria is indeed outstanding.
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Rakhno, Kostiantyn. "Small Genres of Pottery Folklore in the Published Works of the Institute of Art Studies, Folklore and Ethnography in the 1950s – Early 1960s." Materìali do ukraïnsʹkoï etnologìï, no. 20 (23) (December 20, 2021): 167–74. http://dx.doi.org/10.15407/mue2021.20.167.
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Extermination of a whole range of academicians together with a number of specialized institutions and organizations, practice of suppression of their achievements and science submission to the ideology could not help but be affected negatively the state of ceramological studies. After World War II, the Ukrainian Soviet science has been dominated solely by the Art Studies approach to the pottery research with its inherent interpretation of the spiritual culture as something secondary, inconsequential and contrasted to artistic, technological, social, economic, biographical aspects primarily. It has caused the loss of scientific traditions started by several generations of ethnologists, folklorists, mythologists and culturologists. The specialists in Art Studies and Ceramology only occasionally have paid attention to craftsmen folklore, subsequently losing numerous possibilities to study it when handicraft production and memories on it starts to disappear. Still, compilation and publication of folklore works about potters, pottery traders, wirers and earthenware have been continued in spite of all the obstacles. Due to the Institute of Art Studies, Folklore and Ethnography of the Academy of Sciences of the Ukrainian Soviet Socialist Republic chaired by Maksym Rylskyi, the head of the Writers’ Union of the Ukrainian SSR, a neoclassical poet, an academician of the AS of the Ukrainian SSR, a circle of folklore collectors has been formed uniting professional folklorists, educational specialists, figures of culture and art, writers. The emergence of the academic book series Ukrainian Folk Art and a popular series Library of the Ukrainian Oral Folklore is considered as an important success introducing new or previously unpublished archive texts about potters, pottery traders, wirers, earthenware. They have enriched greatly the source base of ceramological studies. Valentyna Bobkova, Fedir Lavrov, Halyna Sukhobrus, Yosyp and Alla Bahmut, Ivan Berezovskyi have paid attention to small forms of folklore such as proverbs, sayings, riddles about potters and pottery craft. These editions of phraseologisms and riddles manifesting richness and inexhaustibility of the folk language have influenced significantly the development of the Ukrainian literature of that time, in particular the genre of bizarre prose.
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Maistruk, N. "EDUCATIONAL AND PROFESSIONAL POTENTIAL OF POTTERY CENTERS AND SCHOOLS IN UKRAINE." Ukrainian professional education, no. 9-10 (September 7, 2021): 122–29. http://dx.doi.org/10.33989/2519-8254.2021.9-10.263617.
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Based on historical material, the article examines the current issue of researching the educational and professional potential of pottery centers and schools in Ukraine in the context of the problems of training specialists in decorative and applied art in educational institutions of our country in the 80s of the 20th century – at the beginning of the 21st century. Based on the study of a complex of diverse sources, it was found that traditional pottery centers were formed in the following regions: Kyiv Oblast, Kharkiv Oblast, Poltava Oblast, Chernihiv Oblast, Podillia, Kherson Oblast, Volyn, Halychyna, Hutsul Oblast, Transcarpathia. Each of these centers had unique signs of technology techniques, decoration, design, name, and shape of products. At the same time, the long-standing leading educational and professional trend in the formation and development of folk pottery in Ukraine was training masters of decorative and applied art directly by well-known potters. Workshop schools, art and industrial schools, vocational and technical schools, artillery schools, workshops of folk art, art schools, etc., were founded later at the end of the 19th – at the beginning of the 20th century. Those institutions, i. e., Poltava Pottery School-Workshop, Myrhorod Ceramic Technical School, Opishne Vocational Technical School - Opishne Factory «Artistic Ceramics,» Mezhehirsk Ceramic School-Workshop – Technological Institute of Ceramics and Glass, Kyiv Central Experimental Workshop of Folk Art at the State Museum of Ukrainian Art, Kyiv Art and Industrial Technical School, accumulated rich experience in training high-quality ceramic artists. It was found that in the 80s of the 20th century, the training of decorative and applied art specialists was started by culture colleges.
Dissertations / Theses on the topic "Art pottery"
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Moore, Fergus P. "Pottery art as relationship /." Diss., Columbia, Mo. : University of Missouri-Columbia, 2005. http://hdl.handle.net/10355/4294.
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Thesis (M.F.A.)--University of Missouri-Columbia, 2005.The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file viewed on (July 10, 2006) Vita. Includes bibliographical references.
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Stumpf, Jonathan Lee. "Pottery In Everyday Life." Kent State University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=kent1272910473.
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Anthony, Janice C. "The challenge of functional art /." Online version of thesis, 1986. http://hdl.handle.net/1850/8843.
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Ballard, Daniel Isaiah. "Traditional Pottery in Ghana." Digital Archive @ GSU, 2007. http://digitalarchive.gsu.edu/art_design_theses/19.
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Davis, Emily Elizabeth. "The pottery notebook of Maude Robinson a woman's contribution to art pottery manufacture, 1903-1909 /." Access to citation, abstract and download form provided by ProQuest Information and Learning Company; downloadable PDF file, 155 p, 2007. http://proquest.umi.com/pqdweb?did=1397899441&sid=4&Fmt=2&clientId=8331&RQT=309&VName=PQD.
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Thesis (M.A.)--University of Delaware, 2007.Principal faculty advisors: J. Ritchie Garrison and Ronald W. Fuchs, II, Winterthur Program in Early American Culture. Includes bibliographical references.
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Waite, Sally Ann. "Representing gender on Athenian painted pottery." Thesis, University of Newcastle Upon Tyne, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.327231.
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Bothamley, Ryan J. "Pottery, the multi-sensual medium /." Online version of thesis, 2010. http://hdl.handle.net/1850/11887.
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Atkins, Ashley. "Pamunkey Pottery and Cultural Persistence." W&M ScholarWorks, 2009. https://scholarworks.wm.edu/etd/1539626585.
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Ifejika-Obukwelu, Kate Omuluzua. "Igbo pottery in Nigeria : issues of form, style and technique /." Access Digital Full Text version, 1990. http://pocketknowledge.tc.columbia.edu/home.php/bybib/10939362.
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Fadorsen, Stephanie Alexandra. "American Art Pottery: Ohio's Influence on Transforming a Local Craft into a World Renowned Fine Art." Kent State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=kent1342890450.
Full textBooks on the topic "Art pottery"
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Hart, Clive W. Linthorpe art pottery. Cleveland (54 Church Sq., Ginsborough, Cleveland): Aisling, 1988.
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Bartlett, John A. British ceramic art: 1870-1940. Atglen, Pa: Schiffer Publishing, 1993.
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Gifford, David Edwin. Arkansas art pottery bibliography. [Conway, Ark.]: University of Central Arkansas, Archives and Special Collections, 1989.
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Clark, Garth. The potter's art: A complete history of pottery in Britain. London: Phaidon Press, 1995.
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Moeran, Brian. Folk art potters of Japan: Beyond an anthropology of aesthetics. Honolulu, Hawaii: University of Hawai'i Press, 1997.
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Forster, Ken. Biographies in American ceramic art: 1870-1970. Atglen, Pa: Schiffer Pub., 2010.
Find full textBook chapters on the topic "Art pottery"
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Mallinson, Jonathan. "Introduction: William Moorcroft, Potter." In William Moorcroft, Potter, 1–6. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.16.
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This sketches the distinctive individuality of William Moorcroft, one of the most celebrated and original potters of the early twentieth century. An active designer, ceramic chemist and manufacturer, he is seen to be different from contemporary ‘art potters’ who tended to be either decorators or chemists, but not both. From the start of his career he was recognised as a potter like no other, but this distinctiveness has been eroded in modern assessments which present him as a manufacturer rather than an artist, and his pottery as a trading commodity rather than as personal expression. This book seeks to recover that very individual potter.
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Wang, Keping. "The Pottery and Bronze Art." In Beauty and Human Existence in Chinese Philosophy, 13–32. Singapore: Springer Singapore, 2021. http://dx.doi.org/10.1007/978-981-16-1714-0_2.
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Mallinson, Jonathan. "Conclusion: Individuality by Design." In William Moorcroft, Potter, 357–68. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.15.
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If Moorcroft is rarely considered in books on twentieth-century pottery, it is largely because he falls outside the categories of ‘studio potter’ or ‘ceramic designer’ as commonly conceived. It is significant that he was described in one obituary as a ‘post-Morrisite’. If Morris’s legacy was being sensed both in industrial modernism (by Pevsner) and in the revival of craft (by Leach), Moorcroft was seen by some as another variant on that legacy, bringing together individualised craft and serial production in ways which even Morris did not achieve, and creating well-designed, hand-made objects for more than a privileged few. Although he was clearly not responsible for all aspects of production (like the single craftsman), his practice of divided labour, in which he himself was actively involved as both designer and chemist, brought pottery closer to a performance art than a production line. Design for Moorcroft was not a rigid template, but open to his own (frequent) modifications in line or colour, just as each enactment was subject to the inevitable variations of ware made by hand and fired in a kiln; each piece was individual, and none definitive. Moorcroft is characterised by his individuality, not just because his practice was different, but because his pottery was personal. His designs, so often singled out for their harmony of form, ornament and colour were the conception of a single mind, informed by a potter’s skill – which is why some described him at the time as a studio potter. But they were informed, too, by his sense of vocation. His writings, both private and published, reveal that he did not aspire to be a pioneer, but simply to be himself, and to share with others his sensitivity to the beauty of the natural world. This is the source of the expressiveness, authenticity or ‘soulfulness’ so often identified in his work, and which make of it, as one contemporary noted, ‘no ordinary pottery’.
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Mallinson, Jonathan. "12. 1932–35: Individuality and Industrial Art." In William Moorcroft, Potter, 259–90. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.12.
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The chapter explores Moorcroft’s creative principles against the background of the Gorrell report and the continuing debate about industrial design, energised by high-profile exhibitions at Dorland Hall (1933), Harrod’s (1934) and the Royal Academy (1935), each with its own priorities. Moorcroft continued to promote the value of individuality, craft and ornament, as opposed to the functionalist machine aesthetic championed by Pevsner or Read, but he overlapped in significant ways with modernist thinking. He was no less critical of contemporary industrial design, often characterised by angular shapes and strident ornament, and he shared the belief that good design should be judged by its coherence and suitability to the manufacturing process, that it should reflect inner conviction rather than commercial opportunism, and that it gives to everyday objects an essential and uplifting beauty. This overlap was exemplified in the widespread admiration for the formal purity of his Powder Blue tea ware which, although launched in 1914, already anticipated modern design values of the 1930s, ‘undatedly perfect’ in Pevsner’s words. These principles also informed Moorcroft’s decorative pottery which continued to attract critical attention, not from the perspective of industrial design (as was now often the case in reviews of studio pottery), but as art work singled out for its expressiveness. But in a letter to The Times he provocatively disowned the label ‘artist’, applied to him by the British Pottery Manufacturers Federation, rejecting the implication that (his) art was elitist, or affordable only by connoisseurs. All his work was seen to have the same quality of design and production, whatever its cost or function, and he presented himself as a fusion of artist and industrialist, a position particularly significant at a time when modern critical thinking was encouraging the collaboration of designers and manufacturers. Amid an ongoing debate about the nature and importance of a national design tradition, Moorcroft’s work was often regarded as English on account of its individuality, irreducible to a (mere) style. Mussolini’s purchase of a flambé vase at the Milan Triennial Exhibition of 1933, reported in the national press, was seen as evidence of the international appeal of this pottery.
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Mallinson, Jonathan. "7. 1914–18: The Art of Survival." In William Moorcroft, Potter, 137–62. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.07.
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This chapter follows Moorcroft through the war, and examines his different strategies for survival and development in challenging conditions. He is seen to expand his commercial outlets, both at home and abroad, taking full advantage of the newly established British Industries Fair(s); his displays attracted the attention of new high-end retailers, and, very significantly, of Queen Mary. We witness, too, his resourcefulness in securing government contracts to supply inhalers and other functional objects, enabling him to minimise (though not to avoid) the depletion of his workforce. Extensive correspondence and other contemporary documents reveal the impact of rising costs, shortage of materials, increasingly slow payment of invoices, and the loss of labour through conscription or compulsory redeployment; such pressures were exacerbated, by cruel coincidence, by the death of his (one) thrower. We explore, too, the significance of Moorcroft’s commitment to handcraft against the background of the Design and Industries Association, founded in 1915 in response to a growing concern about the need for more mechanised modes of production in a post-war world. Moorcroft explored the viability of creating by hand pottery both beautiful and useful in a modern industrial world. In the course of the war, his work was commercially successful, his sensitivity to the public mood eloquently expressed in his designs, and regularly praised in reviews. He was treading his own individual path, well prepared to confront the economic and cultural turbulence of the 1920s.
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Chen, Chi-Hsiung, and Shih-Ching Lin. "The Study of Style for Kogi Pottery Art in Life." In Lecture Notes in Computer Science, 21–30. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-39143-9_3.
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Antonello, Sofia. "Mycenaean Pictorial Style Pottery and Wall Paintings—Two Distinct Art Forms." In Sympozjum Egejskie, 113–26. Turnhout, Belgium: Brepols Publishers, 2022. http://dx.doi.org/10.1484/m.wsa-eb.5.128956.
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Mallinson, Jonathan. "1. 1897–1900: The Making of a Potter." In William Moorcroft, Potter, 7–30. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.01.
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This chapter looks at Moorcroft’s training as a potter at the firm of E.J.D. Bodley where his father had worked as Artistic Director, and his education both at the innovative Burslem School of Art and at the National Art Training School (soon to be renamed the Royal College of Art). His appointment as a designer at James Macintyre & Co., Ltd. put him in a firm at the very centre of enlightened art education in the Potteries, its Directors including the forward-looking M.P. Wm Woodall (who had served on the Royal Commission on Technical Instruction), the philanthropist Th. Hulme, and the gifted ceramic chemist, H. Watkin. It was a firm developing its production of electrical porcelain, but keen also to invest in the manufacture of high-quality art pottery. The firm’s Minutes reveal the great benefit it soon derived from Moorcroft’s appointment. After just four years, Moorcroft had acquired an international reputation as a ceramic artist, and his Florian ware was stocked by exclusive retailers the world over, bringing widespread commercial success. It was the ideal collaboration of manufacturer and designer, of commerce and art, very much in the spirit of the Arts and Crafts. The chapter also considers Moorcroft’s distinctive integration of ornament and form, a quality often singled out in early reviews and quite different from the ‘applied’ decoration of much contemporary pottery. No less distinctive was his technique of slip decoration, his unusually rich colours achieved by staining the unfired clay with metallic oxides, and his unique practice of signing every pot by hand.
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Mallinson, Jonathan. "4. 1910–12: Approaching a Crossroads." In William Moorcroft, Potter, 71–92. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.04.
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The accession of George V marked the dawn of a new age, and immediate high-profile interest in the pottery industry from Queen Mary. These years saw the launch of some of Moorcroft’s most ambitious designs, displaying a new palette of rich colours and particularly sophisticated decoration. A highly regarded exhibit at the Brussels International Exhibition of 1910 consolidated his international reputation, and brought renewed prestige (and increasing trade success) for Macintyre’s. His popularity continued to grow in North America, even as the UK’s pottery exports were in steady decline. Diary entries reveal Moorcroft’s tireless promotion of his work in both artistic and commercial circles; this was a highly unusual combination of roles. Contemporary reviews continued to identify Moorcroft as an individual artist (as opposed to an industrial designer). This is all the more significant as the future of ceramic art was increasingly associated with the work of individual potters rather than that of industrial studios. But against this background of artistic and commercial success, the tensions with Watkin continued to grow; surviving documents suggest that this was not simply a clash of priorities, but a more personal antagonism. As Moorcroft’s reputation grew and his working conditions deteriorated, separation from Macintyre’s was becoming inevitable.
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Mallinson, Jonathan. "13. 1936–39: Pottery for a Troubled World." In William Moorcroft, Potter, 291–326. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0349.13.
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Moorcroft’s reputation as a designer continued to grow in these years. His newly launched SunRay tea ware attracted the attention of the influential Council for Art and Industry, and was selected for exhibition both at home and abroad as a model of progressive design. But Moorcroft was openly critical of what he saw as the CAI’s narrow appreciation of his work. He asserted his independence in a letter to The Times, criticising the CAI’s selection criteria for the British display at the International Exhibition of Art and Technology in Paris, 1937, and provocatively exhibited his own selection of decorative pieces in the International Pavilion. His exhibit inspired an article in La Revue moderne which identified in his work a timeless moral value, a particularly significant response at a time when culture was becoming increasingly politicised in Europe. Not coincidentally, he publicised the prominent display of his work in the culturally tolerant Deutsches Museum in Munich, a gesture all the more eloquent as politically motivated exhibitions of National Socialist and of Degenerate Art were taking place less than a mile away at just this time. Moorcroft’s work was appreciated for what one critic called its ‘real truth’; his international reputation as a ceramic artist had never been higher. This double success as designer and artist was unparalleled at a time when the gulf between industrial and studio production was at its deepest. And it doubtless inspired Blackie to invite Moorcroft to write a book on his work; it would have followed publications by two of the most influential potters and instructors of the time, Gordon Forsyth and Dora Billington, who had each recently examined from different perspectives the future relationship of studio pottery and industrial design. The project, though, was barely begun, and only jottings survive which sketch out some of his guiding principles, not least his commitment to integrity in design. Moorcroft’s exhibition at the New York World’s Fair of 1939 again drew the attention of the national press. Ledgers indicate that his sales income was also steadily rising, although not by enough to completely offset the relentless increase in costs. The declaration of war would bring its own problems.
Conference papers on the topic "Art pottery"
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Cabrillos, Edbert Jay M., and Rowena S. Cabrillos. "Pagdihon: The Art and Language of Pottery Making in Bari, Sibalom, Antique." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.8-1.
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Pottery is seen as creation of ornamentals, cooking and storing materials. Yet, while economic gains are often considered from producing these materials, the artistic and linguistic aspects have been ignored. This study discusses the factors influencing the culture of pottery, the processes of pottery making, and seeks to uncover the language used in processes of pottery making in Bari, Sibalom, Antique. A qualitative research employing ethnographic study with participant observation and face to face interviews using photo documentation, video recording and open-ended questions in gathering the data was employed. There were five manugdihon, or potters, purposively selected as key informants of the study. The study revealed that environmental factors influenced the culture of pottery making in the barangay. There were seven main processes in pottery making. These included gathering and preparing of materials, mixing the needed materials, cleaning the mixed clay, forming of desired shape, detaching, drying, and polishing and varnishing. Further findings indicate that, together the other processes, the language used in poterry making was archaic Kinaray-a, the language of the province. This language pattern suggests a specialized pottery making. Ultimately, the study suggest that the manugdihon should continue their artistic talents so that the language may be preserved. The educational institutions of the province may provide ways to include pottery making in the curriculum so that the art and language of pottery making will be preserved and promoted.
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Lang, Jiming. "Study on Modern Pottery Design in Urban Landscape." In 2015 2nd International Conference on Education, Language, Art and Intercultural Communication (ICELAIC-15). Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icelaic-15.2016.166.
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Hu, Chenchen. "The Art of Fuli Clay Pottery in a Regional Culture Perspective." In 6th International Conference on Social Science, Education and Humanities Research (SSEHR 2017). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/ssehr-17.2018.148.
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Cheng, Ai, Yimei Feng, Xiaomin Chen, Miao Tan, Xinyue Liu, and Xiaofang Yu. "The World in the Pot for Pottery Fun. Analysis on Japanese Tea Garden." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.104.
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Zhang, Wenjuan. "Study on Pottery-art Course Teaching in Colleges and Universities Based on Regional Resource Advantage." In 2nd International Conference on Arts, Design and Contemporary Education. Paris, France: Atlantis Press, 2016. http://dx.doi.org/10.2991/icadce-16.2016.405.
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Бобринский, А. А. "Mechanisms of New Vessels’ Shapes Incorporation and Adaptation (From the book published in 1999)." In ФОРМЫ ГЛИНЯНЫХ СОСУДОВ КАК ОБЪЕКТ ИЗУЧЕНИЯ. Crossref, 2018. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-254-4.60-62.
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This short text is devoted to presentation of preliminary results of the fundamental experiment carried out by A.A. Bobrinsky in the 1970s and the 1980s on the basis of traditional pottery trade. Altogether about 40 master potters of different ages and of different skill levels took part in this experiment in different years. The experiment consisted in artificial modeling of the situation that occurred permanently in the history of pottery. We mean cases when a potter produces vessel forms that are new for him and due to specific historical reasons became “fashionable” (or sought after) in a particular society. In the experiment course it was found out that a potter who performs such task experience a disruption of traditional system of physical efforts application a potter had developed in the course of long production of traditional (customary) vessel forms range. The disruption’s result is emergence of so called “hybrid” vessel forms that were widely spread in various historical epochs, from the Neolithic Age to the late Middle Age. These “hybrid” forms co-existed with traditional vessel forms. The discovered regularities widen considerably contemporary opportunities to study these phenomena on archeological pottery.
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Wang, Chunxia. "Inheritance and Innovation Research on the Art of Painted Pottery in Gansu Modern Tourism Culture Design." In 4th International Conference on Arts, Design and Contemporary Education (ICADCE 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/icadce-18.2018.98.
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Mouhoubi, K., K. Dieng, C. Fomena, H. Feddini, A. Salami, J. M. Vallet, and JL Bodnar. "Examples of singular value decomposition contribution in helping cultural heritage works of art conservation using stimulated infrared thermography." In QIRT. QIRT Council, 2022. http://dx.doi.org/10.21611/qirt.2022.2012.
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As part of aid for the conservation of cultural heritage works of art, Infrared thermography is already widely used. However, the photothermal signal obtained can be dependent on the different colors of the pictorial layer of the artwork studied and on the inhomogeneity of energy deposition. In this work, we show experimentally, during the study of a marquetry chessboard and a "Vallauris pottery", that the combination of singular value decomposition with stimulated infrared thermography allows a significant reduction of these radiative effects. Consequently, it allows for better detection of the defects present in the works of art studied
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Lu, Shan. "The Influence of the Concept “Approaching the Various Bodies” on the Aesthetic Consciousness of “Personification” in Chinese Ancient Painted Pottery Schema." In 2021 Conference on Art and Design: Inheritance and Innovation (ADII 2021). Paris, France: Atlantis Press, 2022. http://dx.doi.org/10.2991/assehr.k.220205.021.
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Бобровский, А. А. "On the Method of Study Vessels’ Shapes From Archeological Excavations." In ФОРМЫ ГЛИНЯНЫХ СОСУДОВ КАК ОБЪЕКТ ИЗУЧЕНИЯ. Crossref, 2018. http://dx.doi.org/10.25681/iaras.2018.978-5-94375-254-4.11-25.
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he author puts forward an original procedure of earthenware shapes study. Presentment of the procedure is prefaced by a big review of procedures and methods of analytical study of vessel shapes that exist in the Russian and foreign science. Along with the review principal methods are not just described but efficiency of these methods is analyzed. In result, the author concludes that, within analytical approach to earthenware shapes study, rather stable opinions on the prospects of vessels and their separate parts comparison with geometrical bodies emerged. The common characteristic of all these methods is the approach to vessel shapes study from positions of formal analysis. The procedure put forward by the author is based on perception of vessel shapes as the materialized result of a certain system of a potter’s physical efforts (compression, extension and lifting of clay during pottery making) distribution. Analysis of this system of a potter’s physical efforts distribution allows distinguishing the natural earthenware shapes structure. Places where a potter applied the particular force are marked with points of the greatest local flexure. These points represent borders of functional parts of a vessel consisting of functional parts. Since all earthenware vessels have some asymmetry, methods of this asymmetry elimination by way of the average contour of a vessel drawing are specially discussed in the article. The suggested procedure of vessel shapes analysis differs from all earlier ones because it considers vessels not as certain geometry creations but as materialized results produced by labor physiology of particular potters’ labor. The author holds that procedures and methods of vessels production study as a peculiar source of historical information should rest on this informal ground.
Reports on the topic "Art pottery"
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Eneroth, Hanna, Hanna Karlsson Potter, and Elin Röös. Environmental impact of coffee, tea and cocoa – data collection for a consumer guide for plant-based foods. Department of Energy and Technology, Swedish University of Agricultural Sciences, 2022. http://dx.doi.org/10.54612/a.2n3m2d2pjl.
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In 2020, WWF launched a consumer guide on plant-based products targeting Swedish consumers. The development of the guide is described in a journal paper (Karlsson Potter & Röös, 2021) and the environmental impact of different plant based foods was published in a report (Karlsson Potter, Lundmark, & Röös, 2020). This report was prepared for WWF Sweden to provide scientific background information for complementing the consumer guide with information on coffee, tea and cocoa. This report includes quantitative estimations for several environmental categories (climate, land use, biodiversity and water use) of coffee (per L), tea (per L) and cocoa powder (per kg), building on the previously established methodology for the consumer guide. In addition, scenarios of consumption of coffee, tea and cocoa drink with milk/plant-based drinks and waste at household level, are presented. Tea, coffee and cacao beans have a lot in common. They are tropical perennial crops traditionally grown in the shade among other species, i.e. in agroforestry systems. Today, the production in intensive monocultures has negative impact on biodiversity. Re-introducing agroforestry practices may be part of the solution to improve biodiversity in these landscapes. Climate change will likely, due to changes in temperature, extreme weather events and increases in pests and disease, alter the areas where these crops can be grown in the future. A relatively high ratio of the global land used for coffee, tea and cocoa is certified according to sustainability standards, compared to other crops. Although research on the implications of voluntary standards on different outcomes is inconclusive, the literature supports that certifications have a role in incentivizing more sustainable farming. Coffee, tea and cocoa all contain caffeine and have a high content of bioactive compounds such as antioxidants, and they have all been associated with positive health outcomes. While there is a strong coffee culture in Sweden and coffee contributes substantially to the environmental impact of our diet, tea is a less consumed beverage. Cocoa powder is consumed as a beverage, but substantial amounts of our cocoa consumption is in the form of chocolate. Roasted ground coffee on the Swedish market had a climate impact of 4.0 kg CO2e per kg powder, while the climate impact of instant coffee powder was 11.5 kg CO2e per kg. Per litre, including the energy use for making the coffee, the total climate impact was estimated to 0.25 kg CO2e per L brewed coffee and 0.16 kg CO2e per L for instant coffee. Less green coffee beans are needed to produce the same amount of ready to drink coffee from instant coffee than from brewed coffee. Tea had a climate impact of approximately 6.3 kg CO2 e per kg dry leaves corresponding to an impact of 0.064 CO2e per L ready to drink tea. In the assessment of climate impact per cup, tea had the lowest impact with 0.013 kg CO2e, followed by black instant coffee (0.024 kg CO2e), black coffee (0.038 kg CO2e), and cocoa drink made with milk (0.33 kg CO2e). The climate impact of 1kg cocoa powder on the Swedish market was estimated to 2.8 kg CO2e. Adding milk to coffee or tea increases the climate impact substantially. The literature describes a high proportion of the total climate impact of coffee from the consumer stage due to the electricity used by the coffee machine. However, with the Nordic low-carbon energy mix, the brewing and heating of water and milk contributes to only a minor part of the climate impact of coffee. As in previous research, coffee also had a higher land use, water use and biodiversity impact than tea per L beverage. Another factor of interest at the consumer stage is the waste of prepared coffee. Waste of prepared coffee contributes to climate impact through the additional production costs and electricity for preparation, even though the latter was small in our calculations. The waste of coffee and tea at Summary household level is extensive and measures to reduce the amount of wasted coffee and tea could reduce the environmental impact of Swedish hot drink consumption. For the final evaluation of coffee and tea for the consumer guide, the boundary for the fruit and vegetable group was used. The functional unit for coffee and tea was 1 L prepared beverage without any added milk or sweetener. In the guide, the final evaluation of conventionally grown coffee is that it is ‘yellow’ (‘Consume sometimes’), and for organic produce, ‘light green’ (‘Please consume). The evaluation of conventionally grown tea is that it is ‘light green’, and for organic produce, ‘dark green’ (‘Preferably consume this’). For cocoa, the functional unit is 1 kg of cocoa powder and the boundary was taken from the protein group. The final evaluation of conventionally grown cocoa is that it is ‘orange’ (‘Be careful’), and for organically produced cocoa, ‘light green’.
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Brophy, Kenny, and Alison Sheridan, eds. Neolithic Scotland: ScARF Panel Report. Society of Antiquaries of Scotland, June 2012. http://dx.doi.org/10.9750/scarf.06.2012.196.
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The main recommendations of the Panel report can be summarised as follows: The Overall Picture: more needs to be understood about the process of acculturation of indigenous communities; about the Atlantic, Breton strand of Neolithisation; about the ‘how and why’ of the spread of Grooved Ware use and its associated practices and traditions; and about reactions to Continental Beaker novelties which appeared from the 25th century. The Detailed Picture: Our understanding of developments in different parts of Scotland is very uneven, with Shetland and the north-west mainland being in particular need of targeted research. Also, here and elsewhere in Scotland, the chronology of developments needs to be clarified, especially as regards developments in the Hebrides. Lifeways and Lifestyles: Research needs to be directed towards filling the substantial gaps in our understanding of: i) subsistence strategies; ii) landscape use (including issues of population size and distribution); iii) environmental change and its consequences – and in particular issues of sea level rise, peat formation and woodland regeneration; and iv) the nature and organisation of the places where people lived; and to track changes over time in all of these. Material Culture and Use of Resources: In addition to fine-tuning our characterisation of material culture and resource use (and its changes over the course of the Neolithic), we need to apply a wider range of analytical approaches in order to discover more about manufacture and use.Some basic questions still need to be addressed (e.g. the chronology of felsite use in Shetland; what kind of pottery was in use, c 3000–2500, in areas where Grooved Ware was not used, etc.) and are outlined in the relevant section of the document. Our knowledge of organic artefacts is very limited, so research in waterlogged contexts is desirable. Identity, Society, Belief Systems: Basic questions about the organisation of society need to be addressed: are we dealing with communities that started out as egalitarian, but (in some regions) became socially differentiated? Can we identify acculturated indigenous people? How much mobility, and what kind of mobility, was there at different times during the Neolithic? And our chronology of certain monument types and key sites (including the Ring of Brodgar, despite its recent excavation) requires to be clarified, especially since we now know that certain types of monument (including Clava cairns) were not built during the Neolithic. The way in which certain types of site (e.g. large palisaded enclosures) were used remains to be clarified. Research and methodological issues: There is still much ignorance of the results of past and current research, so more effective means of dissemination are required. Basic inventory information (e.g. the Scottish Human Remains Database) needs to be compiled, and Canmore and museum database information needs to be updated and expanded – and, where not already available online, placed online, preferably with a Scottish Neolithic e-hub that directs the enquirer to all the available sources of information. The Historic Scotland on-line radiocarbon date inventory needs to be resurrected and kept up to date. Under-used resources, including the rich aerial photography archive in the NMRS, need to have their potential fully exploited. Multi-disciplinary, collaborative research (and the application of GIS modelling to spatial data in order to process the results) is vital if we are to escape from the current ‘silo’ approach and address key research questions from a range of perspectives; and awareness of relevant research outside Scotland is essential if we are to avoid reinventing the wheel. Our perspective needs to encompass multi-scale approaches, so that ScARF Neolithic Panel Report iv developments within Scotland can be understood at a local, regional and wider level. Most importantly, the right questions need to be framed, and the right research strategies need to be developed, in order to extract the maximum amount of information about the Scottish Neolithic.
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Tuller, Markus, Asher Bar-Tal, Hadar Heller, and Michal Amichai. Optimization of advanced greenhouse substrates based on physicochemical characterization, numerical simulations, and tomato growth experiments. United States Department of Agriculture, January 2014. http://dx.doi.org/10.32747/2014.7600009.bard.
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Over the last decade there has been a dramatic shift in global agricultural practice. The increase in human population, especially in underdeveloped arid and semiarid regions of the world, poses unprecedented challenges to production of an adequate and economically feasible food supply to undernourished populations. Furthermore, the increased living standard in many industrial countries has created a strong demand for high-quality, out-of-season vegetables and fruits as well as for ornamentals such as cut and potted flowers and bedding plants. As a response to these imminent challenges and demands and because of a ban on methyl bromide fumigation of horticultural field soils, soilless greenhouse production systems are regaining increased worldwide attention. Though there is considerable recent empirical and theoretical research devoted to specific issues related to control and management of soilless culture production systems, a comprehensive approach that quantitatively considers all relevant physicochemical processes within the growth substrates is lacking. Moreover, it is common practice to treat soilless growth systems as static, ignoring dynamic changes of important physicochemical and hydraulic properties due to root and microbial growth that require adaptation of management practices throughout the growth period. To overcome these shortcomings, the objectives of this project were to apply thorough physicochemical characterization of commonly used greenhouse substrates in conjunction with state-of-the-art numerical modeling (HYDRUS-3D, PARSWMS) to not only optimize management practices (i.e., irrigation frequency and rates, fertigation, container size and geometry, etc.), but to also “engineer” optimal substrates by mixing organic (e.g., coconut coir) and inorganic (e.g., perlite, pumice, etc.) base substrates and modifying relevant parameters such as the particle (aggregate) size distribution. To evaluate the proposed approach under commercial production conditions, characterization and modeling efforts were accompanied by greenhouse experiments with tomatoes. The project not only yielded novel insights regarding favorable physicochemical properties of advanced greenhouse substrates, but also provided critically needed tools for control and management of containerized soilless production systems to provide a stress-free rhizosphere environment for optimal yields, while conserving valuable production resources. Numerical modeling results provided a more scientifically sound basis for the design of commercial greenhouse production trials and selection of adequate plant-specific substrates, thereby alleviating the risk of costly mistrials.
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Seginer, Ido, Daniel H. Willits, Michael Raviv, and Mary M. Peet. Transpirational Cooling of Greenhouse Crops. United States Department of Agriculture, March 2000. http://dx.doi.org/10.32747/2000.7573072.bard.
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Background Transplanting vegetable seedlings to final spacing in the greenhouse is common practice. At the time of transplanting, the transpiring leaf area is a small fraction of the ground area and its cooling effect is rather limited. A preliminary modeling study suggested that if water supply from root to canopy is not limiting, a sparse crop could maintain about the same canopy temperature as a mature crop, at the expense of a considerably higher transpiration flux per leaf (and root) area. The objectives of this project were (1) to test the predictions of the model, (2) to select suitable cooling methods, and (3) to compare the drought resistance of differently prepared seedlings. Procedure Plants were grown in several configurations in high heat load environments, which were moderated by various environmental control methods. The difference between the three experimental locations was mainly in terms of scale, age of plants, and environmental control. Young potted plants were tested for a few days in small growth chambers at Technion and Newe Ya'ar. At NCSU, tomato plants of different ages and planting densities were compared over a whole growing season under conditions similar to commercial greenhouses. Results Effect of spacing: Densely spaced plants transpired less per plant and more per unit ground area than sparsely spaced plants. The canopy temperature of the densely spaced plants was lower. Air temperature was lower and humidity higher in the compartments with the densely spaced plants. The difference between species is mainly in the canopy-to-air Bowen ratio, which is positive for pepper and negative for tomato. Effect of cooling methods: Ventilation and evaporative pad cooling were found to be effective and synergitic. Air mixing turned out to be very ineffective, indicating that the canopy-to-air transfer coefficient is not the limiting factor in the ventilation process. Shading and misting, both affecting the leaf temperature directly, proved to be very effective canopy cooling methods. However, in view of their side effects, they should only be considered as emergency measures. On-line measures of stress: Chlorophyll fluorescence was shown to accurately predict photosynthesis. This is potentially useful as a rapid, non-contact way of assessing canopy heat stress. Normalized canopy temperature and transpiration rate were shown to correlate with water stress. Drought resistance of seedlings: Comparison between normal seedlings and partially defoliated ones, all subjected to prolonged drought, indicated that removing about half of the lowermost leaves prior to transplanting, may facilitate adjustment to the more stressful conditions in the greenhouse. Implications The results of this experimental study may lead to: (1) An improved model for a sparse canopy in a greenhouse. (2) A better ventilation design procedure utilizing improved estimates of the evaporation coefficient for different species and plant configurations. (3) A test for the stress resistance of transplants.
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Health hazard evaluation report: HETA-2007-0127-3068, evaluation of exposures at a pottery shop, FUNKe Fired Arts (formerly known as Annie's Mud Pie Shop), Cincinnati, Ohio. U.S. Department of Health and Human Services, Public Health Service, Centers for Disease Control and Prevention, National Institute for Occupational Safety and Health, August 2008. http://dx.doi.org/10.26616/nioshheta200701273068.
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