LaurieAnnie's photos with the keyword: potter

Additional Images: Red-Figure Kalyx-Krater (Mixing Bowl) (Primary Title) attributed to, Nazzano Painter, Etruscan (Artist) Date: ca. 370 BC Culture: Etruscan (Faliscan) Category: Ceramics Containers-Vessels Medium: terracotta Collection: Ancient Art Dimensions: Overall: 19 × 19 1/2 in. (48.26 × 49.53 cm) Object Number: 82.137 Depictions of battles against Amazons, a mythical tribe of warrior women, were popular throughout the ancient world, but this scene is unusual: here Amazons fight with satyrs, half-horse, half-human followers of the god Dionysos who often appear in Etruscan art. The scene may refer to Dionysos’s defeat of the Amazons during his conquest of India. The Nazzano Painter is one of the finest Etruscan vase painters, to whom only ten vases have been attributed. Text from: www.vmfa.museum/piction/6027262-12969735

Additional Images: Red-Figure Kalyx-Krater (Mixing Bowl) (Primary Title) attributed to, Nazzano Painter, Etruscan (Artist) Date: ca. 370 BC Culture: Etruscan (Faliscan) Category: Ceramics Containers-Vessels Medium: terracotta Collection: Ancient Art Dimensions: Overall: 19 × 19 1/2 in. (48.26 × 49.53 cm) Object Number: 82.137 Depictions of battles against Amazons, a mythical tribe of warrior women, were popular throughout the ancient world, but this scene is unusual: here Amazons fight with satyrs, half-horse, half-human followers of the god Dionysos who often appear in Etruscan art. The scene may refer to Dionysos’s defeat of the Amazons during his conquest of India. The Nazzano Painter is one of the finest Etruscan vase painters, to whom only ten vases have been attributed. Text from: www.vmfa.museum/piction/6027262-12969735

Additional Images: Red-Figure Kalyx-Krater (Mixing Bowl) (Primary Title) attributed to, Nazzano Painter, Etruscan (Artist) Date: ca. 370 BC Culture: Etruscan (Faliscan) Category: Ceramics Containers-Vessels Medium: terracotta Collection: Ancient Art Dimensions: Overall: 19 × 19 1/2 in. (48.26 × 49.53 cm) Object Number: 82.137 Depictions of battles against Amazons, a mythical tribe of warrior women, were popular throughout the ancient world, but this scene is unusual: here Amazons fight with satyrs, half-horse, half-human followers of the god Dionysos who often appear in Etruscan art. The scene may refer to Dionysos’s defeat of the Amazons during his conquest of India. The Nazzano Painter is one of the finest Etruscan vase painters, to whom only ten vases have been attributed. Text from: www.vmfa.museum/piction/6027262-12969735

Additional Images: Red-Figure Kalyx-Krater (Mixing Bowl) (Primary Title) attributed to, Nazzano Painter, Etruscan (Artist) Date: ca. 370 BC Culture: Etruscan (Faliscan) Category: Ceramics Containers-Vessels Medium: terracotta Collection: Ancient Art Dimensions: Overall: 19 × 19 1/2 in. (48.26 × 49.53 cm) Object Number: 82.137 Depictions of battles against Amazons, a mythical tribe of warrior women, were popular throughout the ancient world, but this scene is unusual: here Amazons fight with satyrs, half-horse, half-human followers of the god Dionysos who often appear in Etruscan art. The scene may refer to Dionysos’s defeat of the Amazons during his conquest of India. The Nazzano Painter is one of the finest Etruscan vase painters, to whom only ten vases have been attributed. Text from: www.vmfa.museum/piction/6027262-12969735

Plimoth Plantation is a living museum in Plymouth, Massachusetts that reconstructs the original settlement of the Plymouth Colony established by the Pilgrims. The museum was started in 1947 by Henry Hornblower II (November 5, 1917-October 23, 1985), a Boston stockbroker with childhood ties to the Plymouth area. Because none of the structures and few artifacts from the 1620s survived, Hornblower, an amateur archaeologist, established the museum as a proxy. Beginning with a "First House" exhibit where the Mayflower II is currently docked, it was expanded to today's nearby fortified village by the 1950s. The Pilgrim village is a speculative recreation of the settlement as it would have appeared about 1627. In this section of the museum, interpreters have been trained to speak, act, and dress appropriately for the period. The village approximates the assumed layout of the original, which is generally accepted to have been built 2.5 miles (4 kilometers) to the northwest, along today's Leyden Street. Alongside the settlement is a recreation of a Wampanoag homesite, where modern Native People from a variety of nations (not in period character, but in traditional dress) explain and demonstrate how the Wampanoags' ancestors lived and interacted with the settlers. The grounds also include Nye Barn, where historical breeds of livestock are kept; a crafts center where many of the objects used in the village exhibit are created; and visitors' center with indoor exhibits and educational programs. The Mayflower II, docked near Plymouth Rock, is also under the care of the museum. Text from: en.wikipedia.org/wiki/Plimoth_Plantation

Pottery Goshen, Connecticut, c. 1819 Moved to OSV, 1961 Kiln built by OSV, 1979 Earthenware production,, usually as a part-time activity, has been practiced in rural agricultural communities for thousands of years. Into the middle of the 19th century, the farmer-potter was a presence in the New England countryside. Hervey Brooks (1779-1873) came to the town of Goshen as a 16-year-old apprentice in 1795 and practiced the potter’s craft there until 1873. In restoring his pottery shop and re-creating a working version of his kiln, Old Sturbridge Village researchers have drawn on his detailed accounts from 1802-73 and undertaken extensive archaeological studies of the original site. As a potter, Brooks spent his early years working primarily for other craftsmen. He crafted some 26 different varieties and sizes of jugs, bowls, pitchers, and platters. After 1819 he worked for himself and began by producing such a backlog of wares that he did not fire a kiln again for eight years. Then, from 1828 on, Brooks regularly made and fired one kiln load of ware each year between June and November—most commonly producing milk pans, cooking pots, and jugs. Throughout his life he devoted most of his time to his own farm and labor for others, including haying, chopping and hauling wood, hoeing potatoes, grafting apple trees, shingling, splitting rails, and even some blacksmithing. Brooks sold some of his redware to country stores on contract, and he exchanged smaller lots with his neighbors for goods and services. However, increasing competition from tinware producers and local population decline gradually eroded Brooks’s market. Brooks hung on long after virtually all the rest of New England’s redware potters had given up the craft, burning his last kiln of ware in 1864. Excerpted from Old Sturbridge Village Visitor's Guide © 1993-2004, Old Sturbridge Inc. Text from the Old Sturbridge Village Web Site: www.osv.org/