Exhibiton | The Château de Versailles in 100 Masterpieces
From the exhibition website:
The Château de Versailles en 100 Chefs-d’oeuvre
Musée des Beaux-Arts, Arras, 27 September 2014 — 20 March 2016
Curated by Beatrix Saule
Major pieces from the Château de Versailles’ collections on show in Arras for 18 months.
Paintings, sculptures, furniture, objets d’art… Visitors will discover works executed by the greatest artists of the seventeenth and eighteenth centuries made from the most precious of materials, like the bust of Louis XIV originally installed on the Ambassadors’ Staircase, the monumental Gobelins tapestries, the Dauphin’s fine writing desk, the original sculpture from the Latona Fountain, Marie-Antoinette’s porcelains, or the sculptural group Apollo Served by the Nymphs, a monument of seventeenth-century French sculpture. These masterpieces line the visitors’ route as they explore the various places and periods of the Château de Versailles. The exhibition is organised into six settings, constituting a veritable private tour of the royal residence:
• Marble, bronze, gold and silver
• Wood panelling and marquetry
• Water and fountains
• Parks and forests
• Flowers and fields
• Festivities and fireworks
Exhibition | Goya: A Lifetime of Graphic Invention
Francisco de Goya y Lucientes, Bulls of Bordeaux.
Spanish Fun. Plate No. 3. 1825, lithograph
(Dallas: Meadows Museum, SMU)
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Press release (18 September 2014) from the Meadows Museum:
Goya: A Lifetime of Graphic Invention
Meadows Museum, Dallas, 21 September 2014 — 1 March 2015
Curated by Alexandra Letvin
The Meadows Museum announces its fall exhibition, Goya: A Lifetime of Graphic Invention. On view from September 21, 2014, through March 1, 2015, the exhibition will launch the Meadows’ 50th anniversary year by presenting the entirety of the Museum’s holdings of printed works by Francisco José de Goya y Lucientes (1746–1828): 222 etchings, four lithographs, and three trial proofs.
The exhibition will provide visitors with a rare opportunity to view complete first edition sets of Goya’s four great print series—Los Caprichos (The Caprices, 1799), Los Desastres de la Guerra (The Disasters of War, 1810–19), La Tauromaquia (Bullfighting, 1816), and Los Disparates (The Follies, 1815–23)—as well as the Museum’s holdings of Goya’s paintings, which will be displayed alongside the prints. Curated by Meadows/Kress/Prado Fellow Alexandra Letvin, Goya: A Lifetime of Graphic Invention will also feature the Museum’s recent gift of a trial proof from Los Disparates, Disparate Puntual (Punctual Folly), and closely follows the Meadows’ acquisition of Portrait of Mariano Goya (1827), one of the artist’s final paintings, in 2013. The Meadows houses one of the largest public collections of Goya’s works in the United States, and the exhibition will enable visitors to experience for the first time the Meadows’ extensive Goya holdings at once, further enhancing the Museum’s role as a leader in the study and presentation of Spanish art.
“Goya’s mastery in prints marked a turning point in the evolution of graphic art and had a profound influence on the work of later artists, such as Manet and Picasso,” says Mark A. Roglán, the Linda P. and William A. Custard Director of the Meadows Museum and Centennial Chair in the Meadows School of the Arts. “As the Meadows Museum’s collection is one of the largest depositories of Goya’s works— including the recent acquisition of a late portrait of his grandson, which was a gift in honor of our anniversary—it seems appropriate to kick off the celebration with an exhibition of his genius.”
Goya, widely regarded as one of the most important artists in Western history, represents both the culmination of the Old Master tradition and the beginning of modernity. A witness to decades of political upheaval and social unrest, he began experimenting with printmaking in the late 1770s. The most ambitious endeavor of his early career was a group of 11 etchings (1599–1660) after paintings by Diego Velázquez housed in the Spanish Royal Collection, three of which will be featured in the exhibition alongside other examples of Goya’s early prints, including a rare trial proof for an unpublished etching. Shortly thereafter, following an illness that left him permanently deaf, Goya produced 28 drawings titled Sueños (Dreams), which formed the initial core and inspiration for the artist’s first large-scale print series, Los Caprichos. These 80 aquatint etchings engage a variety of themes—including the complex relationship between men and women, ignorance, superstitious beliefs, and witchcraft—and offer a view of human weakness and irrationality that is both deeply personal and imbued with critical social commentary.
“Over the course of his career, Goya produced almost 300 etchings and lithographs that reveal his personal vision, tireless invention, and enthusiasm for technical experimentation,” said Roglán. “This exhibition presents his printed oeuvre as an integral—indeed, defining—component of his life and career, and invites visitors to experience the Museum’s paintings by Goya in the context of his lifelong engagement with printmaking.”
Following the Napoleonic occupation of Spain and the abdication of Bourbon King Ferdinand VII in 1808, Goya began working on a group of small, compact etchings meditating on the atrocities of war—its causes, manifestations, and consequences—that underscore the senselessness of violence, which ravaged Spain during this decade of turmoil. Published posthumously as Los Desastres de la Guerra, these prints take on a documentary character, illustrating the effects of the conflict on individual soldiers and citizens, as well as arresting scenes of starvation, degradation, and humiliation. Concurrent to his work on Los Desastres, Goya began developing La Tauromaquia, a series of 33 aquatint etchings examining the art of bullfighting, today regarded as Goya’s largest and most technically accomplished printed works. Bullfighting, recognized as a quintessentially Spanish practice, had regained popularity during this time, and La Tauromaquia tells the story of the bullfighting tradition and culture from its origins in Spain to the legendary performances of contemporary masters. Etchings on the reverse of seven plates indicate that Goya had initially conceived La Tauromaquia in broader terms—Goya: A Lifetime of Graphic Invention will include prints of two of these additional designs to offer unique insight into Goya’s editing and selection process prior to publication. Goya revisited the subject of bullfighting a decade later, producing four large-scale lithographs known as the Bulls of Bordeaux (1825), which will also be on display.
Goya’s final print series, Los Disparates, comprises 22 etchings that depict a range of enigmatic, dreamlike subjects—from the playful to the monstrous—that continue to fascinate scholars and viewers alike. Commonly translated as “The Follies,” these works were created during the last years of the artist’s life and remain without conclusive interpretation. Seeking to match the prints’ thematic ambiguities, Goya’s technical approach pushed the medium of etching to its limits, employing aquatint to manipulate light and shadow to create a sense of haunting otherworldliness. Los Disparates was first published by the Royal Academy of San Fernando in Madrid in 1864, and it is unclear as to whether the artist intended these works to be published as a series. While Goya’s intentions may remain unknown, Goya: A Lifetime of Graphic Invention will illuminate an under-recognized aspect of Goya’s artistic legacy by showcasing the artist’s ongoing thematic and technical experimentation in the medium of printmaking, which helped to push the techniques of the Old Masters into the modern era.
This exhibition has been organized by the Meadows Museum, SMU. A generous gift from The Meadows Foundation has made this project possible.
Exhibition | The Hours of Night and Day: Bronze Reliefs
From the MIA:
The Hours of Night and Day: A Rediscovered Cycle of Bronze
Reliefs by Giovanni Casini and Pietro Cipriani
Minneapolis Institute of Arts, 13 September 2014 — 4 January 2015
Giovanni Casini and Pietro Cipriani, Apollo Descending (Evening), ca. 1720, bronze, 11 x 15 inches (on loan to the Minneapolis Institute of Arts)
The rediscovery of six bronze reliefs allegorically representing the Hours of Night and Day by Giovanni Casini and Pietro Cipriani is the largest and most important ensemble of Florentine bronze sculpture to come to light in a century. This unusual ensemble refers to Michelangelo’s cycle in the New Sacristy of San Lorenzo, and to several other painted and sculpted masterworks of the Baroque period. It demonstrates that Florentine bronze sculpture did not end with Giovanni Battista Foggini, Massimiliano Soldani Benzi, and Antonio Montauti. It reveals Pietro Cipriano as the last master of European rank and influence active in this field. The six reliefs were celebrated at the time of their creation, as attested, for instance, by copies in Doccia porcelain.
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From ACC Distribution:
Eike D. Schmidt, David Ekserdjian, Rita Balleri, and Monica Rumsey. The Hours of Night and Day: A Rediscovered Cycle of Bronze Reliefs by Giovanni Casini and Pietro Cipriani (Minneapolis: Books & Projects and th Minneapolis Institute of Arts, 2014), 208 pages, ISBN: 978-0989371858, $40.
In this book’s breathtaking images, extensive documentation, and incisive analysis, a cycle of six highly important bronze reliefs representing The Hours of Night and Day is being published for the first time. Made in Florence at the beginning of the eighteenth century, these bronzes epitomize pre-modern notions about time, which are visualized through an elaborate array of mythological and allegorical components. In describing and deciphering the meanings and traditions of the scenes represented in these bronzes, the authors unveil a multi-faceted concept of time that is based upon the human perception of the Hours, while also pointing toward their otherworldly, magical dimension.
The Hours of Night and Day, a celebrated masterwork in its own time, is the result of a fortuitous collaboration between the painter and modeler Giovanni Casini and the bronze sculptor Pietro Cipriani. With the discovery of these long-forgotten bronzes, and of bronze versions after Greco-Roman statuary—most notably the Venus de’ Medici and the Dancing Faun now at the J. Paul Getty Museum, Los Angeles—it becomes apparent that Cipriani was one of the foremost bronze sculptors of his age. Finally, this book documents the legacy of these bronze reliefs in derivative works created for subsequent generations. As further testimony to the enduring appeal of Casini and Cipriani’s extraordinary creation, variations of the reliefs from The Hours of Night and Day became popular as decorations on vases and as porcelain reliefs throughout the eighteenth and nineteenth centuries, and on to the present day.
Eike D. Schmidt is the James Ford Bell Curator of Decorative Arts and Sculpture, and Head of the Department of Decorative Arts, Textiles, and Sculpture at the Minneapolis Institute of Arts. He is the author of numerous books and articles on Renaissance, Baroque, and Neoclassical sculpture. David Ekserdjian is Professor of Art History and the Head of the Department of the History of Art and Film at the University of Leicester, England. He has published extensively on bronze sculpture, the history of collecting, and Renaissance painting, prints, and drawings, with a particular specialisation in the artists Correggio and Parmigianino. Rita Balleri is a research associate at the University of Florence. She has published several articles and catalogue entries on Doccia porcelain and has collaborated with the Doccia Museum in Florence on various research projects and exhibitions. Her doctoral dissertation on the models for Doccia porcelain (2011) was the basis for her recent monograph, Modelli della Manifattura Ginori di Doccia: Settecento e gusto antiquario (2014).
C O N T E N T S
• Eike D. Schmidt, “Sparkles in the Twilight of the Medici: Allegories of the Hours of Night and Day by Giovanni Casini and Pietro Cipriani”
• David Ekserdjan, “Pietro Cipriani’s Venus de’ Medici and Dancing Faun and the Classical Tradition”
• Rita Balleri, “Bronze into Porcelain: The Enduring Legacy of Giovanni Casini’s Reliefs in the Manifattura Ginori di Doccia”
New Book | Modelli della Manifattura Ginori di Doccia
Available from Artbooks.com:
Rita Balleri, Modelli della Manifattura Ginori di Doccia: Settecento e Gusto Antiquario (Roma: L’Erma di Bretschneider, 2014), 512 pages, ISBN: 978-8891304667, €290 / $425.
Alla metà degli anni Cinquanta del Novecento, le indagini condotte dal marchese Leonardo Ginori Lisci nell’ archivio di famiglia e sfociate nel suo pionieristico volume Le porcellane di Doccia (1963), diedero avvio agli studi sulla Manifattura di Doccia rivelando un particolare interesse per l’ aspetto scultoreo Venendo nello specifico delle mie ricerche, vorrei precisare che nella Manifattura di Doccia con il termine modello’ si intende un soggetto che viene impiegato per la realizzazione delle forme in gesso a tasselli’ necessarie alla sua traduzione in porcellana. Esso è caratterizzato da rotture’ volontarie delle quali tratteremo nel paragrafo dedicato ai modelli e può essere stato acquisito dalla manifattura oppure realizzato al suo interno. Lo stesso termine, però, viene utilizzato negli inventari dei modelli di Doccia, per descrivere sculture che servono come modello’ da copiare. Se ne deduce che nella manifattura non esista una distinzione tra i modelli’ , dai quali si sono originate le forme, e gli archetipi’ , che sono stati impiegati come fonte d’ ispirazione.
Rita Balleri is a research associate at the University of Florence. She has published several articles and catalogue entries on Doccia porcelain and has collaborated with the Doccia Museum in Florence on various research projects and exhibitions. She completed her doctoral dissertation on the models for Doccia porcelain in 2011.
A preview of the first 20 pages is available as a PDF file here»
Fellowships | American Art and Visual Culture at the Smithsonian
Smithsonian American Art Museum Research Fellowships
Washington, D.C.
Applications due by 1 December 2014
The Smithsonian American Art Museum and its Renwick Gallery invite applications for research fellowships in art, craft, and visual culture of the United States. Fellowships are residential and support full-time independent and dissertation research. The stipend for a one-year fellowship is $32,500 for predoctoral fellows or $47,500 for senior and postdoctoral fellows, plus research and travel allowances. The standard term of residency for fellowships is twelve months, but shorter terms will be considered; stipends are prorated for periods of less than twelve months. December 1, 2014, is the application deadline for fellowships that begin on or after June 1, 2015. For applications and general information visit www.AmericanArt.si.edu/fellowships.
Exhibition | Rare and Precious: The 1763 Treaty of Paris
The 1763 Treaty of Paris. Traité définitif de Paix entre le Roi, le Roi de la Grande Bretagne et le Roi d’Espagne, signé à Paris le 10 février 1763. Manuscript, comprises the text in French, Latin, and Spanish.
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Now on view, for ten days only, at the Musée de la civilisation:
Rare and Precious: The 1763 Treaty of Paris
Musée de la civilisation, Québec City, 23 September — 2 October 2014
Rare and Precious: The 1763 Treaty of Paris, a special event is on view now at the Musée de la civilisation. In addition to guided tours and presentations, talks will also be held for the occasion at Musée de l’Amérique francophone. The 1763 Treaty of Paris and its related documents are being presented for the first time ever in North America, at Musée de la civilisation, courtesy of an exceptional loan from the government of the French Republic to the government of Québec.
The peace treaty itself is the centerpiece of the event, but the loan from France also includes Spanish and British instruments of ratification, the minutes of the proceedings surrounding the exchange of ratification instruments, the Cessions envisaged in 1759, a document entitled “Negotiation of the Treaty of Paris: Working Paper,” a 1777 map of the Americas, and another map dating back to 1761. This pivotal historic document marked the end of the Seven Years’ War (1756–1763). Considered the first truly global conflict, the war pitted Great Britain, Prussia, and Hanover against France, Austria, Sweden, Russia, and Spain in land and naval battles fought in Europe, India, and North America. War on North American soil began in 1754 in the Ohio Valley and ended in 1762 when the British captured Martinique.
Documents from the Musées de la civilisation archives are tangible traces left by those who experienced the Conquest firsthand in New France. They offer insights into what the treaty really meant to the people of the colony. For example, in his handwritten journal, Father Richer, a priest in Québec between 1757 and 1759, describes the scene as 180 British ships descended on Québec. He was 38 years old when the Treaty of Paris was signed.
Lars Kokkonen Appointed Assistant Curator at the YCBA
As announced by Amy Meyers, Director of the Yale Center for British Art:
The Yale Center for British Art is pleased to announce that Lars Kokkonen has been appointed Assistant Curator of Paintings and Sculpture at the Yale Center for British Art, for a one-year term, effective August 1, 2014. He was previously, for three years, a Postdoctoral Research Associate in the Department of Research at the Center. In his new position, Lars will report to and work closely with Cassandra Albinson, Curator of Paintings and Sculpture and Acting Head of the Department, in planning the reinstallation of the collection in 2016. He also will be involved in all other aspects of the department, including acquisitions, exhibitions, and loans.
Lars received his Ph.D. in art history from the Graduate Center, City University of New York, in 2010, writing his dissertation on the British artist, John Martin. Immediately prior to joining the Center in 2011 as a postdoc, Lars was the Allen Whitehill Clowes Curatorial Fellow at the Indianapolis Museum of Art. In 2007–2008 he was a Graduate Curatorial Intern, and in 2008–2009, the Joseph F. McCrindle Foundation Curatorial Fellow in the Department of American and British Paintings at the National Gallery of Art in Washington, DC. His publications include several essays and articles on John Martin, and, most recently an essay on Richard Wilson for the book accompanying the Center’s exhibition, Richard Wilson (1714–1782) and the Transformation of European Landscape Painting. He has been awarded grants and fellowships from, among others, the City University of New York, the Historians of British Art, the Institute of Historical Research (IHR), the Leon Levy Center for Biography, the Samuel H. Kress Foundation, the University of Illinois at Urbana-Champaign, and the Yale Center for British Art. He received his BA magna cum laude in art history from Boston University.
Exhibition | Germany: Memories of a Nation
Johann Tischbein, Goethe in the Roman Compagna, 1787,
(Frankfurt: Städelshes Kunstinstitut)
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From The British Museum:
Germany: Memories of a Nation—A 600-Year History in Objects
The British Museum, London, 16 October 2014 – 25 January 2015
Curated by Barrie Cook
This exhibition will examine elements of German history from the past 600 years in the context of the fall of the Berlin Wall 25 years ago. From the Renaissance to reunification and beyond, the show will use objects to investigate the complexities of addressing a German history which is full of both triumphs and tragedies. Navigate through Germany’s many political changes—from the Holy Roman Empire through unification in the 1870s and the troubled 20th century to today’s economic powerhouse at the centre of Europe. Explore art by Dürer, Holbein and Richter, and marvel at technological achievements through the ages which gave the world Gutenberg’s printing press, Meissen porcelain, the Bauhaus movement and modern design icon the VW Beetle.
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From BBC’s Media Centre:
Details of a brand new Radio 4 series, Germany: Memories of a Nation, were announced today (Thursday 11 September) at an event hosted by Neil MacGregor, Director of the British Museum and writer and presenter of the series, and the BBC’s Director-General Tony Hall. The series will once again place objects at the heart of the story, letting the memories they evoke tell a fascinating and complex history, this time of Germany. Looking back from the fall of the Berlin Wall 25 years ago, Germany: Memories of a Nation will explore 600 years of the country’s history, over six weeks, in a 30-part Radio 4 series.
From the Brandenburg Gate to Bavarian bratwurst and the Gutenberg Bible, via Volkswagen engineering, fairy tales and degenerate pottery, the series—which begins on BBC Radio 4 on Monday 29 September—will ask how much of what we think about Germany coincides with how Germans see themselves and what touchstones of national identity shape the relatively recently reunited country.
Germany has been in the public consciousness this summer with the centenary of the First World War and the memories of D-Day veterans—and, of course, the World Cup. This series—which will be available online in perpetuity, both on BBC iPlayer Radio and as a download—will examine the key moments that have defined Germany’s past, its great, world-changing achievements and the catastrophes of the 20th century, and explore the profound influence that Germany’s history, culture and inventiveness have had across Europe. Themes covered will include the country’s historical divisions and shifting frontiers, the forging of a national identity and now facing the legacy of a turbulent history.
The series is inspired by an accompanying exhibition at the British Museum: Germany: Memories of a Nation, which will open on the 16 October. The exhibition will include most of the objects featured in the series, alongside many others; objects that tell diverse and fascinating stories which embody the memories shared by all Germans. Important loans from Germany, many of which have been lent for the first time, will augment objects from the British Museum and other UK collections. . .
The full announcement is available here»
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Scheduled for a November publication from Allen Lane:
Neil MacGregor, Germany: Memories of a Nation (London: Allen Lane, 2014), 512 pages, ISBN: 978-0241008331, £25.
From Neil MacGregor, the author of A History of the World in 100 Objects, this is a view of Germany like no other. Today, as the dominant economic force in Europe, Germany looms as large as ever over world affairs. But how much do we really understand about it, and how do its people understand themselves? In this enthralling new book, Neil MacGregor guides us through the complex history, culture and identity of this most mercurial of countries by telling the stories behind 30 objects in his uniquely magical way. Beginning with the fifteenth-century invention of the Gutenberg press, MacGregor ventures beyond the usual sticking point of the Second World War to get to the heart of a nation that has given us Luther and Hitler, the Beetle and Brecht—and remade our world again and again. This is a view of Germany like no other.
Neil MacGregor has been Director of the British Museum since August 2002. He was Director of the National Gallery in London from 1987 to 2002. His celebrated books include A History of the World in 100 Objects, now translated into more than a dozen languages and one of the top-selling titles ever published by Penguin Press, and Shakespeare’s Restless World.
Paul Mellon Centre Research Lunches, Autumn 2014
This fall’s research lunches at The Mellon Centre include two sessions on eighteenth-century topics:
The Paul Mellon Centre, Research Lunches, Fall 2014
The Paul Mellon Centre for Studies in British Art, London, Fridays, 12:30–14:00
3 October: Rosie Razzall (Curator of Prints and Drawings: The Royal Collection)
Copying Gainsborough: Paul Sandby and the Refashioning of His Artistic Identity
28 November: Eleonora Pistis (Scott Opler Research Fellow in Architectural, Worcester College, Oxford)
Nicholas Hawksmoor, Oxford, and Eighteenth-Century Europe
All seminars are free, but places are limited; so you must book a place in advance by emailing Ella Fleming at
events@paul-mellon-centre.ac.uk. The full programme of autumn lunches is available here.
Exhibition | Porcelain from the Collection of Marino Nani Mocenigo
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From Ca’ Rezzonico:
Porcelain from the Collection of Marino Nani Mocenigo
Ca’ Rezzonico, Venice, 14 June — 30 November 2014
Curated by Marcella Ansaldi and Alberto Craievich
In 1936, Nino Barbantini presented an exhibition at Ca’ Rezzonico dedicated to the porcelain of Venice and Nove to document an aspect that of 18th-century Venetian Art that had hitherto been largely overlooked. The works displayed came above all from Venice’s civic collections and from museums and private collections throughout Italy. The most generous lender however, was a Venetian, Conte Marino Nani Mocenigo, an emblematic collector who had dedicated his existence to forming a collection of porcelain. Such was his obsession that he was given the affectionate nickname of ‘Conte Cicara’ (‘Count Cup’) by his fellow citizens. Following his death, his wife decided to form a memorial to the husband by making accessible the collection he had formed with such passion. The objects were put on display at Ca’ del Duca, a tiny but excellent museum developed, but which it has been impossible to visit for a long time.
On this occasion, by request of the family, the porcelain collection of Marino Nani Mocenigo will be displayed in the rooms of Ca’ Rezzonico. The exhibition will present 338 pieces produced by the most important manufactures of Europe, with a predominant focus on about 100 Venetian articles—including some splendid examples by Vezzi, two very rare coffee-pots by Hewelcke, almost all the figural groups made by Pasquale Antonibon at Nove and Geminiano Cozzi in Venice—constituting the most conspicuous and important part of the exhibition. Perhaps the most famous work in the collection is a delightful Geographer by Geminiano Cozzi.
Visitors can also admire some of the most famous works to have been produced by the Meissen factory, modelled by Johann Joachim Kändler and by Peter Reinicke, such as The Polish Kiss, The Chinese Girl, and The Hunter, together with some astonishing dinner services, also from Meissen, dating from the early 18th century: one of these with gold decorations and another in white porcelain with still lifes of fruit.
The exhibition will also display examples of fine porcelain production from other German-speaking centres: a rare part of a Chinoiserie dinner service made in Vienna by Claudius Innocentius Du Paquier and articles from Ludwigsburg, Frankenthal, Höchst, and Berlin. The exhibition closes with a large selection of cups and saucers by the imperial manufacture of Vienna dating from the Sorgenthal period (1784–1805), all characterised by an astonishing use of colour and bold combination of ornamental motifs.
The exhibition is accompanied by a catalogue published by Scripta Editore – Verona, and produced thanks to a contribution from the Venice International Foundation.
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From Scripta Editore:
Marcella Ansaldi and Alberto Craievich, Le Porcellane di Marino Nani Mocenigo (Verona: Scripta Editore, 2014), 144 pages, ISBN: 978-8898877010, €35.
All’inizio del Settecento Cina e Giappone detenevano il segreto della produzione della porcellana, sancendo un monopolio di fatto del loro commercio verso l’Europa. Al commercio di oggetti di porcellana, con il consumo di tè e caffè che andava sempre più sviluppandosi in tutto l’Occidente, si sviluppò parallelamente la richiesta di vasellame, tazze, tazzine, diventando un interesse economico sempre maggiore negli scambi economici dell’epoca.
In tutta Europa si cercò sin dal tardo Cinquecento di scoprire il segreto della produzione della porcellana, il cosiddetto ‘arcano’. E i primi a riuscirci nel 1710 furono i sassoni di Meissen che grazie, anche alla padronanza del complesso processo produttivo, crearono la prima manifattura funzionante. Avendo rotto il monopolio orientale, i sassoni si tennero stretto il segreto facendo nascere una prospera industria che esportò la sua porcellana in tutta Europa.
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