The presence of clay objects is one of the foremost symbols of the onset of technology associated to art. Initially decorated with incised, molded or modeled elements, with different colours of clay and pigments, the objects became increasingly sophisticated. The introduction of a glaze amplified the options for more refined decorative solutions, including in architectural integration. But it was with the spread of the majolica (or faïence) technique, low fired tin-glazed earthenware originally developed in Eastern Islamic countries, that Europe developed its most iconic ceramic productions. In the 15^th century potters perfected the production of this specific kind of glazed ceramics and from the kilns of Italy it disseminated to the Low Countries, France, Spain and Portugal in waves of influence that would determine the European ceramic profile. If porcelain is what defines the oriental productions and characterizes the sophistication of the Chinese and Japanese societies, majolica represents the more down-to-earth approach to life that characterizes the aesthetical advancement of European societies.

Argument

The presence of clay objects is one of the foremost symbols of the onset of technology associated to art. Initially decorated with incised, molded or modeled elements, with different colours of clay and pigments, the objects became increasingly sophisticated. The introduction of a glaze amplified the options for more refined decorative solutions, including in architectural integration. But it was with the spread of the majolica (or faïence) technique, low fired tin-glazed earthenware originally developed in Eastern Islamic countries, that Europe developed its most iconic ceramic productions. In the 15th century potters perfected the production of this specific kind of glazed ceramics and from the kilns of Italy it disseminated to the Low Countries, France, Spain and Portugal in waves of influence that would determine the European ceramic profile. If porcelain is what defines the oriental productions and characterizes the sophistication of the Chinese and Japanese societies, majolica represents the more down-to-earth approach to life that characterizes the aesthetical advancement of European societies.

The majolica technique allowed for each European country to express their sensitivity, creating from common daily life objects to beautiful and unique works of art. The increasing changes in European lifestyle, the contact with other civilizations, discovering new life forms, foods and artistic expressions, together with technological novelties and increasing combinations of materials, would mark the next centuries and create distinctive artistic languages characterizing the productions of each country.

Constructions became covered with majolica items: tiles, medallions, sculptures and other elements. Majolica artifacts were used to decorate, participate in religious practices, hygienize rooms or contain medicines, produce, hold and conserve edibles...

Notwithstanding the increasing role of porcelain as it too started being produced in Europe, majolica never lost its prime place as the more genuine expression of European creativity. Its appeal remains and can be seen appreciated from the Dutch delftware to the walls tiled with Portuguese azulejos and from the sophisticated and colorful Italian maiolica plates to the dense decorations of Spanish objects, the eye-catching French productions or the sinuous British Liberty pieces, to name only a few. The presence and forms of majolica production are as diverse as the European geography and diversity is one of the characteristic strengths of this continent.

GlazeArt2018 will dwell on scientific research on tin-glazed ceramics and is a networking activity of H2020 Project IPERION CH and an outcome of the Portuguese-funded FCT-AzuRe Project.

Themes

The conference will aim to discuss azulejos, other architectural glazed ceramicsof historic interest and also maiolica and heritage faïence in general: their history, technology, characteristics, decay, conservation, artists, museology, as well as related issues.

Main themes to be addressed are:

• » Aspects in Art and Art History;
• » Historical context of the workshops and factories and their evolving technology, as well as of the origin, production and routes of raw materials;
• » Studies in the characterization of glazed ceramics and their materials;
• » Decay of integrated glazed ceramics, its causes and remedies;
• » Conservation and restoration methods and materials;
• » Intervention cases and lessons learnt therefrom;
• » Socio-cultural context and other intangible aspects;
• » Museology and display;
• » New production technologies;
• » Other research results and research needs in the field.

Submission guidelines

The official language of the conference is English. Abstracts are accepted

until 27 May, 2018.

The Scientific Committee will select the form of presentation of communications considering the slots available, their originality and thematic affinities. A decision on the proposed abstract will be communicated no later than 15 calendar days after the abstract was received.

The authors can choose between submitting their communication just in the form of a two page extended abstract (including some results and conclusions) or, preferably, as a full written paper. Full papers may have up to twenty pages and should be delivered until July 15, 2018. Final versions, after the integration of suggested alterations, must be delivered by September 20.

Templates for both abstracts and full communications are available at the site http://glazeart2018.lnec.pt/. The communications should be sent by e-mail to both azulejos_Sc@lnec.pt and AzulejosConference@gmail.com.

All communications will be published in a Book of Proceedings. Abstract, willbe printed and the full papers will be distributed as a DVD integrated in the

Book of Proceedings

The registration of one of the authors is mandatory before September 16 to ensure that the communications will be considered for presentation and included in the Book of Proceedings. The author responsible for the presentation must be registered. All participants will receive a copy of the Book of Proceedings.

Important dates

• May 27, 2018 – last day to submit abstracts;

• July 15, 2018 – last day to remit full templated final papers;
• September 16, 2018 – last day for one of the authors to be registered if papers are to be included in the Book of Proceedings; Last day for registration at the reduced fees;
• September 20, 2018 – last day for final paper versions to be sent by authors if papers are to be included in the Book of Proceedings;
• October 29-30, 2018 – GlazeArt2018.

Participation fees

This information will be available soon.

Organizing committee

• João Manuel Mimoso (LNEC, IPERION CH, FCT-AzuRe) – chair
• Maria Antónia Pinto de Matos (MNAz) – co-chair
• Alexandre Pais (MNAz, FCT-AzuRe) – co-chair
• Luca Pezzati (CNR, IPERION CH, Italy)
• Thais Caminha Sanjad (UFPA, LACORE, Brazil)
• Jaume Coll Conesa (National Ceramic Museum, Spain)
• Rosário Salema de Carvalho (Az-Rede / ARTIS – Lisbon University)
• Antonio Candeias (HERCULES- U. Evora, FCT-AzuRe)
• Marluci Menezes (LNEC, IPERION CH) Sílvia Pereira (LNEC, FCT-AzuRe)
• Dória Costa (LNEC, IPERION CH)
• M. Augusta Antunes (LNEC, FCT-AzuRe)

Scientific committee of revisers

• J. Delgado Rodrigues (LNEC, IPERION CH) – chair
• Alexandre Pais (MNAz, FCT-AzuRe) – co-chair

Full commitee to be announced