Eine Fülle an Informationen zur "Historie und Moderne der Keramik" im Keramikmuseum Westerwald: 2500 m² Ausstellungsfläche / fast 5000 m² gesamt zum Thema Ton und Keramik... Ausstellungsobjekte und Videos, Audioguides und Bildtafeln zu: Tonabbau, - früher und heute -, Historie und Moderne der Keramik, Hightech Keramik, Sonderausstellungen, Wettbewerbe, Wir bieten professionelle Kunstvermittlung in Führungen und Profi-Workshops, in themenorientierter Museumspädagogik. Es erwartet Sie ein gut sortierter Museumsshop und das MUSEUMSCAFÈ CREATIV! Das Keramikmuseum ist barrierefrei: Rampen auf 4 Ausstellungsebenen / Videos teils mit Gebärdensprache! Gruppenreisende, Reiseunternehmen, Schulklassen, Familien - Fachwelt der Keramik - herzlich willkommen! Kostenlose Parkplätze direkt vor der Tür! Wir freuen uns auf Sie !
CERAMICS MUSEUM WESTERWALD↵↵
The Ceramics Museum of Westerwald built in 1982, extended 2007,
houses↵↵over five centuries of ceramics history in its almost 5000↵↵
Spread out over four bright and large exhibition levels the museum visitor is provided with a survey of the historical development of ceramics. Starting with examples of pre-historic ceramics, continuing through the origins of Westerwald stoneware, ornamental vessels of the Renaissance, and Art Deco vases, the collection concludes with contemporary examples from the 50s, through the 90s of the last century.↵↵
Very interesting especially for schools: presentation of Hightec Ceramics for use in medicine, engineering, print and household ...
Through its spectacular exhibitions and the opening of the Westerwald prize to international participation, the Westerwald Museum has established itself as a world class center for Contemporary Ceramic Art.
The numerous special exhibitions are geared to both the practicing professional as well as visiting tourists and explore the latest tendencies in Ceramic Art. Symposia and lectures encourage discussion. The museum presents craft and tradition, freely formed sculptures, wheel-thrown and altered works, as well as the innovative use in materials and techniques.↵↵
The museum is an establisment of Museen im Westerwald GmbH, Montabaur.
It is owned by the Westerwald district, which also provides financial guarantees for the museum, and it is supported by its patrons↵↵
in the Förderkreis des Keramikmuseums Westerwald e.V.↵↵
Integral to the development of ceramic production here in the region, and to the founding of the Ceramics Museum Westerwald in Höhr-Grenzhausen, is the actuality that just outside of town you will find the purest, richest, and largest clay quarries in Europe. From the very beginnings of ceramic production, a culture of craftsmanship and artistic expression developed here, that is now famous far beyond the boundaries of the region.↵
Already in the time of the Urn culture around 1000 BC, there is evidence of ceramic production in the area of Westerwald. Works recovered from the middle ages reveal a kind of early stoneware.↵
Around the middle of the 14th century the production of high temperature ware was enabled through advancements in kiln design. For the first time, firing temperatures could reach up to 1250°C. Although we cannot pinpoint its origins precisely, the saltglazing process is first recorded around the middle of the 15th century. Table salt is thrown into the kiln at high temperatures whereupon it vaporizes and bonds with the quartz contained in the clay body resulting in the typical shiny gray Westerwald salt glaze.↵
Around 1600 many potters emigrated to Westerwald from
Siegburg, Raeren,and Lothringen bringing with them new tendencies in both art and craft.
CERAMICS OF 1950 THRU 1980
The post war years and the following decade did not show much promise. The ceramics of the fifties was unresolved, not clearly borrowing from Art Deco or even from the Bauhaus tradition, but it failed to embrace the intuitive painting techniques of e.g. Paul Drossé. The area of the"kidney shaped coffee table" and its search for approppriate form and color produced many extremities.
Nevertheless, other influences from Asia and particularly Japan originating around the turn of the century led to a more formal direction in the 1960/70s. The works of Walter Popp from Kassel set a new standard and created a new code of aesthetics which included: artistic expression, clear structural forms, daring assemblage, clear colors, and simple glazes ground from natural minerals, often overlapped and reduction fired to high temperatures. Ceramic Art was redefined. Wendelin Stahl, Gisela Schmidt-Reuter, Görge Hohlt, then later the Group ’83, personalities such as Walburga Külz and many others helped shape the movement.
Support increased for art education and the creation of institutes of study. The sale of ceramics went well, whether in exhibitions or craft shows. Till the beginning of the ‘90s, artists and craftsmen were well established in the marketplace, and apprenticeships and enrollments in ceramic programs were highly prized and socially accepted career options.
Since the founding of the museum in 1976 the collection of contemporary ceramics has grown steadily. Targeted acquisitions now enable us to present a representative
overview of the artistic tendencies of the last century.
In the last thirty years there have been major changes in the production of ceramics. Technical advancements eased the path of experimentation, while influences from Modern Art have inspired many ceramic artists. This has had a profound impact on the mission of the museum and brought new dimensions. In addition to the ongoing displays of historical techniques, artistic developments, and the surrounding social context, the Ceramics Museum
of Westerwald has placed a new emphasis on the modern.
This is evident through the opening of both the Westerwald and other prizes to international participation, and the many special exhibitions that are organized each year. The documentation and discussion of new tendencies and developments in the realm of artistic ceramics has become the major function of the Ceramics Museum Westerwald.
The raw materials for technical ceramics are not derived from natural clay but rather synthetically created, absolutely pure materials such as titanium, zirconium, or aluminum oxide. These materials mostly in powder form are shaped under extreme pressure and fired to very high temperatures. This results in a density that allows for precise applications.
In the museum are examples of medical implants such as artificial hips, automobile parts, as well as ceramic cutting tools — little things that make our everyday lives easier and in many cases safer.