The Everson Museum of Art is located at 401 Harrison Street across from the War Memorial in downtown Syracuse. The first decision has led to a permanent collection comprised largely of American paintings, sculpture, drawings, and graphics that date from Colonial times to the present day. The Everson's second decision was the impetus behind the museum's long-term commitment to the ceramic arts. In 1968 when the Everson Museum of Art opened its present quarters - a building designed by internationally-acclaimed architect I. M. Pei - it was called "a work of art for works of art." Nearly three decades later, as the Everson celebrates its 100th anniversary, the museum is more than just a "work of art." It has assumed a vital role in the reinvigoration of downtown Syracuse through artistic programs designed to maximize community involvement.

Le musée Ariana rassemble les collections de céramique et de verre appartenant à la Ville de Genève. Il est l'unique musée consacré aux arts du feu en Suisse et compte parmi les plus importants en Europe. Les collections, plus de 16’000 objets, illustrent sept siècles de céramique à Genève, en Suisse, en Europe et en Orient. Les principales techniques sont représentées: poterie, grès, faïence, porcelaine et faïence fine. La collection islamique et un important ensemble de porcelaines orientales d'exportation mettent en lumière les interactions Orient-Occident qui constituent une donnée fondamentale de l'histoire universelle de la céramique. Le Musée est aussi ouvert à la création du XXe siècle. Construit à l'initiative du collectionneur Gustave Revilliod (1817-1890), l'Ariana s'est distingué d'emblée dans la production architecturale locale par ses références néo-classiques et néo-baroques.

The Schein-Joseph International Museum of Ceramic Art at Alfred houses nearly 8,000 ceramic and glass objects, ranging from small pottery shards recovered from ancient civilizations to contemporary sculpture and installation pieces to advanced ceramics reflecting the cutting edge of ceramic technology. The Museum is a teaching and research facility, one educational component of the New York State College of Ceramics at Alfred University.

Dans cet espace muséographique installé dans la Maison de la Terre, sont rassemblées, 250 pièces utilitaires des pays qui bordent la Méditerranée (France, Espagne, Maghreb, Egypte, Proche-Orient, Grèce), elles sont brutes ou décorées, ont été choisies pour leur qualité représentative d'un style, d'une influence.

Centre d'art international - 25 Rue Josué Hofer, F-68200 Mulhouse Tél : 33(0)3 89 43 32 55 ; Fax : 33(0)3 89 43 54 99

Nove, comune del Vicentino, attraversato dal Brenta ai confini con Bassano del Grappa e Marostica, famoso sin dal Settecento per la produzione di ceramiche artistiche, ha inaugurato nell'aprile del 1995 il Museo della Ceramica. Ricavato nell'elegante sede di Palazzo De Fabris,che fino a qualche anno fa ospitava il locale Istituto d'Arte per la Ceramica, il Museo vuole proporsi come luogo di studio e di incontro per quanti vogliono conoscere o approfondire l'arte della ceramica. La collezione, ripartita per epoche, documenta ampiamente la storia della ceramica veneta, novese e vicentina in particolare, dal '700 ai nostri giorni, oltre a presentare alcuni interessanti oggetti di epoche precedenti.

On the following Web Pages we invite You to get the first impression of the Ceramic Museum of Grimmerhus in Middelfart, Denmark, where works of contemporary international studio ceramics are presented in the most beautiful surroundings.

The 7th largest public art museum serving southern Ontario, with exhibitions of regional and national Canadian artists and contemporary ceramics

Medalta Potteries Museum celebrates the ceramic and pottery industries that it grew up around during the early and middle part of the 20th century. [Medicine Hat, Alberta]Medicine Hat is in the middle of the vast Canadian prairies. It has the two magic ingredients that make a ceramic industry viable: quality clay and abundant natural gas to fuel kilns. Early this century Rudyard Kipling visited our city and coined the phrase "The city with all hell for a basement". But he also noticed the industrious people that lived here. This project celebrates them. The Friends of Medalta Society is overseeing the restoration of a huge complex of buildings on two sites that celebrate the companies, people, machines, and the products they made in Southern Alberta during the early and middle of the 20th century. Each year our interpreters show thousands of people how the casting, jiggering and pressing of stoneware pottery were done. In the past five year we have had 60,000 visitors!

Collection includes 18th-century European porcelain and figures, 17th-century English delftware and slipware. Italian Renaissance maiolica, Chinese porcelain as well as International contemporary ceramics. [Toronto, Ontario]

Il Museo Internazionale delle Ceramiche di Faenza è, nel suo genere, la più grande raccolta al mondo. Nelle sue sale è documentata la cultura della ceramica nei cinque continenti attraverso i secoli. Accanti alla grande produzione italiana ed europea dal Rinascimento importanti sezioni sono dedicate alla Cina, all'America precolombiana, all'Africa, all'Asia. L'arte contemporanea, italiana e internazionale, è rappresentata dai maggiori artisti del Novecento.

1971 was the year when the museum opened its service as a main distribution base in the Echizen Ceramic Art Village to promote the Echizen Pottery, which is one of the six greatest ceramic artworks in Japan. The museum, whose ground area is 14,477.45 square meters, has four remarkable attractions; An exhi bition center which displays the Echizen pottery works, ceramic art seminar whoever can join, a tea house in which powdered green tea is served with a potte ry teacup of the Echizen work, and the Japanese garden‘Yusekitei' which gives every relaxation to visitors. 1971 was the year when the museum opened its service as a main distribution base in the Echizen Ceramic Art Village to promote the Echizen Pottery.

The Raku Museum is the unique specialisitic museum of Raku ware exhibiting a collection of Raku pieces handed down by the Raku family, a ceramic dynasty of 450 years' history and making further studies on this subject. The origin of 'Raku' ware, which is now known worldwide rather as a ceramic techinique, was founded by Raku Chojiro in the 16th century Japan to be transmitted up to the present through the 15 generations of Raku potters as a unique ceramic tradition. This home page is to give the introduction of the history and the artistic developments of Raku ware starting from the founder, Chojiro, to the present 15th generation Kichizaemon and to inform you of coming exhibitions at the Raku Museum.

El Museo de Cerámica de Manises fue creado por acuerdo municipal tomado en la sesión plenaria del día 3 de noviembre de 1967 con la finalidad de conservar el patrimonio cultural de la ciudad, inaugurándose oficialmente el 26 de noviembre del mismo año. Por decisión municipal, en el año 1982 el Museo se constituyó como Patronato dependiente del Ayuntamiento.. El Museo fue instalado en una casa señorial del siglo XVIII legada, por don José Casanova y su esposa doña Pilar Sanchis, a la Ciudad de Manises para este fin.

The Ashmolean Museum is launching an ambitious and pioneering project for the twenty-first century -- PotWeb -- to create an online catalogue of the ceramic collections.

The 4 outstanding Museums and Galleries of The Potteries offer unique access to the heritage of Stoke-on-Trent. Worldclass collection of ceramics. Continuously changing exhibitions, hands-on activities for all ages. Welcome to the Museums of the Potteries website Our four museums celebrate the people, products and landscape of the North Staffordshire Potteries - the only area in Britain to be so completely identified with one industry. This website gives a flavour of the range and quality of our museums and their superb collections. We hope that it whets your appetite to visit the Potteries and experience the real thing !

Tracing the art of Pueblo pottery

The Gardiner Museum of Ceramic Art is the first museum in North America devoted to ceramics and ceramic research. Founded in 1984 by Toronto philanthropist George R. Gardiner and his wife Helen to house their international collection of ceramics, the Museum was built near Bloor Street at Queen's Park, on the campus of the University of Toronto's Victoria University. Situated across from the Royal Ontario Museum, the Gardiner Museum is one of Toronto's outstanding cultural destinations.

Este é o primeiro museu provincial especializado em cerâmica no leste do Japão. Tem como tema a cerâmica tradicional e artes plásticas contemporânea. Construído em um local de natureza abundante, o museu é a instalação central do parque Geijutsu no mori.

Design Museum – Londres

Cooper-Hewitt, National Design Museum, Smithsonian Institution is the only museum in the United States devoted exclusively to historic and contemporary design. The Museum believes that design shapes our objects, environments, and communications, making them more desirable, functional, and accessible. The Museum celebrates the nature of design and explores its impact on the quality of our lives. Cooper-Hewitt, National Design Museum, Smithsonian Institution is the only museum in the nation devoted exclusively to historic and contemporary design. The Museum presents compelling perspectives on the impact of design on daily life through active educational programs, exhibitions, and publications. The Museum was founded in 1897 by Amy, Eleanor, and Sarah Hewitt—granddaughters of industrialist Peter Cooper—as part of The Cooper Union for the Advancement of Science and Art. A branch of the Smithsonian since 1967, Cooper-Hewitt, National Design Museum is housed in the Andrew Carnegie Mansion on Fifth Avenue in New York City. The Museum includes the Design Resource Center for collections study and storage, the Drue Heinz Study Center for Drawings and Prints, the Henry Luce Study Room for American Art, the Di Palma Center for the Study of Jewelry and Precious Metals, the Barbara Riley Levin Conservatory, the Agnes Bourne Bridge Gallery, the Nancy and Edwin Marks Masters Program Suite, the Lester and Enid Morse Garden Room, and the Arthur Ross Terrace and Garden. With more than 250,000 objects, Cooper-Hewitt, National Design Museum is one of the largest repositories of design in the world. Its collections are international in scope and date from the Han Dynasty to the present. They are organized in four curatorial departments—Applied Arts and Industrial Design, Drawings and Prints, Textiles, and Wallcoverings—and are supported by design archives and a reference library with more than 60,000 volumes, including 5,000 rare books. A center for scholarly and applied research, the Museum provides professional development and museum training to students through a graduate degree program in the history of European decorative arts with Parsons School of Design. The program is based at the Museum in New York, with a branch in Washington, D.C., for the history of American decorative arts, offered in conjunction with Parsons and Smithsonian Institution. Since its founding, the Museum has served as a visual library, dedicated to the purpose of improving the quality of life through design. Whether in the galleries or by appointment for private study, the collections and resources of the National Design Museum are available to everyone.

O Museu de Olaria, nascido numa região de fortes tradições cerâmicas, foi criado em 1963 após a doação de uma valiosa colecção recolhida pelo etnógrafo Joaquim Sellès Paes de Villas Boas. Adaptou primeiramente o nome de Museu Regional de Cerâmica e, mais tarde, de Museu de Cerâmica Popular Portuguesa. O alargamento cada vez maior das suas colecções à olaria nacional fez com que este optasse pela designação de Museu de Olaria. Assim, o Museu de Olaria, através da manutenção de objectos ligados ao quotidiano do povo português, perpétua a memória de um povo e, ao mesmo tempo, contribui para o aumento da consciência da herança cultural, transmitindo a essência de uma cultura em evolução e dando conhecimento de outras culturas.

O núcleo de cerâmica, inclui uma colecção de olaria constituída por peças de barro negro, proveniente dos extintos centros oleiros do Barbeito, freguesia de S. Pedro de Castelões, Vale de Cambra e da freguesia de Ossela, do vizinho concelho de Oliveira de Azeméis.

El museo expone la colección particular del Arquitecto Alejandro Artucio Urioste y se encuentra integrado fundamentalmente por azulejos colectados en Uruguay y Argentina,con el agregado de diferentes piezas traídas por el coleccionista del exterior. Se exhiben alrededor de 2.000 azulejos y se complementa con más de 50 paneles explicativos con afiches, catálogos originales de fábrica, mapas, cuadros sinópticos de historias de fábricas y un sinnúmero de fotografías de su aplicación en la arquitectura desde fines del siglo XVIII, hasta fines del siglo XIX. Los primeros azulejos empleados en la ornamentación de las construcciones en nuestro país, fueron exclusivamente de origen catalán, viéndose incrementados más tarde por los envíos provenientes del norte de Francia, en particular de la villa de Desvres en Pas de Calais. Hay que mencionar también azulejos de producción uruguaya provenientes de un horno ubicado en la villa de San Fernando de Maldonado, de los cuales se hallaron algunos ejemplares colocados en antepechos de viviendas en dicha ciudad. Los azulejos de producción industrial Art Nouveau surgieron masivamente a fines del siglo XIX. Completan este museo un grupo de azulejos Delft de posible procedencia francesa. Se presentan en el museo cuatro vitrinas con azulejos portugueses datando algunas piezas del siglo XVII hasta principios del siglo XX. Casi todos fueron traídos de Lisboa, constituyendo lo que se llama en Portugal azulejos de fachada, precisamente por su utilización en el recubrimiento de cientos de fachadas que se pueden admirar en dicha ciudad. A título anegdótico: en las playas del balneario Solís y del Faro de José Ignacio, hubo sendos naufragios a fines del siglo pasado, y aún a la fecha de hoy, transcurrido más de un siglo, las aguas durante cada tempestad arrojan a la costa azulejos o trozos de ellos. El Arboretum Lussich , en Maldonado, Uruguay, también presenta una importante colección de azulejos franceses

São várias e muito diferentes as ofertas do Museu Nacional do Azulejo: a visita às salas de exposição permanente de Azulejaria fundamentalmente portuguesa, do século XV ao século XXI, aí se integrando os espaços monumentais do antigo Convento da Madre de Deus; as salas de exposições temporárias; o restaurante e a loja; o Serviços Educativos que propiciam ao público formas de aproximação às colecções e ao edifício do Museu; os Serviços de Inventariação, Investigação, Conservação e Restauro, Biblioteca e Centro de Documentação que desenvolvem e divulgam conhecimentos nas respectivas áreas técnicas e cientifícas. Deseja-se aqui disponibilizar informação preliminar que seja apresentação e orientação prática sobre o Museu, afinal convite a comunicar connosco seja pela visita às Exposições e Edifício, pela consulta da Biblioteca ou pelo contactos directos com os Serviços técnicos no sentido de podermos prestar colaboração através das suas competências próprias. Neste site falamo-vos sobre estas ofertas, notícia pública do trabalho desenvolvido pela equipa do Museu Nacional do Azulejo e que, com o maior prazer, colocamos ao dispor de todos os que, de maneiras diferentes, nos queiram contactar.

Inaugurado a 7 de Julho de 2000, culmina o processo de preservação da memória da antiga Fábrica de Loiça de Sacavém. Conforme deliberação camarária de 22 de Novembro de 1995, foi aprovada por unanimidade a instalação de um Museu, integrando o forno 18 da antiga Fábrica. O Museu, de arquitectura moderna respeita o espírito da Fábrica e pretende sobretudo valorizar o Património do Trabalho de Homens e Mulheres e Jovens que fizeram desta fábrica, uma das mais importantes de Portugal e da Península Ibérica. A Fábrica foi fundada em 1856, por Manuel Joaquim Afonso, depois continuada por John Stott Howorth, James Gilman, Herbert Gilbert, Leland Gilbert e Clive Gilbert. Devido a um processo de falência, a fábrica encerrou os seus portões e iniciou a 1998 uma nova fase de existência, como Museu de Cerâmica de Sacavém. Está integrado na Rede de Museus de Loures.

A colecção de Cerâmica inclui cerca de 7500 peças em faiança e porcelana de diversas origens e expressivas de fabricos europeus, nacionais e orientais. À origem conventual do acervo juntaram-se outros objectos vindos das colecções reais ou provenientes de legados e aquisições. Cerâmica portuguesa Um significativo núcleo de faiança branca 'malegueira', situado entre os séculos XVII e XIX, um vasto núcleo de faiança azul e branca de influência oriental que abranje o século XVII até inícios do século XVIII e inúmeros exemplares de múltiplos fabricos nacionais de faiança dos séculos XVIII e XIX constituem o expressivo acervo de faiança portuguesa. À mancha branca onde se afirmam formas essenciais, segue-se a original interpretação portuguesa da gramática decorativa da China. Ainda em azul e branco, distinguem-se as peças de Viana do Castelo e da Real Fábrica do Rato, em Lisboa. Quando a policromia se instala, identificamos as produções dos séculos XVIII e XIX do Norte do país - Fábricas do Porto e de Vila Nova de Gaia, do Centro - Coimbra, Caldas da Rainha e Lisboa e, caso isolado, a faiança de Estemoz. Cerâmica europeia À bacia e gomil, notáveis exemplares fabricados em Florença no século XVI que atestam a primeira tentativa europeia para obtenção da porcelana, universalmente conhecida por 'porcelana dos Médicis', junta-se um reduzido número de majólicas italianas da mesma centúria. Dos séculos XVII e XVIII o acervo integra faiança espanhola, italiana e holandesa, nomeadamente a delicada faiança de Delft que testemunha a vivacidade das relações comerciais estabelecidas com a Holanda. Grupos circunstanciados de porcelana inglesa, francesa e alemã, do século XVIII, e portuguesa da Fábrica da Vista Alegre, do século XIX, completam o acervo europeu. Merece destaque o Legado de Luís Fernandes que inclui cerca de 3000 xícaras. Cerâmica oriental A faiança islâmica do Levante da Península Ibérica até ao Médio Oriente e a porcelana do Extremo Oriente são os dois núcleos essenciais desta área da colecção. O primeiro núcleo inclui um considerável conjunto de pratos dos séculos XV e XVI, fabrico de Manisses, e um número reduzido de paineis de azulejos da Turquia e taças da Pérsia. O segundo núcleo integra a extensa colecção de porcelana da China que se expande, azul e branca, entre os séculos XVI e XVII e, polícroma e armoriada, no século XVIII, abranjendo a longa Dinastia Ming e a Dinastia Qing. São particularmente raras as peças quinhentistas de encomenda portuguesa de que o Pote dos Agostinhos é um notável exemplo. De qualidade também apreciável é a porcelana do Japão do século XVII que remata a produção extremo oriental da colecção.

A colecção de Cerâmica é uma das maiores e mais interessantes do Museu. É constituída, predominantemente, por peças de faiança portuguesa - do séc. XVII ao séc. XX - em particular do Norte do país. Apresenta, também, expressões relevantes de porcelana oriental e de faiança de Delft. A maioria da cerâmica é originária do Museu Municipal do Porto, uma colecção formada nos primeiros anos do séc. XX, que teve como principal motor a compra do espólio ao coleccionador portuense António Moreira Cabral. A faiança nacional seiscentista está representada por um conjunto numeroso de peças, bem ilustrativas do arranque de uma indústria marcada pelas tendências chinesa e islâmica. As peças mais representativas da colecção são as produzidas a partir da segunda metade do séc. XVIII, resultante da reforma implementada pelo Marquês de Pombal, até ao séc. XX. Viana é a fábrica mais representada em número de peças, a partir das quais é possível traçar todo o seu percurso de produção. Através dos exemplares da fábrica de Miragaia, é contada a história dos seus cerca de 80 anos de actividade. Já a cerâmica da fábrica de Massarelos, a mais antiga do país , está sobretudo representada na sua primeira fase, também caracterizada pela decoração de influência francesa. A colecção representa, ainda, diversas fábricas de Vila Nova de Gaia, uma das zonas do país com grande tradição em cerâmica: Cavaquinho e Santo António do Vale da Piedade são as de maior expressão. Exceptuando o núcleo de Aveiro (fabrico não identificado) e alguns exemplares da fábrica do Rato, o Museu possui apenas alguns apontamentos da produção do resto do país. Apesar da faiança nacional ser a mais representada na colecção, destacam-se dois pequenos núcleos de produção estrangeira: pratos hispano-árabes dos séculos XVI e XVII e faiança de Delft dos séculos XVII e XVIII. O núcleo de porcelana (um terço da colecção) é constituído, maioritariamente, por peças chinesas, do séc. XVI ao séc. XIX. Nas mais antigas, destacam-se vários pratos e dois grandes potes da dinastia Ming, do período Jiajing (1522 -1567). Grande parte das peças são do séc. XVIII, de encomenda ocidental: integram um pequeno grupo da «família verde» e um outro mais significativo, com a chamada decoração «Imari chinês».

Le Musée de la Céramique de l'ère Islamique fut originellement fondé suite à la restauration et le renouvellement survenus au Centre de l'Art à Gezira. Il fut recommandé que le Centre Gezira avec ses nouvelles facilités et son architecture devrait inclure un musée qui présentera au public les chefs-d'œuvres de la céramique se référant aux sciècles de l'ère Islamique, suggestion raffermie par le fait que l'art de la céramique a occupé une grande place dans l'histoire de la civilisation Egyptienne à partir des époque proto-dynastiques jusqu'à nos jours. Cette idée fait suite au projet du Ministère de la Culture de deplacer les œuvres artistiques, provisoirement en exposition au palais du Prince Amr Ibrahim situé dans le quartier résidentiel de Zamalek, vers leur emplacement originel au Musée Mohamed Mahmoud Khalil et sa femme situé à Giza. Le dessin architectural du palais reflète un mélange de styles Turc, Marocain et d'Andalousie ainsi que des traits appartenant à l'École Européènne Classique très en vogue durant les débuts du 20ème sciècle. Ces élements architecturaux étaient généralement en usage dans les constructions des palais bâtis durant le règne de la famille Mohamed Ali Pacha. Une collection magnifique et variée de la céramique de l'ère Islamique est actuellement en admiration par tous les visiteurs du palais qui domine les eaux du Nil entourant l'île de Zamalek. Le palais construit en 1343 Hégire, contribue avec son architecture Islamique impressionante à rehausser la beauté et la splendeur de la céramique islamique en éxposition. L'ambiance qui renchérit la place facilite l'établissement d'un lien et d'un dialogue très personnel entre le visiteur et l'objet en admiration.

The premises that have been turned into museum where glass and clay works are on display were built about 90 years ago upon orders of Ahmad Qavam (Qavam-ol-Saltaneh) for his personal lodging (residence and working office). The building is situated in a garden with a span of 7000 square meters and was used by Qavam himself till the year 1953. Later, the building were sold to the Egyptians as the new premises for the embassy of Egypt and remained in their possession for seven years. When relations were strained between Iran and Egypt at the time of Abdul Nasser and subsequent to the closure of the Egyptian embassy in Iran, the Commercial Bank purchased the building. However, it was sold to Farah Pahlavi’s bureau in 1976 and was turned into a museum by three groups of Iranian, Austrian and French architects. The museum was opened in 1980 and was registered in the list of national heritage in 1998. The main establishment of the museum that occupies an area of 1040 square meters is a two-storey octagonal building with suspended pillars and a basement. It is situated on the entrance side of the premises. The architectural style of the building is a combination of the traditional Iranian style and the European architecture of the 19th century. The first floor is connected to the second one through wooden steps in Russian style. Prior to the time when the building was transferred into the Egyptian embassy, the entrance of the museum was doomed-shaped but was later flattened. Parts of the walls in the basement are decorated in traditional style with big tiles. Double windows have been used in the architecture of the building instead of terrace and wooden doors have been installed behind the windowpanes in order to regulate the light and temperature of the interior of the building. The exterior and interior of the museum comprise such decorations as brick works, plaster works, mirror works and inlaid works.

The city of Seto is a living museum of ceramics. As you walk around the city you will discover quaint streets lined with shops displaying ceramic ware, you will cross bridges with balustrades constructed of colorful ceramics, you will find walls and fences made of interestingly shaped ceramic kiln tools, and you will marvel at the monuments and works of public art fashioned out of ceramics. NOBORIGAMA Noborigama is a type of kiln constructed on the slope of the hill. Only two functional kilns remain of this type which was used from the 19th century until the 1950's. With up to 13 rooms, it takes up to four days to heat the interior of a large Noborigama kiln. Pottery is then fired in the kiln for almost two weeks. KAMAGAKI NO KOMICHI(PATH OF KAMAGAKI) Known as Kamagaki, the unique, geometrically patterned walls and fences found in the Hora-machi district of Seto are constructed from circular and rectangular pieces of ceramic that were used in the kiln as supports or spacers during the firing process. The pieces often bear an impression of the kiln's name, imparting additional interest to the walls. NOVELTIES Ceramic novelties produced in Seto have been exported since World WarÖü. Currently, novelties produced in Seto include animal and bird figurines, dolls, ash trays, light stands, and flower vases. These products were originally produced exclusively for export but recently they have enjoyed a wide market within Japan as well. Seto accounts for as much as 80% of the total output of ceramic novelties produced in Japan.

The ceramic museum Westerwald - bound to tradition and future One of Germany's most popular touristic attractions the Westerwald, is situated halfway between Cologne and Frankfort, is not only known to insiders for its unique clay deposits and the salt-glazed stoneware which is produced there.Since the 14th century the hard and densely fired salt-glazed stoneware has been produced in the Western part of the Westerwaldkreis, the so-called "Kannenbäckerland" (country of the potters). At the beginning of the 18th century more than 600 potters were working in the region. Since this century technical ceramics have also been produced in the Westerwald. Only with ceramic filters aluminium can be produced in the required purity for the production of aluminium foil; ceramic parts in cars guarantee the driving safety, many people wear ceramic hip joints. The development of such products is as important as their production. The new building of the ceramic museum, constructed in 1982 by the district Westerwald for the collection of historical and contemporary ceramics, existing since 1976, is located directly at the Motorway. In the 1.500 m©˜ large single-floor museum, the visitor may learn interesting facts about ceramics. The four departments show the development of the Westerwald stoneware from its beginning in the Rhineland until the 20th century, the production possibilities and the variety of the use of ceramics from the water pipe to the industrially produced coffee set and the current trends of the contemporary ceramic. A large sector is reserved to permanently changing special expositions.Priority of the collection comprising several thousands of pieces is set upon the Westerwald stoneware from the 16th century to the art nouveau. The international ceramic art rates also high. As organiser of one of the greatest German ceramic competitions, the Westerwald Prize, it was possible to exhibit and to acquire important works in the museum in the last twenty years. A comprehensive educational collection of Japanese ceramics for the everyday use of the 70ies and 80ies and a collection of technical ceramics, which is greatly equipped with technical ceramics products made by KYOCERA, increases the spectrum of the exhibited subjects. Two large rooms offer space for lectures and special exhibitions with contemporary ceramics. Works of international guest lecturers of the institute for artistic ceramics, as e.g. Sándor Kecskeméti and Jean-Claude de Croussaz are shown. Other ceramists, too, use this space within the scope of a sales exhibition for group or individual exhibitions. In autumn one of these rooms will offer an exhibition with the Bavarian ceramist Jörg von Manz. At Christmas topics of the everyday life can be seen, crib exhibitions and an exhibition of puppet services.A manifold program with special exhibitions and competitions concerning contemporary ceramics with European character, a museum party which takes place the first weekend in June, guided tours, lectures, congresses round up the offer. The ceramist guild of Rhineland-Palatinate has the possibility to offer its newest products for sale in the ceramic museum Westerwald. Upon request a comprehensive educational collection with historical and contemporary ceramics and an extensive specialised library is available to the specialist and the layman.In between this artistical and scientific environment one cannot miss the permanent KYOCERA product show "TECHNICAL CERAMICS". KYOCERA has donated outstanding technical ceramics products to the Keramikmuseum Westerwald ranging from Bioceram products such as hip joints and ceramics knee joint, ceramics tooth implants to ceramics for the automotive industry, Contax Cameras, amorphous silicone drums, ceramics jewelry, ceramics for the textile industry, ceramics household products etc. etc.In addition to our permanent product show, and according to Kyocera's corporate motto, we always try to find ways to support various cultural events of ceramics artists to contribute to the cultural activities of the Westerwald Area.

Nove, Comune of Vicentino, on the river Brenta, the border for Bassano del Grappa and Marostica, famous since the seventeenth century for the production of ceramic art, has opened in the April of 1995, il Museo della Ceramica. Situated in the elegant setting of Palazzo De Fabris which was refined to accommodate the local institute of art for ceramics. The museum would like to propose how it can be a place of study for all those who want to learn about and examine further the art of ceramics. The collection, divided according to periods of time, widely documents the story of Ceramics of Veneta, novesa and Vicentina in particular from the 1700s to the present day, and other interesting objects of previous eras.

On the third day of our stay, we visited the Hae Gang Ceramic Museum in Icheon City, a short drive from Yangji. The museum is a tribute to the ceramic artist Haegang (Yoo Kun-hyung) who spent his life's work on the revival of Koryo celadon techniques which had been neglected for over 500 years. Before visiting the museum, we were treated to a Taekwondo demonstration by the Icheon High School Team which was very exciting. The students were very accomplished and impressive and we marvelled at their skill at such a young age. The museum itself is devoted to one of Korea's most treasured art forms, Koryo Celadon ceramic. Celadon is a type of glaze commonly known as "green glaze" originally developed in China. Most Koryo celadon is a thin, smooth, translucent gray-green and is quite distinctive. The nobles of the Koryo dynasty obtained fine ceramics as luxury ware, even for them, both as "emblems of status and objects for aesthetic appreciation and enjoyment." Manufacturing techniques were developed and refined throughout the Koryo dynasty (A.D. 918-1392) and resulted in a level of artistic achievement recognized throughout Asia. Koryo green-glazed ceramics were commented on by one Chinese official as "first under heaven." In fact, early Korean green-glaze ceramics resemble the renowned Yue ware (from the Kingdom of Yue, southeastern China, eighth through tenth centuries). According to Louise Allison Cort, Associate Curator of Ceramics at the Smithsonian Institution's Freer Gallery of Art in Washington D.C.,.

Hjorth's Factory, Bornholm's ceramics museum, shows the history of ceramics on Bornholm. Long-term scheduled and still functioning ceramics factory, founded in 1859 Exhibitions of Bornholm ceramics: potters, faiance makers and craftspeople Exhibitions specific to ceramics from Hjorth's Factory, work of very high quality Active workshops Delightful courtyard environment Shop selling ceramics produced at the factory Changing exhibitions with themes from the history of ceramics on Bornholm and of the island's ceramicists

The Cowan Pottery Museum of the Rocky River Public Library officially opened on February 28, 1978, with a reception held in the library among the display cases. Months of planning and work had gone into the exhibits beginning with the acquisition in 1976 of the John Brodbeck private collection of over 800 pieces. A bequest from Maude Michael and the vision of then library director, George Scherma, and the Board of Library Trustees made the Cowan Museum a reality. The pottery was back \"home\" in Rocky River. Prior to the museum\'s opening, very little was generally known or published about Cowan Pottery. After extensive expansion and refurbishment efforts for the Rocky River Public Library, there is a light and open renaissance look to the whole place ... especially on the inside. Incorporated in this expansion is a new gallery area located above the main entrance. It is accessible by elevator (push \"M\" for mezzanine) or by a long grand staircase of deep green trimmed in cranberry. This grand stairway leads the eye upwards through the arched doorway to the vision of treasures in a lighted display case beyond. This is not a Mayan pyramid. Welcome to the Cowan Gallery. Once you make the climb to the Gallery, if that is your preference, you will be entering a well-lighted high ceilinged room. Turn around and you have the vantage point of much of the library\'s main floor. The Cowan Pottery, however, will certainly draw your attention. Brass and glass cases hold special exhibitions of our collection\'s finest pieces blended with unique and spectacular and loaned pieces from places such as: New Jersey; Philadelphia, Pa.; Carlsbad, California; Chicago, Illinois; Cincinnati, Ohio; and Nevada. The family of Cowan enthusiasts is growing by numbers and territory. The variety and beauty of Cowan Pottery and of the artists associated with R. Guy Cowan\'s pioneering effort of the 1920s add much deserved luster to the legend of this visionary designer and mentor of art and craft. Reflected in the work of the Cowan Studio itself and of the later works of its artists now on display in our new Cowan Gallery, is a dedication to the integrity of the hand-created form to serve a gracious function. The library\'s history began in 1928, about the time when the Cowan Pottery Studio was at its peak of production just a few short blocks away on Lake Road. Family members tell us that R. Guy Cowan was a constantly self-educating person who used the library often to gather information and ideas from other cultures and their potteries through the books he could borrow. Would he not be pleased to know that his creations and those of his associates serve a gracious function in the library throughout the first floor and mezzanine? Would he not enjoy the special Gallery which has been created and set aside to show what was done here in Rocky River, Ohio, for a little while, when a cultural renaissance in American Art Pottery was unfolding? And would he not like to know that his renaissance in art pottery continues to grow and prosper through the interest and appreciation of many scholars, collectors, dealers, and artists who continue to draw inspiration from the creativity of R. Guy Cowan and his friends?