Misplaced Pages

#923076

30-598: Barro Negro may refer to: Barro negro pottery Barro Negro Tunebo language Barro Negro (volcano) Topics referred to by the same term [REDACTED] This disambiguation page lists articles associated with the title Barro Negro . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Barro_Negro&oldid=859642325 " Category : Disambiguation pages Hidden categories: Short description

60-461: A decorative nature and not for the storage of food and water. One exception to this is the use of cantaros from San Bartolo Coyotepec to age and store mezcal at many distilleries. These large jars are not polished and retain the ancient gray matte, which allows them to be resistant to liquid. Another quality the gray matte version has is that it can be struck similar to a bell, and the cantaros are also used as musical instruments. The sound produced

90-581: A grayish matte finish. In the 1950s, a potter named Doña Rosa devised a way to put a black metallic-like sheen onto the pottery by polishing it before firing. This look has increased the style's popularity. From the 1980s to the present, an artisan named Carlomagno Pedro Martínez has promoted items made this way with barro negro sculptures which have been exhibited in a number of countries. Barro negro pottery can trace its origins to 2,500 years ago, with examples of it found at archeological sites, fashioned mostly into jars and other utilitarian items. It remains

120-631: A mural in barro negro at the Baseball Academy in San Bartolo Coyotepec sponsored by the Alfredo Harp Helú Foundation. This style of pottery is made in San Bartolo Coyotepec and a large number of small communities in the surrounding valley, where the clay that gives it its color is found. This community is located 11 kilometres (6.8 mi) south of the city of Oaxaca , with about 600 families in

150-946: A sculpture group called El mal de amores “ in an expositions called “Enfermo de qué”, related to the origin of disease, toured Europe. In 2002, it appeared at the Parc de la Villette in Paris and the Fine Arts Centre Museum in Chicago. In 2006, it appeared at the Texas Gallery in Houston and the Boston Arts Academy . In 2007, it appeared in the Gardiner Museum in Toronto. In 2008, it appeared at

180-541: A traditional craft of the Zapotecs and Mixtecs of the Central Valleys area to this day. Originally, barro negro pottery was matte and grayish. In this form, the pottery is very sturdy, allowing it to be hit without breaking. In the 1950s, Doña Rosa Real discovered that she could change the color and shine of the pieces by polishing the clay pieces and firing them at a slightly lower temperature. Just before

210-799: Is called “Nuestra Abuela” (Our Grandmother), which is a representation of death and the Zapotec god of fire. He has created sculpted versions of figures drawn by José Guadalupe Posada and Francisco Goitia . He has also created murals and other artworks in barro negro, many of which use the brilliance of the medium to play with the light. Currently, much of his inspiration comes from other parts of Mexico. Carlomagno creates pieces for special orders. Some of these have included historical and cultural figures, which have been exhibited in museums and galleries in Mexico and abroad and many are part of private collections. His work has been featured in locations such as

240-437: Is crystalline. Another famous barro negro object is the "mezcal monkey" (chango mezcalero). This is a vessel created for the alcoholic liquor mezcal in the shape of a monkey. It is made to hold between 700 ml to 1 liter of the liquid with a cork or corncob stopper. It is either painted in bright colors or left grayish with detailed etchings. Valente Nieto, the sole surviving progeny of Doña Rosa, states that his family created

270-423: Is different from Wikidata All article disambiguation pages All disambiguation pages Barro negro pottery Barro negro pottery ("black clay") is a style of pottery from Oaxaca , Mexico , distinguished by its color, sheen and unique designs. Oaxaca is one of few Mexican states which is characterized by the continuance of its ancestral crafts, which are still used in everyday life. Barro negro

300-465: Is on display at the Museo de Arte Popular de Oaxaca in San Bartolo Coyotepec. The color of barro negro is derived from the properties of the clay, and is not colored. The earth used to extract the clay is cleaned to remove impurities, which can take a month of soaking and settling out the clay from the rest of the soil. After this process, each piece takes about twenty days to complete. Traditionally,

330-482: Is one of several pottery traditions in the state, which also include the glazed green pieces of Santa María Atzompa ; however, barro negro is one of the best known and most identified with the state. It is also one of the most popular styles of pottery in Mexico. The origins of this pottery style extends as far back as the Monte Albán period. For almost all of this pottery's history, it had been available only in

SECTION 10

#1732802072924

360-489: Is polished when the piece is almost dry. The surface of the piece is lightly moistened and then rubbed with a curved quartz stone. This compacts the surface of the clay and creates the metallic sheen and dark color during firing. This is also the stage when decorative accents such as clay flowers or small handles are added. The designs of barro negro objects are unique to this area. The pieces are then fired in underground pits or above ground kilns, using wood fires that heat

390-739: The Mexican Fine Arts Center Museum in Chicago, the Galería de la Raza in San Francisco and the Laumeier Sculpture Park in Saint Louis, Missouri . Carlomagno’s work is always done completely by hand with the aim of not repeating a piece he had done before exactly. After modeling, the piece is left to dry completely then fired in an underground oven. This oven is completely sealed to limit

420-627: The Museo Estatal de Arte Popular de Oaxaca (State Museum of Popular Art) was opened here. It has one of its three halls dedicated to barro negro, with pieces from the Monte Albán era to the present day. In 2009, San Bartolo Coyotepec held its first Feria Artesanal de Barro Negro (Crafts Fair of Barro Negro) with the participation of over 150 artisans. Many different kinds of objects are made of barro negro including pots, whistles, flutes, bells, masks, lamps, animal figures with most being of

450-737: The Rufino Tamayo Workshop in the city of Oaxaca . This training allowed him to learn to bridge the gap between handcrafts/folk art and fine art . He received the Premio Nacional de La Juventud Presidencia de la República in 1987 which led to a scholarship to student in the United States from the US Embassy in Mexico in 1989. When he was 31, he began teaching classes to children in Coyotepec, which led to

480-919: The Friends of Oaxaca Folk Art New York. In 2008, he created a large mural in barro negro at the Baseball Academy in San Bartolo Coyotepec, which was sponsored b the Alfredo Harp Helú Foundation. In 2010, it appeared at the Galerìa Arte Contemporàneo Noel Cayetano in Oaxaca. His work has received recognitions such as First Place in Sculpture, Gran Premio de Arte Popular in Querétaro in 1986, Premio Nacional de la Juventud en Artes Populares in 1988. His work has been featured in five published catalogs. In 2014, Mexico awarded Martinez its National Prize for Arts and Sciences in

510-652: The amount of oxygen inside and allows for the black color of the pieces. In 1990, during the Encuentro Nacional de Arte Joven in Aguascalientes , Carlomagno’s work caught the attention of painter Manuel Felguérez and art critic Teresa del Conde , who debated whether Carlomagno should be considered an artist or artisan. Oaxaca painter Francisco Toledo considers him to be an artist and has worked to get his pieces shown in Europe. His first exhibition

540-473: The area dedicated to the craft. In addition to a number of family workshops, including Doña Rosa's, the Mercado de Artesanias is an important attraction which brings visitors from many parts of Mexico and other countries. A group of fourteen people exhibit and sell barro negro objects. Some of these products include vases, animal figures and jars. Demonstrations of pottery making are held there as well. In 2005,

570-581: The barro negro style increased his popularity. Each piece Carlomagno makes is unique, following themes originating from oral histories, indigenous legends, Christianity and death. In Mexico, he has exhibited his work in dozens of expositions and has won three national-level awards. His work has been featured in five books. Martinez's work has been exhibited in the United States, Colombia, Argentina, Lebanon, Germany, Spain, and Japan, with one of his latest exhibits in New York in 2008. In that same year, he created

600-420: The burial of Jesus, and Christ on the cross. One of Carlomagno’s inspirations for his work has been local festival and carnivals. One of these is the feast day of his hometown to honor Saint Peter . Another theme that recurs in his work is that of death, but they are not dramatic or grotesque. One reason for the theme is that it complements the color, which can give a sense of mystery. Two of his popular figures

630-455: The clay is molded on plates balanced on rocks to that they can be spun by hand. Modern potters' tools are not used. Large pieces, such as cantaros are fashioned from the bottom up adding clay as the piece grows. After it is shaped, the pieces are set to dry in a well-insulated room to protect them from sudden changes in temperature. Drying can take up to three weeks. If the piece is to be polished so that it turns out shiny black when finished, it

SECTION 20

#1732802072924

660-456: The clay when handled in a specific way. Most potters still use techniques from the pre Hispanic period, especially in molding although there have been innovations in firing. His grandparents as well as parents, Antonio Eleazar Pedro Carreño and Glafira Martínez Barranco, worked the local clay. His father began experimenting with more creative forms in order to earn more money for the family’s work and both parents taught their children to be proud of

690-564: The development and promotion of barro negro is Carlomagno Pedro Martinez . He was born in San Bartolo Coyotepec into a pottery-making family. From a young age, he showed talent in fashioning figures in clay. When he was grown, he attended the Fine Arts Workshop of Rufino Tamayo in Oaxaca city . He became the first potter and sculptor in the medium, winning his first recognition in 1985 for his work. His work depicting human skulls in

720-490: The formation of a large group concentrated on creating figures in clay, which he himself was learning to use the potters’ wheel. Carlomagno states that he uses the clay to express his emotions much the ways other paint or write. Although most of his pieces are based on traditional characters of Oaxaca, they also include humorous depictions of modern personalities and events. His pieces are primarily based on local legends and myths as well as mestizo religious traditions such as

750-418: The formed clay piece is completely dry, it is polished with a quartz stone to compress the surface . After firing, the piece emerges a shiny black instead of a dull gray. This innovation makes the pieces more breakable, but it has made the pottery far more popular with Mexican folk art collectors, including Nelson Rockefeller , who promoted it in the United States. This relatively recent popularity stems from

780-443: The look, rather than durability, so many pieces are produced now for decorative purposes rather than utility. Doña Rosa died in 1980, but the tradition of making the pottery is carried on by her daughter and grandchildren who stage demonstrations for tourists in their local potters' workshop. The workshop is still in the family home, where shelves of shiny black pieces for sale line the inner courtyard. Another important person in

810-428: The mezcal monkey. He claims that his father was a gifted sculptor, and mezcal owners came to their property requesting novelty bottles for the alcoholic beverage. The monkey as well as other animal shapes were created. However, another family, that of Marcelo Simon Galan, also claim to have created the container. His surviving granddaughter says that he made the shape at the request of a customer. An example of Galan's work

840-412: The objects to between 700 and 800 °C. When they emerge, the polished pieces are a shiny black and the unpolished ones have a grey matte finish. Carlomagno Pedro Mart%C3%ADnez Carlomagno grew up in San Bartolo Coyotepec which has a ceramics tradition that extends back to the pre Hispanic period. The local speciality is “barro negro” or black clay, which gets its color from the properties of

870-458: The work they do. His first name, Carlomagno, is the Spanish version of Charlemagne who his grandmother Magdalena Carreño admired greatly. His father gave him the name in honor of his mother. Carlomagno began to work with ceramics when he was a child, making figures such as Aztec warriors, Mexican soldiers and clowns, based on images he saw in books. In 1982, when he was 18, he enrolled in

900-818: Was in 1983 at the Capilla del Hotel Presidente in Oaxaca city in 1983. In 1985, his work was at the Taller de Artes Plásticas Rufino Tamayo Gallery, and two galleries in Mexico City. In 1988, his work appeared at the Encuentro Nacional de Arte Joven in Aguascalientes. In 1990, his work appeared at Galería de la Raza in San Francisco. In 1995, it appeared at the Mexican consulate in Hamburg, Germany. In 1996,

#923076