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83 samples includes several local ceramic-types dating from the
Colonial Period, the nineteenth century and the present day, plus some foreign specimens. The Majolica manufacture process has remained practically unchanged through time: firstly, the sources of clays... shaping is done with a potter’s wheel; drying must be slow... Two firings... the first one for biscuit-sintering and the second for the glaze used as decoration... Glaze is prepared with a mixture of glass-sand (silica-rich sand)... lead, and tin, and the painted decoration is done with metallic oxides such as cobalt blue, iron oxide, and antimony oxide."
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city of Puebla. The Puebla kitchen is one of the traditional environments of
Talavera pottery, from the tiles that decorate the walls and counters to the dishes and other food containers. It is a very distinct style of kitchen. In monastery kitchens of the area, many of the designs also incorporate the emblem of the religious order. Many of the façades in the historic center of Puebla are decorated with these tiles. These tiles are called
38:
215:
247:, Talavera La Reyna, Talavera Armando, Talavera Celia, Talavera Santa Catarina, Talavera de la Nueva España, Talavera de la Luz, Talavera de las Americas, and Talavera Virglio Perez. Each of these needs to pass a twice-yearly inspection of the manufacturing processes. Pieces are subject to sixteen laboratory tests with internationally certified labs. In addition, there is a test done by the Faculty of Sciences of the
412:
introduced by monks who either sent for artisans from Spain or knew how to produce the ceramics themselves. These monks wanted tiles and other objects to decorate their new monasteries, so to keep up with this demand, either
Spanish artists or the monks taught indigenous artists to produce the glazed pottery. A significant number of secular potters came to Mexico from
207:, be slightly porous and milky-white, but not pure white. There are only six permitted colors: blue, yellow, black, green, orange and mauve, and these colors must be made from natural pigments. The painted designs have a blurred appearance as they fuse slightly into the glaze. The base, the part that touches the table, is not glazed but exposes the
276:
piece is tested to see if there are any cracks in it. The initial glazing, which creates the milky-white background, is applied. After this, the design is hand painted. Finally, a second firing is applied to harden the glaze. This process takes about three months for most pieces, but some pieces can take up to six months.
325:, or House of Tiles, which is an 18th-century palace built by the Count del Valle de Orizaba family. What makes this palace, in the City of Palaces, distinct is that its façade on three sides is completely covered in expensive, blue-and-white tile – sensational at the time the tiles were applied.
1113:
S. De la Vega, A. Castaneda-Gomez del Campo, M. Jimenez-Reyes , A. Tellez-Nieto, D. Tenorio
Published online: 3 July 2013 Copyright Akademiai Kiado´, Budapest, Hungary 2013 "The results of a study about Majolica ceramics recovered from three sites located in Mexico City are here presented. The set of
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Another exhibit in Mexico centered on the creation of maps using
Talavera tile. Most tiles during the colonial period were decorated with flowers and landscapes but a significant number were painted to create murals with maps. Those that survive show how a number of cities developed over the colonial
601:
opened in Mexico City with the largest collection of
Talavera Poblana in the world – 726 pieces from the 17th through the 19th century, and some 20th-century pieces by Enrique Luis Ventosa. In Puebla, José Luis Bello y González and his son José Mariano Bello y Acedo sought the advice of Ventosa
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and white sand from Tecali. It is then washed and filtered to keep only the finest particles. This can reduce the volume by fifty percent. Next the piece is shaped by hand on a potter's wheel, then left to dry for a number of days. Then comes the first firing, done at 850 °C (1,560 °F). The
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More recently, the Museo de la
Talavera (Talavera Museum) has been established in the city of Puebla, with an initial collection of 400 pieces. The museum is dedicated to recounting the origins, history, expansions and variations in the craft. Pieces include some of the simplest and most complex, as
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Since then there has been some resurgence in the craft. In the 2000s, seventeen workshops were producing
Talavera in the old tradition. Eight were in the process of becoming certified. These workshops employed about 250 workers and exported their wares to the United States, Canada, South America and
436:
and standards. In 1653, the first ordinances were passed. These regulated who could be called a craftsman, the categories of product quality, and norms of decoration. The effect was to standardize the production of ceramics and increase the quality of what was produced. Some of the rules established
423:
From the time that the city of Puebla was founded in 1531, a large number of churches and monasteries were being built. The demand for tiles to decorate these buildings plus the availability of high-quality clay in the area gave rise to the ceramic industry. It was soon produced by indigenous people
308:
and can be found on fountains, patios, the façades of homes, churches and other buildings, forming an important part of Puebla's
Baroque architecture. This use of azulejos attested to the family's or church's wealth. This led to a saying "to never be able to build a house with tiles", which meant to
251:
to ensure that the glaze does not have lead content of more than 2.5 parts per million or cadmium content of more than 0.25 parts per million, as many of the pieces are used to serve food. Only pieces from workshops that meet the standards are authorized to have the signature of the potter, the logo
226:
blue was used, as this was the most expensive pigment, making it highly sought after not only for prestige but also because it ensured the quality of the entire piece. Only natural clays are used, rather than chemically treated and dyed clays and the handcrafting process takes three to four months.
303:
Talavera ceramic is mostly used to make utilitarian items such as plates, bowls, jars, flowerpots, sinks, religious items and decorative figures. However, a significant use of the ceramic is for tiles, which are used to decorate both the inside and outside of buildings in Mexico, especially in the
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in Spain held an exhibit called "Talaveras de Puebla, Cerámica colonial
Mexicana. Siglos XVII a XXI" (Talavera Pottery of Puebla, Mexican colonial ceramics, XVII to 21st centuries). This was a temporary exhibit of 49 pieces, combined with pieces from Spain and China as references. The pieces were
282:
Some workshops in Puebla offer guided tours and explain the processes involved. The oldest certified, continuously operating workshop is in Uriarte. It was founded in 1824 by Dimas Uriarte, and specialized in traditional colonial-era designs. Another certified workshop, Talavera de la Reina, is
227:
The process is risky because a piece can break at any point. This makes Talavera three times more costly than other types of pottery. Because of this, Talavera manufacturers have been under pressure from imitations, commonly from China, and similar ceramics from other parts of Mexico, especially
138:
in the area. The industry had grown sufficiently that by the mid-17th century, standards and guilds had been established which further improved the quality, leading Puebla into what is called the "golden age" of Talavera pottery (from 1650 to 1750). Formally, the tradition that developed there is
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However, the tradition still struggles. Angelica Moreno, owner of Talavera de la Reina, is concerned that the tradition of the craft is waning, despite her workshop's efforts. One problem the craft faces is the lack of young people who are interested in learning it. An artisan earns about 700 to
547:
is used much more in Mexico than in Talavera de la Reina, Spain, its namesake. In 1997, the Denominación de Origin de la Talavera was established to regulate what pieces could be officially called Talavera. Requisites included the city of production, the clay that was used, and the manufacturing
487:
by the name of Enrique Luis Ventosa arrived to Puebla. Ventosa was fascinated by the history of the craft which was unique from other art forms in Mexico. He studied the original processes and combined it with his knowledge of contemporary, Spanish work. He published articles and poems about the
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In the early 20th century, interest developed in collecting the work. In 1904, an American by the name of Emily Johnston de Forrest discovered Talavera on a trip to Mexico. She became interested in collecting the works, so she consulted scholars, local collectors and dealers. Eventually, her
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However, by the 1980s, there had been a further decline in the number of workshops until only four remained. Talavera had been under pressure in the latter part of the 20th century because of competition from pottery made in other Mexican states, cheap imports and the lack of more modern and
411:
During roughly the same time period, pre-Hispanic cultures had their own tradition of pottery and ceramics, but they did not involve a potter's wheel or glazing. There are several theories as to how majolica pottery was introduced to Mexico. The most common and accepted theory is that it was
154:
in the early 19th century, when the number of workshops were reduced to less than eight in the state of Puebla. Later efforts by artists and collectors revived the craft somewhat in the early 20th century and there are now significant collections of Talavera pottery in Puebla,
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by the ordinances included the use of blue cobalt on only the finest, quality pieces, the marking of pieces by craftsmen to avoid counterfeits, the creation of categories of quality (fine, semi-fine and daily use), and yearly inspections and examination of master potters.
242:
Today, only pieces made by designated areas and from workshops that have been certified are permitted to call their work "Talavera." Certification is issued by the Consejo Regulador de la Talavera, a special regulatory body. Only nine workshops have so far been certified:
475:
During the Mexican War of Independence, the potters' guild and the ordinances of the 17th century were abolished. This allowed anyone to make the ceramic in any way, leading to a decline in quality. The war disrupted trade among the Spanish colonies and cheaper English
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methods. These pieces now carry holograms. One of the reasons the federal law was passed was that the remaining Talavera workshops had maintained the high quality and crafting process from the early colonial period, and the goal was to protect the tradition.
589:. He, too, spent time in Mexico and introduced Talavera into the Pennsylvania museum's collection. He studied the major stylistic periods and how to distinguish the best examples, publishing a guide in 1908 which is still considered authoritative.
642:: A Talavera Vision of Colonial Mexico). This exhibit was of reproductions of the originals created by the Talavera de la Luz workshop in Puebla. The chosen maps show the development of Mexico City as well as representations of the
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tradition and worked to decorate ceramic pieces. In 1922, he befriended Ysauro Uriarte Martinez, a young potter, who had inherited his grandfather's workshop. The two men collaborated to create new decorative designs, adding
191:, and the town of San Pablo del Monte (in Tlaxcala) and the cities of Puebla, Atlixco, Cholula and Tecali, in Mexico; as the clays needed and the history of this craft are both centered there. All pieces are hand-thrown on a
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imaginative designs. In the early 1990s, the Talavera de la Reina workshop began revitalizing the craft by inviting artists to work with their artisans to create new pieces and new decorative designs. Among the artists were
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During this time period, important museum collections were being assembled in Mexico as well. One of the earliest and most important was the collection of Francisco Perez Salazer in Mexico City. A bit later, in the 1920s,
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of certain themes have been created from these permanent collections. One of these was called "El Aguila en la Historia de Mexico" (The Eagle in the History of Mexico). The forty-two-piece exhibit was sponsored by the
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to distinguish it from that of Talavera pottery from Spain. By 1550, the city of Puebla was producing high-quality Talavera wares and, by 1580, it had become the center of Talavera production in Mexico.
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underneath. An inscription is required on the bottom that contains the following information: the logo of the manufacturer, the initials of the artist and the location of the manufacturer in Puebla.
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The process to create Talavera pottery is elaborate and it has basically not changed since the early colonial period when the craft was first introduced. The first step is to mix black sand from
432:
From 1580 to the mid-17th century, the number of potters and workshops kept growing, each having their own designs and techniques. The colonial government decided to regulate the industry with
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This process is so complicated and plagued with the possibility of irreparable damage that during colonial times, artisans prayed special prayers, especially during the firing process.
73:
420:, Spain during the very early colonial period. Later a notable potter by the name of Diego Gaytán, who was a native of Talavera, made an impact on pottery after he arrived in Puebla.
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period. Eight of the most representative 16th-century Talavera tile maps were at the El Carmen Museum at an exhibit called "Cartografia: Una Vision en Talavera del Mexico Colonial" (
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found there and the tradition of production which goes back to the 16th century. Much of this pottery was decorated only in blue, but colors such as yellow, black, green, orange and
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influences to the Islamic, Chinese, Spanish and Italian influences that were already present. They also worked to restore the former levels of quality. Their timing was good as the
622:. These ceramics were chosen because of their combination of art and utility. Eagles depicted include that of Mexico's coat of arms, as well as those of political figures such as
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in starting their collection. They amassed the largest and most important collection in the city which now is housed in the José Luis Bello y González Museum (Bello Museum).
1880:
134:. Production of this ceramic became highly developed in Puebla because of the availability of fine clays and the demand for tiles from the newly established churches and
163:. Further efforts to preserve and promote the craft have occurred in the late 20th century, with the introduction of new, decorative designs and the passage of the
408:) adopted and added to the art form. Further Italian influences were incorporated as the craft evolved in Spain, and guilds were formed to regulate the quality.
619:
597:, a German-born stockbroker, started his collection. In Puebla, he was considered a bit crazy for buying all of the "old stuff" from the locals. In 1986, the
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was being imported. The Talavera market crashed. Out of the forty-six workshops that were producing in the 18th century, only seven remained after the war.
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1885:
960:
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La Talavera en las Calles del Centro Histórico de Puebla; Gil Mejía, Raúl; versus editores, s.a. de c.v./Benemérita Universidad Autónoma de Puebla; 2007;
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as well as Spanish craftsmen, which resulted in a mixture of influences, especially in decorative design. The new tradition came to be known as
1978:
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1247:
718:"Artisanal talavera of Puebla and Tlaxcala (Mexico) and ceramics of Talavera de la Reina and El Puente del Arzobispo (Spain) making process"
528:. They did not change the ceramic processes, but added human forms, animals, other items and traditional images of flowers to the designs.
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The design of the pieces is highly regulated by tradition. The paint ends up slightly raised over the base. In the early days, only a
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The period between 1650 and 1750 was known as the Golden Age of Talavera. Puebla became the most important earthenware center of
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1963:
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NORMA Oficial Mexicana NOM-010-SSA1-1993. Salud Ambiental. Artículos de cerámica vidriados. Límites de plomo y cadmio solubles.
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to show how the eagle symbol has been used in the country throughout its history. This exhibit was sponsored in honor of the
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Talaveras de Puebla: Cerámica colonial mexicana, Siglos XVII a XXI; Museu de Ceràmica de Barcelona/Lunverg Editores; 2007;
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1983:
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not amount to anything in life. Being able to show this kind of wealth was not restricted to Puebla. In Mexico City, the
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464:. During this time, the preferred use of blue on Talavera pottery was reinforced by the influence of China's
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231:. Guanajuato state petitioned the federal government for the right to share the Talavera designation with
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have also been used. Majolica pottery was brought to Mexico by the Spanish in the first century of the
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1548:
1223:
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1917:
390:. From there they influenced late medieval pottery in the rest of Spain and Europe, under the name
235:, but, since 1997, this has been denied and glazed ceramics from other parts of Mexico are called
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30:
This article is about the pottery tradition from Mexico. For the Spanish pottery tradition, see
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2004:
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known for revitalizing the decoration of the ceramics with the work of 1990s Mexican artists.
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8:
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law to protect authentic, Talavera pieces made with the original, 16th-century methods.
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1595:
1222:[Puebla Talavera] (in Spanish). Mexico City: Mexico Desconocido. Archived from
655:
610:
598:
582:
497:
392:
1812:
845:
1483:
1317:
1272:
1183:[Uriarte Talavera] (in Spanish). Puebla: Government of Puebla. Archived from
1157:[History of Talavera] (in Spanish). Artes e Historia – Mexico. Archived from
1128:
489:
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galleons. Italian influences in the 18th century introduced the use of other colors.
204:
192:
115:
1830:
963:[Puebla Talavera] (in Spanish). Puebla: Government of Puebla. Archived from
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covered in Talavera. The most famous example of Talavera in the capital city is the
1835:
1663:
1627:
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929:"Descubre investigadora de la UNAM que la talavera se creó en la zona de Cacaxtla"
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of the workshop and the special hologram that certifies the piece's authenticity.
1648:
1515:
1365:"EL PALACIO DE LOS AZULEJOS: LUGAR DE HISTORIAS NACIONALES CIEN AÑOS DE SANBORNS"
379:
111:
1000:
848:[They affirm that Puebla Talavera is better] (in Spanish). Mexico: Terra
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2054:
1508:
1436:[Showing the evolution of the eagle as a national emblem in Talavera].
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2049:
1600:
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Although the Spaniards introduced this type of pottery, ironically the term
122:. Pottery is made in these locations because of the quality of the natural
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2009:
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147:. It is a mixture of Italian, Spanish and indigenous ceramic techniques.
94:, with a white base glaze typical of the type. It is made in the town of
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88:
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477:
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1729:
1415:[The Museum of Talavera] (in Spanish). Puebla: Puebla Online
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Norma Oficial Mexicana NOM-132-SCFI-1998, Talavera-Especificaciones.
37:
1999:
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236:
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74:
Representative List of the Intangible Cultural Heritage of Humanity
1503:
214:
2044:
1787:
1434:"Muestran en talavera evolución del águila como emblema nacional"
1074:[Mexican ceramics known as Talavera cannot be imitated].
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collection became the base of what is currently exhibited in the
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Detail of the Talavera mosaic used to decorate a fountain at the
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444:. Pieces were shipped all over the territory, and were sent to
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through imported Chinese ceramics that came to Mexico via the
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1072:"Cerámica mexicana conocida como Talavera no se puede imitar"
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had ended and the country was in a period of reconstruction.
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405:
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188:
127:
65:
812:"Talavera - Mexico's earthly legacy from the City Of Angels"
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200:
123:
1129:"Puebla esconde sus secretos en las cerámicas de Talavera"
1881:
Museo Universitario de Artes Populares María Teresa Pomar
646:, Puebla and the Tesuco regions during this time period.
196:
1367:(in Spanish). Mexico City: Museo Soumaya. Archived from
1078:(in Spanish). Torreon, Coahuila. Agencia EFE. 2007-07-20
649:
Exhibits have been held outside of Mexico as well. The
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Colonial Talavera tiles in the exterior façade of the
203:, as they have since colonial times. This glaze must
1886:
National Fund for the Development of Arts and Crafts
1314:
Guia Turistica de Mexico – Distrito Federal Centro 3
1570:
1340:(in Spanish). Mexico City: Sanborns. Archived from
1362:
1311:
1001:"Talavery pottery, the story of Puebla's pottery"
881:[Creators revitalizing Talavera design].
2102:
1856:Museo de la Laca and the Santo Domingo monastery
1131:[Puebla hides its secrets in ceramics].
958:
535:One of the display rooms at the Uriarte workshop
218:Jars in the window of workshop "Taller Armando".
1032:
1030:
1028:
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556:a week, which is not enough to meet expenses.
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959:Martínez Álvarez, Luis Alberto (2009-04-24).
879:"Revitalizan creadores el diseño en Talavera"
630:, and those used by institutions such as the
183:Authentic Talavera pottery mainly comes from
1292:"Talavera Ceramic Technique Maps Exhibition"
1146:
1013:
581:in New York. Her enthusiasm was passed onto
68:. In 2019, both traditions were included in
1286:
1284:
1046:(in Spanish). Torreon, Coahuila. 2007-08-05
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993:
991:
989:
987:
985:
983:
981:
606:well as those representing different eras.
347:Talavera bowl from the 16th or 17th century
143:to distinguish it from the similarly named
1876:Museo Regional de la Ceramica, Tlaquepaque
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371:17th century Talavera azulejos inside the
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1122:
1120:
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632:Royal and Pontifical University of Mexico
54:Artisanal Talavera of Puebla and Tlaxcala
2121:16th-century establishments in New Spain
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1866:Museo Estatal de Arte Popular de Oaxaca
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311:church of the Convent of La Encarnacion
14:
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1461:[Talavera travels to Mexico].
1250:[Talavera in Puebla history].
1217:
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1126:
1117:
809:
763:"Art and Handicrafts-Talavera Poblana"
752:
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150:The tradition has struggled since the
1544:
1426:
1316:. Mexico City: Promexa. p. 102.
1312:Bueno de Ariztegui, Patricia (1984).
1057:
877:Ceballos, Miguel Angel (2007-07-19).
780:
710:
559:
165:Denominación de Origen de la Talavera
2070:Traditional Mexican handcrafted toys
1451:
1248:"La talavera en la historia poblana"
825:
620:Bicentennial of Independence in 2010
2065:Traditional metal working in Mexico
1509:Consejo Regulador de Talavera, A.C.
1305:
1178:
731:
24:
896:
386:by the end of the 12th century as
47:Museo de Arte Popular, Mexico City
25:
2147:
2060:Traditional copper work in Mexico
1497:
1440:(in Spanish). Notimex. 2009-09-15
846:"Afirman que talavera poblana es"
315:church of the Virgin of Valvanera
79:The Mexican pottery is a type of
60:tradition with heritage from the
1465:(in Spanish). Madrid. 2008-01-24
1363:Lopez Velvarde Estrada, Monica.
760:
27:Type of Mexican majolica pottery
1642:Textiles and other fiber crafts
1618:Green glazed pottery of Atzompa
1572:Mexican handcrafts and folk art
1476:
1383:
1265:
1127:Coelho, Oliverio (2000-12-01).
1107:
1098:
1089:
1040:[Making Talavera art].
908:Diario Oficial de la Federación
765:. Inside Mexico. Archived from
668:Mexican handcrafts and folk art
634:and the Mexican Senate itself.
1891:National Museum of Mexican Art
179:Talavera plate by Marcela Lobo
13:
1:
2136:Mexican Designation of Origin
2020:Mexican handcrafted fireworks
1896:National Pyrotechnic Festival
703:
382:were brought to Spain by the
373:Chapel of the Rosario, Puebla
255:
170:
1927:Handcrafts by federal entity
1901:Palm Sunday Handcraft Market
1871:Museo Nacional de la Máscara
1411:Sanchez, Irma (2009-10-08).
1155:"La historia de la Talavera"
698:Talavera de la Reina pottery
673:Mexican pottery and ceramics
335:Talavera de la Reina pottery
62:Talavera de la Reina pottery
32:Talavera de la Reina pottery
7:
1846:Mexico City Alebrije Parade
1793:Tenancingo, State of Mexico
810:Pomade, Rita (2006-01-01).
661:
152:Mexican War of Independence
10:
2152:
2080:Votive paintings of Mexico
1861:Museo de Trajes Regionales
1395:Centro Virtual Cervantes,
1294:. Mexico: INAH. 2008-09-18
1218:Solana, José Luis (1999).
1135:(in Spanish). Buenos Aires
688:Cayetano Corona Gaspariano
624:José María Morelos y Pavón
587:Philadelphia Museum of Art
579:Metropolitan Museum of Art
396:. Spanish craftsmen from
378:Techniques and designs of
332:
328:
29:
2025:Mexican ironwood carvings
1992:
1926:
1909:
1821:
1738:
1702:
1641:
1578:
1459:"Talavera viajó a México"
1413:"El Museo de la Talavera"
885:(in Spanish). Mexico City
145:Talavera pottery of Spain
41:Talavera serving dish by
1918:List of Mexican artisans
1526:Talavera de las Américas
1254:(in Spanish). 2007-07-26
1038:"Hacen arte de talavera"
286:
1841:Feria Maestros del Arte
1391:"Puebla de los Ángeles"
1252:periodicodigital.com.mx
931:. La Jornada de Oriente
195:and the glazes contain
1613:Blanco family (Oaxaca)
1338:"La Casa los Azulejos"
658:and the Bello Museum.
651:Museum of the Americas
609:Several temporary and
573:
570:Biblioteca Palafoxiana
536:
375:
364:
348:
300:
268:
219:
180:
50:
2035:Mexican mask-folk art
1851:Museo de Arte Popular
1766:Santa Clara del Cobre
1751:San Bartolo Coyotepec
1220:"La talavera poblana"
961:"La talavera poblana"
585:, the curator of the
567:
534:
388:Hispano-Moresque ware
370:
361:San Salvador el Verde
354:
346:
333:Further information:
294:
263:
217:
178:
40:
2040:Mexican pointy boots
1756:San Martín Tilcajete
1536:Talavera de la Reyna
1153:Pineda Diaz, Pilar.
683:Cesar Torres Ramírez
510:Vicente Rojo Almazán
418:Talavera de la Reina
398:Talavera de la Reina
323:Casa de los Azulejos
297:Casa de los Azulejos
249:University of Puebla
237:Maiolica or Majolica
185:Talavera de la Reina
2030:Mexican lacquerware
2015:Mexican featherwork
2005:Alfeñique in Mexico
1798:Teotitlán del Valle
1783:Santo Tomás Jalieza
1778:Santa María Atzompa
1725:Miss Lupita project
1608:Barro negro pottery
1591:Ceramics of Jalisco
1397:Instituto Cervantes
1076:El Siglo de Torreón
1043:El Siglo de Torreón
611:travelling exhibits
96:San Pablo del Monte
2116:Azulejos in Mexico
2085:María Teresa Pomar
1746:Ocotlán de Morelos
1694:Textiles of Oaxaca
1689:Textiles of Mexico
1684:Tenango embroidery
1654:Basketry of Mexico
1623:Mata Ortiz pottery
1596:Pottery of Metepec
1514:2018-04-22 at the
1504:Talavera de la Luz
1181:"Uriarte Talavera"
1179:Carrera, Eduardo.
656:Franz Mayer Museum
599:Franz Mayer Museum
583:Edwin Atlee Barber
574:
560:Museum exhibitions
537:
498:Mexican Revolution
376:
365:
349:
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269:
267:workshop in Puebla
220:
181:
102:and the cities of
51:
45:on display at the
2098:
2097:
1822:Organizations and
1579:Clay and ceramics
1488:978-84-9785-380-4
1344:on 22 August 2009
1277:978-968-5482-10-3
16:(Redirected from
2143:
1836:Ciudadela Market
1664:Mexican rag doll
1628:Talavera pottery
1586:Mexican ceramics
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616:Senate of Mexico
526:Francisco Toledo
426:Talavera Poblana
357:Chautla Hacienda
265:Uriarte Talavera
245:Uriarte Talavera
141:Talavera Poblana
118:in the state of
98:in the state of
21:
18:Talavera pottery
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2111:Mexican pottery
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1979:State of Mexico
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1813:Tonalá, Jalisco
1734:
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1649:Amuzgo textiles
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1516:Wayback Machine
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1993:Related topics
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1371:on 7 July 2009
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193:potter's wheel
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1226:on 2010-07-18
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967:on 2010-11-27
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1771:Punzo family
1739:Crafts towns
1720:Lupita dolls
1674:Quechquemitl
1633:Tree of Life
1478:
1467:. Retrieved
1462:
1453:
1442:. Retrieved
1437:
1428:
1417:. Retrieved
1406:
1394:
1385:
1373:. Retrieved
1369:the original
1358:
1346:. Retrieved
1342:the original
1332:
1313:
1307:
1296:. Retrieved
1267:
1256:. Retrieved
1251:
1228:. Retrieved
1224:the original
1189:. Retrieved
1185:the original
1174:
1163:. Retrieved
1159:the original
1148:
1137:. Retrieved
1132:
1109:
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1091:
1080:. Retrieved
1075:
1048:. Retrieved
1041:
1004:. Retrieved
969:. Retrieved
965:the original
933:. Retrieved
923:
911:. Retrieved
907:
898:
887:. Retrieved
883:El Universal
882:
850:. Retrieved
816:. Retrieved
814:. MexConnect
771:. Retrieved
767:the original
722:. Retrieved
720:. 2018-01-01
712:
648:
636:
608:
604:
591:
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550:
544:
542:
538:
514:Javier Marín
506:Juan Soriano
502:
482:
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466:Ming dynasty
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78:
53:
52:
43:Marcela Lobo
2090:Marta Turok
2010:Huichol art
1959:Mexico City
1808:Tlaquepaque
1803:Tlalpujahua
1761:San Pablito
1375:3 September
1348:3 September
761:Herz, May.
640:Cartography
595:Franz Mayer
522:Magali Lara
494:Art Nouveau
483:In 1897, a
209:terra cotta
157:Mexico City
136:monasteries
92:earthenware
2105:Categories
1939:Guanajuato
1715:Cartonería
1469:2009-11-04
1444:2009-11-04
1419:2009-11-04
1298:2009-11-04
1258:2009-11-04
1230:2009-11-04
1191:2009-11-04
1165:2009-11-04
1139:2009-11-04
1082:2009-11-04
1050:2009-11-04
1006:2009-11-04
971:2009-11-04
904:"Extracto"
889:2009-11-04
852:2009-11-04
818:2009-11-04
773:2009-11-04
724:2023-05-01
704:References
256:Production
229:Guanajuato
171:Definition
89:tin-glazed
2131:Porcelain
1964:Michoacán
1824:festivals
1133:La Nación
478:porcelain
458:Venezuela
446:Guatemala
442:New Spain
363:, Puebla.
2000:Alebrije
1984:Tlaxcala
1944:Guerrero
1910:Artisans
1512:Archived
662:See also
644:Acapulco
545:Talavera
540:Europe.
462:Colombia
393:majolica
313:and the
306:azulejos
100:Tlaxcala
81:majolica
2045:Piteado
1954:Jalisco
1949:Hidalgo
1934:Chiapas
1788:Temoaya
1463:El País
935:22 July
913:22 July
678:Azulejo
485:Catalan
414:Seville
402:Castile
339:Azulejo
329:History
319:cupolas
139:called
112:Cholula
108:Atlixco
85:faience
58:pottery
2075:Vochol
1974:Puebla
1969:Oaxaca
1730:Piñata
1679:Rebozo
1669:Petate
1659:Huipil
1486:
1320:
1275:
552:1,800
470:Manila
434:guilds
273:Amozoc
233:Puebla
224:cobalt
120:Puebla
116:Tecali
114:, and
104:Puebla
70:UNESCO
1710:Amate
1703:Paper
1438:Terra
554:pesos
406:Spain
384:Moors
287:Usage
205:craze
189:Spain
128:mauve
87:) or
66:Spain
1916:see
1484:ISBN
1377:2009
1350:2009
1318:ISBN
1273:ISBN
937:2017
915:2017
626:and
524:and
492:and
460:and
450:Cuba
416:and
337:and
295:The
201:lead
199:and
159:and
124:clay
359:in
197:tin
187:in
72:'s
64:of
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