Alécio de Andrade. Jean-Baptiste Regnault (1754-1829), The Three Graces, 1797-1798. Musée du Louvre, Paris, 1970. © Alécio de Andrade, ADAGP, Paris.
Photographer and poet, pianist and friend of writers and musicians from around the world, Alécio de Andrade (Brazil, 1938 – France, 2003) became interested in music and poetry from a young age (he was awarded several times for his lyrical work). In 1964 he moved to Paris, where he lived until his death. He made photographs commissioned by media such as Newsweek and Elle, and was a member of Magnum Photos Agency. His production is strongly marked by the stamp of Henri Cartier-Bresson: the use of black and white and no retouching or flash.
Alécio de Andrade. Pierre-Paul Prud’hon (1758-1823), Psyche’s Rapture, 1808. Musée du Louvre, Paris, 1990. © Alécio de Andrade, ADAGP, Paris.
Alécio de Andrade. Balthazar and Florencio de Andrade. Jean-Auguste-Dominique Ingres (1780-1867), Odalisque. Musée du Louvre, Paris, 1990 © Alécio de Andrade, ADAGP, Paris.
Alécio de Andrade. Paolo Caliari (1528-1588), Il Veronese, Canaan Wedding. 1562-1563. Musée du Louvre, Paris, 1993. © Alécio de Andrade, ADAGP, Paris.
Alécio de Andrade, Mona Lisa, Musée du Louvre, Paris, 1971 © Alécio de Andrade, ADAGP, Paris.
Globular Bottle, 13th century. Jizhou ware, Jin dynasty. Stoneware with brown glaze with « cut-glaze » designs, 9 9/16 x 9 3/16 in. (24.3 x 23.34 cm). Gift of Ruth and Bruce Dayton 99.180.4. Minneapolis Institute of Arts © 2014 Minneapolis Institute of Arts.
Probably used to store wine, this incised globular bottle has two bands of floral and cloud decoration that were carved through the stable but still moist glaze to the clay body before firing. « Cut-glaze » decoration, as this technique is called, rose to prominence in Jizhou kilns during the Northern Song (960-1127) and Jin (1115-1234) periods. The method was inspired by the more complicated earlier Jizhou decorative techniques worked with black and white slips in combination with incised decor under a clear glaze. Vessels with cut-glaze decoration are often attributed to Shanxi province but many such vessels were produced in other northern provinces as well.
Meiping Bottle with Plum Branch Decor, 13th century, Jin-Yuan dynasty. Cizhou ware. Stoneware with decoration reserved in the biscuit against a dark-brown glaze, 8-3/8 x 5 x 5 in. (21.3 x 12.7 x 12.7 cm). Gift of Ruth and Bruce Dayton 2001.137.1. Minneapolis Institute of Arts © 2014 Minneapolis Institute of Arts.
Probably used for storing wine, vinegar, soy sauce and other liquids during the Song (960-1279) and Yuan (1280-1368) dynasties, meiping bottles such as this came to be favored in later periods as vases for cut branches of flowering plum as the term, meiping (« plum bottle » or « plum vase ») implies. In fact, the term mei-ping does not appear in pre-Qing (1644-1912) texts.
This elegant example of Cizhou stencil decoration displays a cut branch of flowering plum on each side of the bottle. The details of the pistils were brushed in with brown slip on the biscuit reserve and, as was typical in this technique, the resist portions of the design were coated with a thin application of clear glaze for protection.
Tripod Censer, 12th-13th century, Jin dynasty. Stoneware with black glaze and silver « oil-spot » markings in overglaze iron oxide, 5 9/16 x 7 x 7 in. (14.13 x 17.78 x 17.78 cm). Gift of Ruth and Bruce Dayton, 2002.5. Minneapolis Institute of Arts © 2014 Minneapolis Institute of Arts.
With renewed antiquarian studies during the Northern Song dynasty (960-1127), ancient bronze shapes including Ding tripods began to be appropriated as incense burners. Furthermore, new censers in bronze and glazed ceramic, were now commissioned in the ancient styles.
Appearing black, the dark-brown glaze covering the interior and exterior of this cauldron is suffused throughout with silvery « oil-spot » markings. The « oil-spot » effect was achieved by the application of iron-rich solutions to the glaze in a way that resulted in super-saturated iron compounds collecting into the desired silvery spots.
This rare « oil-spot » censer is apparently unique. Technical characteristics indicate that it probably comes from kilns near T’zu-po in Shandong province. Its dating has been confirmed with a thermoluminescent test.
Flower Vase, 12th-13th century, Jin dynasty. Stoneware with black glaze, markings in overglaze iron oxide, 9 3/8 x 7 1/2 x 7 1/2 in. (23.81 x 19.05 x 19.05 cm). Gift of Ruth and Bruce Dayton, 99.174.1. Minneapolis Institute of Arts © 2014 Minneapolis Institute of Arts.
With its elegant fluid shape, lustrous blue-black glaze, and exceptional russet markings, this is a particularly beautiful vessel. Probably inspired by « hare’s-fur » markings on Jian-ware tea bowls, potters of certain Cizhou kilns in North China had begun by the eleventh century to decorate their black-glazed wares with russet-colored flecks and splashes. Such markings were created by applying an iron-oxide-bearing slip to the vessel surface. Some markings were splashed on the surface and others were created by dipping the vessel in the iron-saturated compound.