The tradition Laterza ceramics It stands out in the panorama of Italian majolica not only for the formal quality of its products, but above all for the development of a precise and recognizable pictorial language, constructed through well-defined technical and chromatic choices. Among these, the turquoise monochrome, the so-called “whites of Laterza”, the use of manganese browns and, at a later stage, the development of a warm-toned palette.
Understanding these elements means going beyond a simplified vision of Laertina ceramics and restoring its true complexity.
The "Whites of Laterza": a technical and stylistic definition
Late 16th century – early 17th century (circa 1580–1620)
The expression “whites of Laterza” It is used in the historical-artistic field to indicate a specific type of majolica characterised by a particularly bright white background and essential decoration, often created with just a few colours.
This production developed between the end of the seventeenth century and the first decades of the eighteenth century and is considered one of the most refined expressions of Laertina ceramics.
The “whites” are distinguished by some specific characteristics:
- very uniform enamelled surface
- compact and bright shade of white
- sober but extremely controlled decoration
- balance between empty space and pictorial sign
Unlike other richer and more narrative productions, the “Laterza whites” focus on a reduction of decorative elements, leaving more space for the enamelled surface.
This aspect is particularly relevant: white is not just a background, but becomes an active part of the visual composition.
The turquoise monochrome: a distinctive pictorial language
Early 17th century (circa 1620–1650)
One of the most recognizable elements of the Laertina ceramic tradition is the so-called turquoise monochrome, that is, the prevalent use of blue (in different intensities) to create the entire decoration.
This style developed particularly in the 17th century and is closely linked to the tradition of istoriato. However, unlike the polychrome productions of other Italian centers, the blue monochrome is based on a different principle: achieving variety and depth through a single color.
Technically speaking, turquoise derives from the use of cobalt oxide, one of the most stable and intense pigments in ceramics. Its application requires great skill because:
- the color changes during cooking
- the final yield depends on the concentration of the pigment
- nuances must be foreseen in advance
The Laertine artisans developed a remarkable mastery of this technique, managing to obtain a wide range of shades ranging from intense blue to the softest grey-blue.
The false myth: "Laterza ceramics are only blue"“
One of the most widespread simplifications concerns the idea that Laterza ceramics are characterized exclusively by the color blue. This belief derives from the widespread diffusion of the turquoise monochrome in the 17th century, which actually marked an important phase in local production.
However, reducing Laertina pottery to just blue is historically incorrect.
The sources and preserved artifacts clearly demonstrate that:
- blue was dominant at a specific stage
- but it was never the only color used
- chromatic variations already existed in the seventeenth century
- in the eighteenth century a much wider palette developed
Blue is therefore identity, but not exclusive.
This distinction is also fundamental for a correct historical reading and to avoid simplified interpretations of tradition.
Manganese brown
Mid-late 17th century (circa 1650–1700)
Alongside blue, a fundamental role is played by manganese browns, often overlooked in simplified descriptions.
Manganese is used to obtain shades ranging from dark brown to purple, even black.
These colors are used for:
- outlines of the figures
- decorative details
- structural elements of the composition
From a technical point of view, manganese offers a very stable yield during firing and allows for precise design definition.
In many Laertine productions we observe a combination of:
- blue
- manganese
This duotone allows you to enrich the composition without resorting to an extensive palette.
The turquoise-manganese duotone
Late 17th century (circa 1670–1700)
The combination of blue and manganese represents an intermediate stage between monochrome and polychrome.
In this solution:
- blue is used for the backgrounds
- manganese to define the contours
This creates a very effective graphic effect, which enhances the readability of the images.
Two-tone printing is particularly common in items intended for wider use, where a balance is sought between decorative quality and speed of execution.
The warm-toned palette of the eighteenth century
Mid-18th century (circa 1730–1760)
During the 18th century, Laterza ceramics underwent a significant transformation.
You discover
Monochrome and bichrome gradually give way to a richer palette, characterized by warm colors:
- yellow ochre
- orange
- rotten green or copper green
This evolution is linked to several factors:
- changing tastes of clients
- influences from other ceramic centers
- greater availability of pigments
The so-called warm-toned palette marks a new phase in Laertine production, in which the decoration becomes more lively and complex.
However, even in this phase, a strong attention to compositional balance is maintained, a legacy of the previous tradition.
The Warm-Tone Palette: Why Everything Changed in the 18th Century
Differences compared to other ceramic centers
In the panorama of Italian majolica, monochrome is not exclusive to Laterza. However, the way it is used in Laterza's production has specific characteristics.
Unlike centers such as Faenza or Urbino, where polychromy and decorative richness take on a central role, Laterza develops a more essential language, based on:
- chromatic synthesis
- sign control
- fund valorization
This choice gives Laertina ceramics a recognizable identity, which also distinguishes it within the context of southern production.