Explore one of the Maiolica archives from the Grue family through a 3D virtual experience.
This interactive feature allows you to view the details of these historic pieces and learn more about their craftsmanship and heritage.
The rise of the Grue family in the second half of the 17th century may have been linked to a renewed interest in the production of maiolica in Castelli. The Grue family was known for their skill and artistry in making maiolica, and their success may have helped to bring maiolica back into style. Francesco Grue played a pivotal role in the development of majolica at Castelli. He was a skilled potter who made both functional and decorative pieces. Grue’s artwork stood out for its meticulous attention to detail, intricate design, and bold colour.
Based on his artistic approach and the methods that he implemented, Grue’s production can be broken down into three distinct phases. From his youth until 1647, he worked on an altarpiece for the “Chiesa Madre” church in Castelli. During this time, Grue’s work took on a more traditional style, focusing on religious themes and motifs. The second phase of Grue’s work was characterised by signed works in which he experimented with new designs and patterns. Grue’s signature on his work shows that he was proud of his work and confident enough in his abilities to sign it.
During the last part of Grue’s career, he used a technique called “gold heightening,” in which gold is added to the surface of the pottery to bring out certain details or designs.
This technique demonstrated the artist’s mastery of the medium and his ability to produce intricate and intricately detailed works. Carlo Antonio Grue, who was born in Castello in 1655, carried on his father Francesco Grue’s artistic legacy. He was regarded as the best painter in this style and was one of the most significant artists in the creation of Castelli’s majolica during the 17th century. Francesco Grue’s artistic importance was found by looking into the pieces that were thought to have been made by his son. These pieces included a number of models that had been passed down to Carlo Antonio.
Incorporating his father’s methods into his own work, Carlo Antonio, who was at the time also known as the master of Castelli’s majolica, was successful in creating a decoration on the glaze that was regarded as one of the most imaginative and suggestive in Italian majolica.
The romanticism, arcade, poetry of ruins, and utopian sense of nature that were popular themes in the period’s paintings and decorations were characteristics of Carlo Antonio’s artistic output. Because of his style’s unmatched elegance and obvious fancy, his creations were fully deserving of the artistic achievements of the time.
“Masterpieces from the Grue family workshop, preserved by the MET Museum. Public Domain”