Kunstværket vist på denne side er beskyttet af ophavsretsloven, hvilket betyder, at vi ikke lovligt kan skabe eller sælge en identisk reproduktion. Denne beskyttelse håndhæves i henhold til internationale aftaler som f.eks. den Bernerkonventionen og af nationale love, herunder de bestemmelser, der er fastlagt i Amerikansk ophavsretslov - Titel 17.
Som et respektfuldt og lovligt alternativ tilbyder vi skræddersyede, håndmalede kunstværker inspireret af originalen. Vores dygtige og professionelle kunstnere studerer omhyggeligt originalens stil, stemning og kunstneriske essens for at skabe et nyt, unikt værk, der fremkalder den samme følelse – samtidig med at det forbliver en original skabelse i egen ret.
Denne metode overholder fuldt ud ophavsretsreglerne, da den ikke indebærer kopiering eller duplikering af det beskyttede kunstværk. I stedet er der tale om en kreativ nytolkning – et nyt maleri, som er inspireret af det oprindelige, men ikke identisk med det.
Håndmalet olie på lærred i din valgte størrelse og ramme, udført efter bestilling af vores kunstnere. ( Skift til printversion
Skift til digitalt billede)
Vælg mellem vores forudindstillede størrelser, der matcher kunstværkets originale proportioner.
Indtast den bredde og højde, du har brug for, så det passer til din ramme eller din væg. Da dette er håndmalet, kan kunstneren ved en anden form på størrelsen male lidt mere rundt om billedet eller skære lidt væk — det er op til dig. Vi sender dig et digitalt mockup til godkendelse, før maleriet påbegyndes. Billedet, der vises på denne side, viser ikke det endelige resultat — det er kun mockuppet, der gør.
Levering i hele verden () på 3-4 uger i stedet for de standard 5 uger. (23 oktober). Ingen kompromiser med kvaliteten.
Storage Jar
Reproduktionsstørrelse
The stoneware jar presented here transcends mere utilitarian function; it embodies a profound narrative of survival, creativity, and cultural heritage—a story inextricably linked to the life and legacy of Dave the Potter.
The photograph captures a close-up view of the jar against a stark white backdrop, emphasizing its textural surface and highlighting the delicate cursive lettering that adorns its side—a testament to Dave’s unwavering commitment to preserving his craft and communicating his vision.
Dave Drake's contribution to ceramic art is unparalleled. He stands as one of the first enslaved African Americans recognized for mastering a complex artistic skill, defying legal restrictions that sought to stifle Black literacy and creativity. His dedication to honing his craft—producing an estimated 40,000 pieces during his lifetime—solidifies his place in American art history.
The alkaline glaze technique employed by Dave is more than just a method of surface treatment; it’s a deliberate choice that reflects the potter's understanding of material properties. Combining wood ash, sand, and water—ingredients readily available in Pottersville—Dave achieved a distinctive brown coloration through careful experimentation and observation.
The inscription of poetry onto Dave’s vessels represents a powerful act of defiance against legal prohibitions prohibiting Black literacy. Each poem serves as a conduit for emotion, intellect, and cultural heritage—a declaration of independence from societal constraints and an affirmation of artistic expression.
Today, reproductions of Dave the Potter’s stoneware jar continue to inspire collectors and interior designers alike. Its understated beauty speaks volumes about resilience, creativity, and the enduring spirit of African American artistry—a legacy that transcends time and celebrates the transformative power of art.
Farveharmonien i "Storage Jar" er beskrevet som Unified Palette.
Med sin datering fra 1859 tilhører "Storage Jar" Dave The Potters Mature Period.
Håndmalede kopier af "Storage Jar" af Dave The Potter sælges på denne hjemmeside: en håndmalet oliereproduktion på lærred af hør, bestilt via dens Håndmalet reproduktion-side.
Born around 1800 in South Carolina, David Drake, more famously known as Dave the Potter, lived a life deeply marked by the institution of slavery. He was first enslaved by Harvey Drake, who co-owned a large pottery business with Abner Landrum in Edgefield County, South Carolina. It is believed that Landrum, unusually for the time, taught Dave to read and write – a skill forbidden to enslaved people under South Carolina law.
Dave’s career as a potter began within Drake and Landrum's workshop. He quickly demonstrated exceptional skill in crafting large alkaline-glazed stoneware vessels, primarily jugs. His earliest recorded work dates back to July 12, 1834, marking the beginning of his unique artistic practice. Between the 1820s and 1870s, Dave produced an estimated 40,000 pieces during his lifetime.
What sets Dave the Potter apart is not merely his skill as a potter but his groundbreaking practice of inscribing his work. He signed many vessels with “Dave” and, remarkably, included original poetry – often rhyming couplets – alongside dates and maker’s marks. This was an unprecedented act for an enslaved African American artist.
While direct artistic influences are difficult to pinpoint, Dave’s work existed within the context of Edgefield County pottery traditions. However, his literacy and poetic voice were exceptional for an enslaved person. The very act of self-expression through inscription was a form of resistance and assertion of identity in a system designed to deny both.
Dave the Potter’s achievements lie not only in his prolific output but also in his defiance of societal norms. He became the first enslaved potter to sign his work and incorporate poetry, leaving behind a legacy that challenges conventional narratives about African American art and history.
Dave the Potter's story represents a powerful testament to human creativity and resilience in the face of adversity. His pottery provides invaluable insights into the lives and experiences of enslaved African Americans during the 19th century. He is now celebrated as a significant figure in Southern folk art, American ceramics, and African American history.
His work continues to inspire artists and scholars today, prompting ongoing discussions about race, identity, and artistic expression.
1800 - , United States of America