History of Deruta

A Hill Town's Roots

Deruta, or “di Ruta”, translates literally to “of Ruta”—Ruta referencing the plant of Deruta, a common theme in Derutan ceramics. It also means “destroyed.” This facet of its name seems ironically fitting, in light of the history of this small town of 7,600 inhabitants, nestled in the hills of Umbria, in central Italy. Its past is littered with disasters that repeatedly threatened its existence—and in each instance, Majolica proved to be Deruta’s deliverance.
Deruta began producing ceramics around 1300. It made a shipment of 1,000 vases to Assisi as early as 1358, a city that became a key customer due to the need for ceramic souvenirs for pilgrims visiting St. Francis’ tomb. Its abundant natural resource of red clay and timber for kilns, in combination with the introduction of Majolica glaze techniques, helped distinguish Deruta as a leading regional ceramic center by the end of the 14th century. During this time, the design “Ricco Deruta”, depicting the famous plant, was developed and became the first design to introduce multiple colors to the Archaic green and brown palette.
Around 1500 Deruta suffered a deadly plague, nearly decimating it. The town advertised “free homes, free materials, free kilns” to ceramic artists who would settle and reestablish Deruta’s ceramic prosperity. One of these artists was an ancestor of the Grazia family, owners of the longest running and most successful Majolica workshop in Deruta.
Fortunately, the Renaissance dawne d not long after, infusing brilliance into Majolica’s hue and design repertoire. This was the period of joyful yellows, oranges, and blues, in addition to traditional green and brown. Design patterns evolved from primarily geometric or organic, due to the iconoclastic influence of Islam, to include peacock feather patterns, Persian palmettes, stylized human figures, portraits, and profiles (for which Deruta became famous). The “Raphaelesco” style gained popularity after Renaissance master Raphael finished a commission of frescoes in Vatican City. Majolica artists were inspired to emulate Raphael’s work, as well as the work of Michelangelo, Botticelli, Perugino, and other Renaissance artists, in their ceramics. The “Grotesque” style, portraying fantastical monster characters, often winged and linked by vine-like forms, also developed and became prevalent during the Renaissance.
Towards the end of the 15th century, Majolica ware began to be utilized for more decorative purposes and less functional, especially large vases and plates depicting human profiles. Scenes from Greek and Roman mythology, biblical and zodiac symbolism, even inspirations from contemporary literature abounded in surface design. The Grotesque style evolved to include half-human characters and masks, often connected by garlands and vines. Deruta is also credited with being the first Italian ceramic center to adopt Valencian luster glazes, and they eventually became characteristic in surface design. Derutan luster ware hues were typically iridescent gold with blue, emulating the Spanish dual-color scheme, and were distinctive amongst polychrome productions.
Arab laborers in Venice introduced “Arabesque” motifs of stylized interlaced leaves, branches, and floral patterns. This style echoed Islamic laws against depicting human beings in art, and also referred to the consistent Islamic influence on Majolica patterns.
The 16th century was undoubtedly the wealthiest in Deruta’s history. Deruta ceramics distinguished themselves from others through exceptionality in production. The styles of the Gothic period are cast off and replaced with almost total adherence to Renaissance motifs.
Mythological and religious themes are common, depicting deities, heroes, and saints. On plate surfaces, stylized wreaths and arabesques around the perimeter often bordered central themes.
In general, the decorative process of Majolica was given greater emphasis during this period, entirely separate from the shape.
Painters treated forms as if they were flat canvases—to such an extent that the pieces were largely impractica l for functional purposes and intended solely for display. The Raphaelesco style became widespread in all Italian ceramics, drawing inspiration directly from the frescoes, and varying slightly from place to place. In Deruta, this style became largely caricatural; whereas in Tuscany, the style maintained its sophisticated depiction of pictorialism.
The process of shape was also refined during this century. Forms became less static, often imitating animal and plant shapes, and were augmented with detailed appliqué (applied ornamentation). Plates were prominent, as well as monumental basins, vases, inkstands, lamps, and spouted jars. Such pieces were often decorated with wreaths as well as applied lions’ heads and serpent handles.
This flourishing period for Derutan Majolica began to dwindle around the mid-17th century. This occurred due to the influx of Chinese porcelain from the Ming and Ching dynasties, imported in vast amounts through the East India Companies, which pushed Italian décor and pigments out of style. Ceramics producers throughout Europe felt the devastating effects of this change in demand, and suffered financial hardship because they were either unwilling or unable to follow the trends.
Deruta suffered greatly in this economic crisis, due to competition with other ceramic centers imitating porcelain design. The town also lost the ceramic market in Assisi, one of its vital customers. Ceramic artists had to resort to simpler and cheaper designs, which resulted in the gradual degradation of the elaborate decorative and technical history that had evolved over the last two centuries. Techniques such as luster were abandoned due to cost, and eventually disappeared all together. Th e intricate pictorial style which had made Derutan Majolica famous was also put aside. Surface designs degenerated back to simplistic Archaic patterns, mostly white with occasional floral motifs in blue or red. The numerous workshops that had previously thrived in Deruta, also diminished.

There were some efforts to revive Deruta’s artistic past, by artists such as Guiseppe Grazia, who was one of the few continuing the Majolica tradition. In 1872, the Commune of Deruta organized an “Industrial Prize Exhibition”, with the intention of promoting Majolica production in the town. Although this event was not immediately effective in restoring ceramic ingenuity, it does reveal the common interest in returning to Deruta’s rich artistic traditions.

It wasn’t until the 20th century that Majolica truly revisited the production styles which had established it as the Mecca of the ceramics world. Artists Ubaldo Grazia, Guiseppe’s son, and Alpinolo Magnini combined efforts to bring back the Renaissance motifs. Other ceramic artists, such as Angelo Micheletti and David Zipirovic, reestablished luster techniques, brilliant pigments, and other methods that had been lost for over a century. Ceramicists once again drew inspiration from Michelangelo and other Renaissance masters.

In 1921, Grazia moved his family’s factory from the old village down into the valley, where the new town of Deruta was growing up along the Via Tiberina. The kiln from the old factory is now located in the Regional of Ceramics in Deruta, and is still in perfect working condition. He dedicated the Grazia Museum, located inside the new factory, to his father Guiseppe for keeping the Majolica tradition alive. The museum houses over 400 pieces, from fragments of antique Majolica and terra cotta ware, Renaissance pieces, as well as works by Guiseppe Grazia.

Ubaldo Ermenelli Grazia took over the factory in 1973, at age 33. He was strictly a business man, not a ceramicist, inheriting the sense for ceramic excellence without the skill of creating it. His ancestral genius in business was tested in 1982, when a chocolate firm in Perugia was sold and thus ended their contract with the Grazia factory. When faced with the crisis of closing, Ubaldo decided to travel to New York, to expand the Majolica market internationally. He introduced himself to dealers, presenting his Majolica as the finest ceramics available. Grazia Majolica can now be bought from such upscale retailers as Saks-Fifth Avenue, Williams-Sonoma, Bergdorf-Goodman, Gumps, and Neiman Marcus. Grazia has customers throughout the U.S., many of whom travel to his factory in Deruta like pilgrims venturing to see holy relics. The Grazia factory deals in traditional was well as modern Majolica, featuring guest ceramic artists from around the world to display their work.

Deruta’s literal meaning, “destroyed”, seems to have been a looming omen over the town’s history. Its ability to adapt to the ever-changing current styles, while maintaining reverence for its rich traditions, allowed it to return from near annihilation and flourish. Deruta possesses a resolute spirit, which is manifested in the varied, intricate beauty of Majolica.