To what extent do Italian ceramic artists depend on tourism for their economic livelihood?

The story of a Dutch-Italian ceramic artist, Lies Robbertson, who says her studio would struggle to stay open without tourists, offers a glimpse into that reality. Her experience, alongside insights from a tourism expert and an Italian art specialist, sheds light on the relationship between cultural heritage, local economies, and the tourism industry that helps keep them alive.

When tourism disappears, so does income

If tourists stopped coming, many ceramic studios across Italy would face an uncertain future. Among them is Studio Radianza in Lecchi in Chianti, run by Dutch-Italian ceramic artist Lies Robbertsen. In a region where visitors are a vital source of income, her story highlights the delicate balance between preserving a centuries-old craft and making a living from it. “More than 90% of my customers are tourists.”

Lies has lived in the Chianti region since 1994, where she first began her studies in ceramics at Ceramica Rampini under the training of her mentor Eve Hope, a ceramist from Christchurch, New Zealand. She has been running her own business since 2005, previously working with other artists. Since she began selling her work, she has observed how significantly she was affected in times when global travel decreased. In the period following the 9/11 terror attacks and during the COVID-19 pandemic, her business faced considerable challenges as global tourism declined or halted completely. 

Living in the quaint village of Lecchi with a population of approximately 111 residents, the town does not receive the same number of tourists as major Italian cities; therefore, less foot traffic coming into Studio Radianza. Although in recent decades smaller towns and villages have been growing in popularity, leading to “some cities and other villages developing to accommodate the growing numbers of tourists”.

As Lecchi does not have frequent or easily accessible public transport, Lies says the main way people discover her business is through “word of mouth”, tourists with rental cars travelling through the countryside or cycling tours, which are becoming increasingly popular in the Chianti region. Due to the relative isolation of where she lives, she feels deeply appreciative when people hear about her business and travel great distances to see her work. Over the years, Lies has developed strong relationships with her customers, many of whom become returning buyers and supporters of her art.

“They will call and ask me to create gifts for their children's weddings, to make another plate in a dinner set as the family expands, or to replace a broken piece. You really get to know these people, and I think that’s very special”.

What makes something art?

The uniqueness of Lies’ medium and ceramics in general that sets it apart from other artistic disciplines is the creation of pieces intended to be used, not just observed. She says that her work does not necessarily have “meaning” or "is trying to make a statement", rather, Lies creates ceramics with the intention of producing something beautiful. 

“I think to an extent beauty is not subjective; there are things that the human mind finds attractive, such as symmetry, geometric patterns, complementary colours; all these elements together create harmony, which is beautiful. Having a beautiful vase on a table or eating off a colourful plate brings harmony and joy to a space; that is what I want to give people.”

When Lies first left the Netherlands to pursue ceramics in Italy, she describes feeling judged by her fellow art school students back home, who looked down on ceramists. She has felt this throughout her career as art trends and styles have evolved, but the general perception of ceramics in the art community has not. 

“I would not describe myself as an artist; I almost feel allergic to the word, because what is art and who am I to say that what I’m creating is art. I would call myself a painter. I like to take something plain and turn it into something interesting.”

What are the origins of ceramics in Italy?

“Italy as a country is characterised by an astounding number of museum-cities, and each of them is an ancient centre for ceramics. Each piece of pottery and each decoration identifies a precise style and a place of manufacture. From north to south, through the so-called Italian ceramic cities, their museums and workshops, but also through the cupboards of home kitchens, the story of Italian majolica intertwines with the history and culture of beautiful villages and towns, their traditions and customs.” (Di Febo, 2025)

The Maiolica technique (pronounced Majolica in English) first originated in the Middle East during the 8th and 9th centuries before being brought to Italy from Spain. The technique received the name Maiolica as it spread through Europe via Mediterranean trade routes, first on the Spanish island of Mallorca before arriving in Italy. Through the ancient seaport of Pisa in Tuscany before being brought inland via the Arno River, which is why Maiolica has become such a significant part of Tuscan culture, especially in regions around Florence and Siena, where Lecchi is located. By the 15th and 16th centuries, Italian ceramists had mastered the craft, creating a high demand for their Renaissance pieces. 

Maiolica ceramics are characterised by heavy, porous earthenware pottery, opaque white glaze and vibrant colour palette. The pieces are tin-glazed, meaning that unless colour has been added, is white. “Tin-glazed ware is usually decorated with high-temperature colours. But unlike lead-glazed earthenware, which is painted on a fired unglazed body, tin-glazed ware is painted on a fired body that has been coated with raw, or unfired, glaze material.” (Britannica, 2020). This process is what makes Maiolica ceramics perfect for intricate and colourful painting to be done on the pieces.

Cost in creation and being an artist is the modern day

The process of creating these pieces is extensive, as each piece must be glazed, dried, hand-painted, and then fired in the kiln. Lies has spent years developing colour recipes to mix pigments as well as creating unique designs for each piece. The time and effort that go into the work correlate with the cost of the piece. Lies says when people come into the shop and see the prices, many don’t understand that she is just “one person, with two hands,” not a large manufacturer. Which is why a mug at Studio Radianza costs more than “a mug you can get from Ikea”. In order to sustain her business, she is reliant on customers, most commonly tourists who are willing to pay a fair price so that she is able to make a profit and remain open. 

Since she started her shop, the industry and how a small business functions and has to market itself have evolved greatly. With the introduction of social media and expanding globalisation to remain relevant, ceramists like Lies has had to adapt. —--Fabrizio Cassieri, Social Media Manager and Digital Communication Strategist at Confartigianato Imprese, Italy's largest confederation representing artists, said, “From our perspective, many Italian artisan businesses are successfully adapting to new market opportunities, often with the support of digital technologies and international outreach.”

Tourism in Italy 

One of Lies’ largest demographic of customers comes from the United States. Which is not a big surprise. According to the report of Banca d’Italia 2025, America has the second-largest number of visitors in Italy each year, following Germany. Besides that, they are also in second place in terms of highest spending. However, a lot of Italians are not happy with the American tourists. Italian cities, such as Florence and Rome, struggle with mass tourism. On every corner in Florence, you would see the ‘Yankee go home!’ stickers. Graffiti on walls saying ‘Fuck USA’ or ‘Stop mass tourism’.

Brandelli Costa, an associate professor of psychology at James Cook University and editor-in-chief of Trends in Psychology, focuses on social and health psychology. He has published widely in academic journals within his field. According to Costa, negative attitudes toward tourists in heavily visited cities are largely linked to the broader effects of overtourism rather than to any specific nationality. He argues that the influx of visitors in popular European destinations contributes to rising housing costs and noticeable changes in the urban environment. As living expenses increase, long-term residents may be forced to relocate, which can generate resentment toward tourism in general.

He suggests that this resentment tends to be directed at whichever tourist groups are most visible at a given time. For instance, if most visitors came from China, Chinese tourists would likely become the primary focus of local frustration, not because of who they are, but because they represent the dominant tourist presence.

Brandelli Costa also relates this phenomenon to social identity theory, which explains how people categorize themselves into “in-groups” and perceive others as part of “out-groups.” He notes that in many European societies, group identities tied to nationality, religion, or culture are relatively strong, which can sharpen the perception of differences between locals and outsiders.

Applied to cities like Rome and Florence, this framework helps explain why American tourists can stand out as an “out-group.” Their cultural and behavioural differences make them more noticeable, and in the context of overtourism, this visibility may contribute to irritation or negative reactions from some residents.

Despite this, Lies feels differently about tourists than most. “When Americans enter my shop, they are so surprised and overwhelmed by the beauty of the ceramics because they don’t have anything like this back home.” She feels that her American customers have a deep appreciation for her work, unlike some Italians, who see ceramics regularly and therefore do not consider them special.

However, Americans do contribute to the Italian economy. According to the Istituto Nazionale di Statistica, Italy’s direct and indirect impact of tourism on the economy is significant: 9.6% of its GDP. The tourism sector provides employment for more than 4 million people, representing 14.4% of total employment in Italy. Most of these jobs are concentrated in accommodation, food and beverage services, and retail trade. This percentage of GDP contribution from tourism is generally considered substantial and well above the global average, says the World Travel & Tourism Council (WTTC). “Looking ahead, WTTC forecasts the sector will contribute €282.6 billion to Italy’s economy by 2035, 12.2% of GDP, and support 3.7 million jobs.”

The future of the craft and the youth pursuing it

Nicoletta Penco is an Italian ceramic artist based in the heart of Chianti, where she runs the Bottega d’Arte Ceramica, a renowned artisan workshop specialising in artistic ceramics, decorative objects, and Raku-fired works.

“There is a great deal of energy and excitement among ceramic artists at the moment, and the world of ceramics is experiencing a particularly dynamic period. We have remarkable creative abilities, especially among those ceramists who value and draw inspiration from tradition while also embracing innovation and bringing something new to the field.

I see the future very much in this direction: integrating contemporary ceramic production into the world of interior design and decorative furnishings. The focus will be on unique, one-of-a-kind pieces, creating bespoke objects tailored to individual needs and spaces. This is something that Italy does especially well, combining innovative materials with outstanding creative talent to produce distinctive and meaningful designs.”

When asked about her plans and hopes for the future, Lies describes her dream of teaching young Italian-born ceramists the craft and passing on her skills to the next generation. “Once I am too old to continue the work myself, I hope to share what I have learned with young cermtists, so they can develop the craft even further and become better than I was.” She describes her deep appreciation for Italy and the life the country has given her, saying that by sharing her skills with young Italians, she wants to “give Italy back what I received.”