tag:blogger.com,1999:blog-70764575293027465232024-02-21T00:04:09.307-08:00KERAMIK CONVERSATIONSEXHIBITION CATALOGUEGérardhttp://www.blogger.com/profile/04992523117116530484noreply@blogger.comBlogger5125tag:blogger.com,1999:blog-7076457529302746523.post-79708458541125212562013-05-03T01:32:00.006-07:002018-08-06T07:28:07.079-07:005. MAIN EXHIBITION <div dir="ltr" style="text-align: left;" trbidi="on">
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<b><span class="Apple-style-span" style="color: #0b5394; font-size: large;">KERAMIK CONVERSATIONS</span></b></div>
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<span class="Apple-style-span" style="color: #cc0000; font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>from Vallauris to Fat Lava </b></span></div>
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<span class="Apple-style-span" style="color: #0b5394; font-family: "trebuchet ms" , sans-serif; font-size: medium;">Perspectives on Post-War, Popular Ceramics from Germany and France</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;"><b><span class="Apple-style-span" style="color: orange; font-size: large;">The Ceramics Gallery at Aberystwyth Arts Centre: </span></b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;"><b><span class="Apple-style-span" style="color: #666666; font-size: large;">4 May - 22 September 2013</span></b></span></div>
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<tr><td class="tr-caption" style="text-align: center;">Left: Marino Le Vaucour, Vallauris (1960s) . Right: Marei Keramik (1970s)<br />
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<span class="Apple-style-span" style="font-size: medium;"><span class="Apple-style-span" style="font-family: "verdana"; font-size: 10px;">Note that a more comprehensive, on-line resource about German, Vallauris, Annecy and British ceramics of that period is also available at</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: xx-small;">: </span><span class="Apple-style-span" style="color: #990000;"><b><a href="http://ceramicsconversations.blogspot.co.uk/">http://ceramicsconversations.blogspot.co.uk/</a></b></span></span></span></div>
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<span class="Apple-style-span" style="color: #134f5c; font-family: "trebuchet ms" , sans-serif; font-size: small;"><b>A number of links to videos have been included.</b></span></div>
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<span class="Apple-style-span" style="color: #134f5c; font-family: "trebuchet ms" , sans-serif; font-size: small;"><b>Comments and complements of information welcome! </b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: x-large;"><b>INTRODUCTION</b></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The exhibition presents a selection of </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">STUDIO and FACTORY-produced ceramics; made </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">in FRANCE and GERMANY during the 50s, 60s and 1970s, in a <i>democratic</i> move to <span class="Apple-style-span" style="color: #660000;">take</span></span></span><span class="Apple-style-span" style="color: #660000; font-family: "trebuchet ms" , sans-serif; font-size: large;"> MODERNITY into every home, through ceramics.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: small;">In Germany this democratic move was inspired by the BAUHAUS.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">In France the development of a <i><b>playful popular modernity</b></i> was influenced by the coming of PICASSO and by the arrival of fine artists and art-school-trained ceramicists who moved to Vallauris to reinvent themselves as 'artist-potters'. </span></span></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">This influx of newcomers inspired <b style="font-style: normal; font-weight: normal;">traditional potters</b> like <b style="font-style: normal; font-weight: normal;">Joseph Calvas-Blanchon, Jean Rossignol</b>, the <b style="font-style: normal; font-weight: normal;">Foucard-Jourdan family</b>, Joseph <b style="font-style: normal; font-weight: normal;">Saltalamacchia</b> and others to shift from the production of the traditional — and now obsolete — <i style="font-style: normal; font-weight: normal;"><b>cooking pots</b> </i>[traditionally made in fragile, low fired earthenware, simply glazed in yellow or green] that they had been making for centuries], to the making of <span style="font-style: normal; font-weight: normal;"><i style="font-weight: bold;">decorative wares for the tourist market. </i>Initially</span><i style="font-style: normal; font-weight: normal;"> adapting the same materials and techniques of </i></span></span><span class="Apple-style-span" style="font-size: small; font-style: normal; font-weight: normal;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">'terres vernissées' [see case 8], then gradually switched to new industrially produced bright glazes; such as 'écume de mer'.</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;"><i> </i></span></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: small;">The transition did not happened overnight, but took place within the space of a decade: from around 1950 to 1960.</span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">The exhibition focuses on the development of <i>experimental glazes</i> — <span class="Apple-style-span" style="color: #0b5394;">'ECUME DE MER'</span></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> in VALLAURIS, </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span class="Apple-style-span" style="color: #3d85c6;">'ÉMAUX DES GLACIERS, ÉMAUX DES NEIGES'</span> in ANNECY</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">, <span class="Apple-style-span" style="color: #cc0000;">` LAVA'</span> glazes in GERMANY, which complemented<i> painted figurative or abstract geometric motifs</i> with rich COLORS and TEXTURES, <i>and<b> <span class="Apple-style-span" style="color: #660000;">radically transformed the </span></b><span class="Apple-style-span" style="color: #660000;">MATERIALITY</span></i></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><i><span class="Apple-style-span" style="color: #660000;"><b> of ceramics.</b></span></i><span class="Apple-style-span" style="color: #660000;"> </span></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Alongside these more experimental glazes, the same workshops and factories continued to decorate their wares with hand-painted <b>figurative motifs</b> (both traditional and modern); often on the same vases that were decorated with <b>lava glazes</b>. This is particularly noticeable in the works produced by Marei Keramik (See forthcoming book on Marei by Ralf Schumann, 2014)</span></div>
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<span class="Apple-style-span" style="color: #660000; font-family: "trebuchet ms" , sans-serif; font-size: large;">KERAMIK CONVERSATIONS traces the emergence and spread of a <b>new popular ceramic modernity, which, with its radical new glazes, </b>provided an URBAN alternative to the neo-traditionalist,ruralist-revivalist aesthetics of the 'brown pots brigade'. </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><br /></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">PRECEDENTS: These post-war developments were paved by the discovery by Europeans (from the 1870s onward) of Japanese stoneware vessels for the <b>tea ceremony</b>, and by the color experiments conducted by Pierre Adrien <b>Dalpayrat</b> and others, during the 1890s. These</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> capitalised on recent developments in glaze chemistry and kiln technologies: </span></div>
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Dalpayrat, Vallauris, Annecy, Germany…</td></tr>
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<span class="Apple-style-span" style="color: #073763; font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>CHEMISTRY INTO ART OR ART INTO CHEMISTRY?</b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">In his excellent article, <i>Crags and Crevices</i> (ceramic Review, nº </span><span class="Apple-style-span" style="font-size: large;">239 S/O 2009<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;"> Mike Bayley describes different ways of producing <i>'lava' </i>(which he calls <i>'eruptive')</i> glazes. </span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">The easiest and most widespread involved adding <i>silicon carbide</i> to a conventional glaze to produce blisters all over the surface of the pot. An other way involves double dipping in glazes of different properties (different reactivity to temperature) — like an earthenware glaze under a stoneware glaze — to produce contractions, bubbles, occlusions, runs, etc.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">Calling the potters who produced these works 'glaze chemists', as Paul Rice and others (after Bernard Leach) have done, is problematic; for it dismisses the works on the assumption that bright textured glazes represent a <i>corruption</i> of 'good (ceramic) taste'.</span></span></div>
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<span class="Apple-style-span" style="color: #073763; font-family: "trebuchet ms" , sans-serif; font-size: large;"><b></b></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 14px; line-height: 19px;"></span><span class="Apple-style-span" style="color: #073763; font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>CRAFTS INTO INDUSTRY</b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>Keramik Conversations</b> challenges the arbitrary boundaries erected between CRAFT and INDUSTRY — by the Arts and Craft Mouvement, and consolidated by the pottery revival instigated by Bernard Leach, from the 1920s onward — and explores how <b>craft skills</b>, used in studio and in industrial (or semi-industrial) conditions, generated <b>discrete CERAMIC MATERIALITIES, with their own legitimate aesthetic values. </b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><b>This was the result of a <span class="Apple-style-span" style="color: #660000;">deliberate move to create a new ceramic modernity and make it available to a larger public</span>.</b> </span></div>
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<span class="Apple-style-span" style="color: #660000;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">These works have, so far, eluded the attention and interest of museums and museum curators, and their recent re-discovery (still in progress) has been, and remains, the work of enthusiastic private collectors. </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large; font-weight: bold;"> </span></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Although '<a href="http://www.musee-poterie-mediterranee.com/expo2012/presse2012.pdf">Vallauris</a>' and </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> <a href="http://moussemagazine.it/sgrafo-vs-fat-lava/">'Fat Lava'</a> <a href="http://www.markhillpublishing.com/tv/past-events/fat-lava-exhibition/">collections</a> </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;"><span class="Apple-style-span" style="font-size: large;">have been </span><a href="http://www.markhillpublishing.com/info/fat-lava-the-movie/" style="font-size: x-large;">showcased</a><span class="Apple-style-span" style="font-size: large;"> in isolation from other ceramic strands (one exhibition titled </span><a href="http://youhavebeenheresometime.blogspot.co.uk/2012/07/sgrafo-vs-fat-lava.html" style="font-size: x-large;">'From Sgrafo to Fata Lava'</a><span class="Apple-style-span" style="font-size: large;">), presenting individual </span><a href="http://www.we-find-wildness.com/2011/05/nicolas-trembley-apartamento-7/" style="font-size: x-large;">collections</a><span class="Apple-style-span" style="font-size: large;"> in rather straight-forward encyclopedic ways, this exhibition </span><b><span class="Apple-style-span" style="color: #660000; font-size: large;">sets these experiments with lava glazes, <i>critically </i>and<i> historically,</i> <i>in the context of an expanded ceramic history.</i></span></b></span></div>
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<span class="Apple-style-span" style="color: #990000; font-family: "trebuchet ms" , sans-serif; font-size: x-large;"><i>'CONVERSATIONS…'</i></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">METHODOLOGY: The exhibition stages <b>conversations</b> <b>between ceramic objects</b>: to <b><i>explore their individual materialities</i></b>, free from <b>aesthetic hierarchies, divisive categories </b>and<b> period boundaries.</b></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">Acknowledging, after Barthes, that (ceramic) meanings are not <i>in</i> the object itself — given once and for all (as museum displays tend to suggest) — but arise from the interaction between an object and the person/s who view it (and from the interaction between objects) — the exhibition aims to open up the ceramic field and define new ways of approaching ceramics; not in isolation but <i>relationally</i>; <i><span class="Apple-style-span" style="color: #660000;">free from conventional assumptions: on an expanded, inclusive (non-elitist), aesthetic basis. </span></i></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">The juxtapposition in one display case (below), between a 'classical' eighteenth century <i>Blanc de Chine</i> porcelain vase (built according the principle of symmetry along a vertical axis) and an experimental </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">hand-built</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> <i>'forme libre'</i></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> </span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">[</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">free form]</span></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">stoneware vase </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">(built on the principle of assymmetry), from <b>Atelier Giraud</b>, in Vallauris, invites us to engage these two items in their respective formal, cultural and aesthetic qualities, and to appreciate</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"> </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;">their <b>contrasting 'materialities' </b>— and their significance — <i>relationally</i> (not in isolation from each other), by re-positioning them in an expanded (<i>deregulated</i>) ceramic history:</span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="color: #660000; font-size: large;"><b><br /></b></span></span>
<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="color: #660000; font-size: large;"><b>SIGNIFICANT PRECEDENTS</b></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: large;">The exhibition includes a few earlier <b>experiments with color</b> in order </span></span><span class="Apple-style-span" style="font-family: "arial"; font-size: large;">to put the post war works in context: from <b>Dalpayrat</b>'s luscious glaze experiments carried out </span><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: large;">during the 1890s to the experiments with crystallisations at <b>Grès de Pierrefonds</b> (France); the systematic exploration of color glazes at <b>Royal Lancastrian</b> (Britain) </span></span><span class="Apple-style-span" style="font-family: "arial"; font-size: large;">[case 6]</span><span class="Apple-style-span" style="font-family: "arial";"><span class="Apple-style-span" style="font-size: large;">; the stoneware revival in <b>Puisaye</b> (</span></span><span class="Apple-style-span" style="font-family: "arial"; font-size: large;">instigated by Jean Carriès and expanded by his 'School', in response to Japanese stoneware) [with an example by Léon<b> Pointu, </b>son of Jean] (</span><span class="Apple-style-span" style="background-color: white; font-family: "arial"; font-size: large;">case 7)]</span><span class="Apple-style-span" style="font-family: "arial"; font-size: large;">; a 17th century Japanese stoneware bowl for the tea ceremony and a vase by the second exponent of the Shinsui (Tamba) kiln: <b>Ichino Shinsui</b> </span><span class="Apple-style-span" style="background-color: white; font-family: "arial"; font-size: large;">[case 13]</span><span class="Apple-style-span" style="font-family: "arial"; font-size: large;">; and, finally, the <b>Bauhaus</b>, which, by advocating the integration of crafts, design and industrial processes, <i>defined a new ceramic Modernity; affordable, potentially, to every home, according to the principles of a new democratic aesthetic</i>. </span><span class="Apple-style-span" style="font-family: "arial"; font-size: large;">[case 3 & 12]</span></div>
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<span class="Apple-style-span" style="font-family: "arial"; font-size: large;">An earlier piece by <b>Léon Marc Castel </b>(son of<b> <span class="Apple-style-span" style="color: #444444;">Léon Castel</span></b>), produced at his <i>Poterie du Mont Chevalier</i>, in Cannes, soon after 1902, represents an early, and isolated, attempt at producing a <i>volcanic</i> glaze.</span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><b><span lang="EN-US" style="color: #990000; font-family: "verdana"; font-size: x-large;"><b>KERAMIK CONVERSATIONS<o:p></o:p></b></span></b></span><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="color: #444444; font-family: "verdana"; font-size: x-large;">START FROM THE OUTSIDE (moving from left to right; v</span></span><span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: x-large;">iewing from the lobby)</span></div>
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<tr><td class="tr-caption" style="text-align: center;">Setting up, June 2013.</td></tr>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana";">The exhibition is constructed as a POLYLOGUE (a discourse of many voices) and <b>starts from the lobby</b>, where a number of displays (like a <i>façade</i> or <i>frontispiece</i>) set the tone; introducing the exhibition <i>thematically</i>: 1. Mythical Origins of Ceramics. 2. Vallauris: the Reinvention of Tradition. 3. Experimental glazes in France and Germany. 4. Bauhaus: from Geometric to Organic. 5. </span></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">Schäffenaecker: </span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana";">Redefining the vase as sculpture. 6. Anti-glazes: Le Cyclope. (Annecy). 7. </span></span><span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana";">Studio vs Industrial…</span></span></span><br />
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<span class="Apple-style-span" style="font-family: "arial";"><b><span lang="EN-US" style="color: #0b5394; font-family: "verdana"; font-size: large;">Display case 1<o:p></o:p></span></b></span><br />
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<span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">above</span></span><br />
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<span class="Apple-style-span" style="font-family: "arial";"><b><span lang="EN-US" style="font-family: "verdana"; font-size: large;">1-2. The (mythical) origin of
pottery: <o:p></o:p></span></b></span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>Anonymous (South Asia?)</b>. Snake basket<b>. Heiner
Hans Körting</b>. Vase. Stoneware. 1960s</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXpY7WpB-LKbPrNrki3H_S4HYO8Xrb9IRWlH-YsFqt5FSDjo2hfw2_hoL_CpDiXsec7V6BFfDDYplFyW1eRfUQCqu72px0R0DsC2YSjLCg7rudz3IykICWhoCxAGCjqfgrZszyNvjEdb0/s1600/Exhibition_Case-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXpY7WpB-LKbPrNrki3H_S4HYO8Xrb9IRWlH-YsFqt5FSDjo2hfw2_hoL_CpDiXsec7V6BFfDDYplFyW1eRfUQCqu72px0R0DsC2YSjLCg7rudz3IykICWhoCxAGCjqfgrZszyNvjEdb0/s320/Exhibition_Case-1.jpg" width="282" /></a></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;">It has been suggested (by anthropologists and by archaeologists) that pottery was 'invented' — or 'discovered'<i> — by chance;</i> when a woven basket, coated with clay on the inside (to hold water), was inadvertently left near a fire and burnt slowly; leaving a fragile clay skin standing in its place, with the pattern of the basket impressed in the clay.</span></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;">This story is also used to explain the traces of decorative <i>basket patterns</i> imprinted on early pottery.</span></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;">We will never know the truth, but can consider the story as a <i>plausible, credible, poetic hypothesis.</i></span></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; line-height: 21px;"><span class="Apple-style-span"><i style="font-size: 15px;">Although the thin crust of baked clay could not have been functional, without the supporting structure of the basket </i><span class="Apple-style-span" style="font-size: small;">[too fragile to hold water]</span><i style="font-size: 15px;">, it may have inspired someone with foresight to pursue the experiment till the 'shell' became a 'vessel' strong enough to hold water.</i></span></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;"><br /></span></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;">This first 'conversation' in the exhibition takes this <i>story</i> as its starting point, looking at <i>formal analogies</i> and <i>functional differences</i> between STRUCTURE and DECORATION: between the<b> structural </b>pattern of a<b> </b>woven basket [and its <i>decorative potential</i>] and the complex <b>decorative</b> pattern of indentations and scarifications meticulously cut/imprinted into the surface of a stoneware vase, by <b>Heiner</b> <b>Hans Körting</b>, when the clay was still wet:</span></span></div>
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Basket . Hans Körting, Vase (Germany, 1950s) </div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;"><b>'Hand-writing': Traces of the process:</b> On closer examination [click on the image below], we see how the clay lifted under the pressure of the cutting tools (leaving a raised rim), and how part of the cream <i>slip</i> ('engobe') flaked off as each identation was made and each piece of clay was cut off and lifted from its place; leaving a raw edge and exposing the color of the clay underneath</span><span class="Apple-style-span" style="font-size: medium;"> </span></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;">:</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG66R7dfEZUycPTtJcQiqDKkNN4OoW4aFh2iksMkLWjqQGBCQWABDgPGE2dFFqAtGHlLqKOoODFsZaDcceKaN4YvrCdTCn4xGaEWiPY-AxmxiYGomd-PiPlMbA_vQHon1WRzLyh0X_AAM/s1600/korting3closeupsb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiG66R7dfEZUycPTtJcQiqDKkNN4OoW4aFh2iksMkLWjqQGBCQWABDgPGE2dFFqAtGHlLqKOoODFsZaDcceKaN4YvrCdTCn4xGaEWiPY-AxmxiYGomd-PiPlMbA_vQHon1WRzLyh0X_AAM/s640/korting3closeupsb.jpg" width="640" /></a></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;">Unlike with the basket, where the <i>weaving method</i> generated simultaneously both the <i>pattern</i> and the <i>structure</i> </span>[the pattern <i>is</i> the structure]<span class="Apple-style-span" style="font-size: medium;"> — and any irregularities in the pattern (i.e. any deviations from geometric perfection) arose from human variations in the execution </span>(i.e. from human limitations)<span class="Apple-style-span" style="font-size: medium;"> — the more complex pattern on the vase was <i>deliberately</i> planned and carried out for <i>decorative purposes </i>only</span></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;"><i>.</i></span><br /><span class="Apple-style-span" style="font-size: medium;"><br /></span></span><br />
<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;">In the vase, however, some irregularities do occur — subtle and almost imperceptible — in the micro variations between each of the maker's marks: through the dizzying repetition of pressing the tool, cutting and removing bits of clay: to create as regular and as complex a pattern as could be achieved by virtuoso human hands; leaving</span><span class="Apple-style-span" style="font-size: medium;"> the distinctive mark of the potter's '<i>hand-writing' </i>through its just less than perfect geometry.</span><br /><span class="Apple-style-span" style="font-size: medium;"><br /></span><span class="Apple-style-span" style="font-size: medium;">Taking a considerable amount of time and care — more than was necessary (but who is to say what is necessary in this case, without running the risk of imposing <i>dogmas,</i> such as <i>'Ornament is crime' </i>?) — and applying a high level of art (in the design) and craft skills (in the execution), in order to produce a richer and more complex pattern, highlights one feature of the <b>'aesthetic' </b></span></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: medium; line-height: 21px;">dimension.</span></div>
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</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;">A 'snake' basket from South Asia </span></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: medium; line-height: 21px;">shows that the maker added a (now partly faded) decorative pattern; to complement and enhance the structural pattern and rythm of the weave</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: medium; line-height: 21px;">:</span><br />
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<span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixGP7lThJq1dAqPf_2OpMQvOgmtqiNHy3JI8mXFLFMVoaVg-YBJschqdg89_2hOhMUHyUlB3SsPVZ3LjWgnOImEp72s7cZwTb7SyDGXNKuZkdkhUzTVxemhaj62rUENm5PgVxzFvtWg4g/s1600/snake-basket.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixGP7lThJq1dAqPf_2OpMQvOgmtqiNHy3JI8mXFLFMVoaVg-YBJschqdg89_2hOhMUHyUlB3SsPVZ3LjWgnOImEp72s7cZwTb7SyDGXNKuZkdkhUzTVxemhaj62rUENm5PgVxzFvtWg4g/s320/snake-basket.jpg" width="319" /></a></span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: 15px; line-height: 21px;"><span class="Apple-style-span" style="font-size: medium;">unlike in the Chinese bamboo charcoal basket ('Sumikago'), used in Japan for the tea ceremony, where the <b>decorative effect</b> is produced exclusively by the woven <b>structure </b>itself…</span></span><br />
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<b><span lang="EN-US" style="font-family: "verdana"; font-size: large;">3-4. The reinterpretation of Tradition:<o:p></o:p></span></b></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>La Poterie Provencale </b>(Biot,
France). Amphora vase<b> . Anonymous </b>(</span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">Vallauris, France; </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">'m" monogram)<b>. </b>Sun-shaped pilgrim jug. </span></div>
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<span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhszmTtyVMqDL0CR9l7eeieE4CYAs5HIkOBSFZKLObjYd3UJ-Mh2FclxL4ytZ4VFGtz-dpL3RDuLt22w4x7Z2W1MqWGO9qgx6vy_dZU6klUW3TOWorIdLo5eVKwJUpBXclLwxcHQ_xupeQ/s1600/BiotVase.VallaurisSun.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhszmTtyVMqDL0CR9l7eeieE4CYAs5HIkOBSFZKLObjYd3UJ-Mh2FclxL4ytZ4VFGtz-dpL3RDuLt22w4x7Z2W1MqWGO9qgx6vy_dZU6klUW3TOWorIdLo5eVKwJUpBXclLwxcHQ_xupeQ/s640/BiotVase.VallaurisSun.jpg" width="640" /></a></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">Set up in 1920, in Biot, by <b>René Augé-Laribé</b>, <b>La Poterie Provençale</b> specialised in the making of vessels in the tradition of <b>'Terres Vernissées'</b>, adapting them from their recently made obsolete <b>storage</b> function (water, oil, wine) to that of <b>garden ornaments</b>. He also produced smaller decrative items, for the home, like this hand-thrown amphora-shaped earthenware vase. Today the <a href="http://www.nicematin.com/article/antibes/biot-rene-auge-laribe-la-creativite-au-service-de-la-poterie.28739.html">grandson</a> René Augé-Laribé continues the family tradition in Biot.</span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;"><b><a href="http://www.terre-en-formes.com/en/savoir_faire.html">La Terre en Forme</a></b>, an off-shoot of the family firm was set up in 2010, by one of René Augé-Laribé's descendants, in Forcalquier. It still uses the traditional technique of ropes and wheel to make very large 'jarres'.</span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">By contrast, the slipcast earthenware vase (above right), by an unidentified maker reinterprets the <i>pilgrim jug</i> in a modern version of the Baroque, with echoes Jean Cocteau's surrealist interpretation of Classicism. </span></span></div>
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</span><span class="Apple-style-span" style="font-family: "arial";"><b><span lang="EN-US" style="color: #0b5394; font-family: "verdana"; font-size: large;">Display case 2</span></b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjLDRLL-exY2fW_qxtBXSU0qCYPn6T47DpQS8nZJ2FbROMZjagY4Jlkewu2ZT7Z2B3yljMxFUc6ufvZx6tTncLN83F4liQ4zYh_FHmlNmL0yw_CXXkh3-7dcIbhonBFTUK7hdo90toibk/s1600/Exhibition-Case-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgjLDRLL-exY2fW_qxtBXSU0qCYPn6T47DpQS8nZJ2FbROMZjagY4Jlkewu2ZT7Z2B3yljMxFUc6ufvZx6tTncLN83F4liQ4zYh_FHmlNmL0yw_CXXkh3-7dcIbhonBFTUK7hdo90toibk/s400/Exhibition-Case-2.jpg" width="345" /></a></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "verdana"; font-weight: bold;">5-6. Marino Le Vaucour. (Vallauris)</span><span class="Apple-style-span" style="font-family: "verdana";">.</span><span class="Apple-style-span" style="font-family: "verdana"; font-weight: bold;"> </span><span class="Apple-style-span" style="font-family: "verdana";">Free form
vase. Slipcast earthenware decorated with 'Écume de mer' glaze, 1950-60</span><span class="Apple-style-span" style="font-family: "verdana"; font-weight: bold;"> . Marei Keramik (Germany)</span><span class="Apple-style-span" style="font-family: "verdana";">.</span><span class="Apple-style-span" style="font-family: "verdana"; font-weight: bold;"> </span><span class="Apple-style-span" style="font-family: "verdana";">Vase. Slipcast stoneware, decorated with thick orange lava glaze over matt pumice glaze. Late 60s or early 70s.</span></span><span class="Apple-style-span">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9MrS-UEEdM-0wBFwU2UTeeC4plFTBP972vacfZR6bKh2K2sS7pBPp2xzBcMO1rtAek3BqzG71GV1t1nq7ZLXWbvgknkxEeuN9vkqm3FYP-YfUV9yBLmbOQ6u9CO1Fhn3pyb0Tjuu3s8A/s1600/Conv.3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="473" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg9MrS-UEEdM-0wBFwU2UTeeC4plFTBP972vacfZR6bKh2K2sS7pBPp2xzBcMO1rtAek3BqzG71GV1t1nq7ZLXWbvgknkxEeuN9vkqm3FYP-YfUV9yBLmbOQ6u9CO1Fhn3pyb0Tjuu3s8A/s640/Conv.3.jpg" width="640" /></a></div>
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<span class="Apple-style-span" style="font-family: "arial"; font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">The 'bubbly' <b>'écume de mer'</b> glaze on the Vallauris sculptural slipcast <i>free</i></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;"><i> form </i></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">earthenware vase (left) and the 'luscious' orange-red <b>'lava'</b> glaze on the <b>Marei Keramik </b>moulded stoneware vase embody two remarkable contributions to the new, <i><b>popular ceramic modernity</b></i> that arose in France and Germany during the postwar years. </span></span></div>
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<span class="Apple-style-span" style="font-family: "arial"; font-size: large;"><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">These industrially-produced forms achieved an unprecedented <i><b>experimental</b></i> <i><b>aesthetic quality</b></i>, through the <b><span class="Apple-style-span" style="color: #660000;">integration of art, craft and design skills as part of an industrial making process.</span></b></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Whereas we know, from Abraham Lomax' s book <i>Royal Lancastrian Pottery 1900-1938</i> (Bolton, 1957) the names of the individuals who made and glazed the Royal Lancastrian vases (as well as the 'artists' who decorated them), the names of the authors (the chemists and the glaziers) of the spectacular orange-red glaze on the right — and of most (if not all) LAVA glazes produced in Germany — seem to have been lost. In some cases we know the name of the <b>designer</b>.</span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">The exhibition pays tribute to the these forgotten [and unrecognized] 'creators' who played an important part in fostering this new modernity…</span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>7-9. Scheurich, </b>3 vases (244/17).
Form (1959). Glaze (1970s).</span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;"><b>Scheurich</b> is one of several manufacturers who produced 'lava' glazes. The practice of decorating the same form (above: form 244 in size 17 cm) with different glazes enabled German manufacturers to extend their range at lower costs, and enabled amateurs to collect and make arrangements with vases of the same form, in different colors; a practice widespread today among collectors of West German 'Fat Lava'.</span></span></div>
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<span class="Apple-style-span" style="font-size: small;"><span lang="EN-US" style="font-family: "verdana"; font-weight: normal;">The soft and fluid contraction of the glaze in these and on the larger iridescent purple vase </span><span class="Apple-style-span" style="font-family: "verdana"; font-weight: normal;">(517/30), </span><span class="Apple-style-span" style="font-family: "verdana"; font-weight: normal;">in display <span class="Apple-style-span" style="color: #444444;"><b>case 15</b>,</span> are characteristic of this manufacturer, and are easily recognizable (on close inspection) from lava glazes produced by <b>Fohr, </b></span><span class="Apple-style-span" style="font-family: "verdana";"><b style="font-weight: normal;">Jopeko </b>(many of which have now been re-attributed to <b>Stein</b>)<b style="font-weight: normal;">, </b><b>Marei</b><b style="font-weight: normal;"> </b>and<b style="font-weight: normal;"> </b></span><span class="Apple-style-span" style="font-family: "verdana"; font-weight: normal;"><b>Roth Keramik</b>, that can be seen in the exhibition.</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-size: small;">From Left to right: Scheurich, Fohr, [Jopeko]/<b>Stein</b> (red), <a href="https://www.facebook.com/media/set/?set=oa.10153894961456060&type=1">Jopeko/<b>Stein</b></a> (white), 1970s.</span></td></tr>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>The chemistry of lava glazes…</b></span></span><br />
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Clockwise: Scheurich (yellow), Jopeko/Stein (red), Fohr (red), Jopeko? (white).</span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">See Mike Bayley' s informed, technical article about lava glazes, <i>'</i></span></span><span class="Apple-style-span" style="font-family: "helvetica"; font-size: 12px;"><i>Crags and Crevices' </i>(</span><span class="Apple-style-span" style="font-family: "helvetica"; font-size: 12px;"> Ceramic Review, nº 239 Sept/Oct. 2009), pp. 64-67.</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: medium; line-height: 21px;"> </span></div>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: medium; line-height: 21px;">In addition to early Japanese experiments, one should mention Lucie Rie, who produced some 'lava'-type glazes as early as 1936-37, in Vienna. These are strangely reminiscent of one of Scheurich's industrially produced glaze, as can be seen in the lidded pot </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: medium; line-height: 21px;">(below), </span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: medium; line-height: 21px;">in the V & A museum :</span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Similar glazes were also produced by Walter Gebauer in the late 60s.</span></span></div>
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">(see <i>Walter Gebauer ein Töpfer aus Bürgel</i>, 1998, p. 56). Earlier during the 1920s, Jackson Pollock-like glazes were produced by Louis Dage in Paris and by Céramique La Charentaise, at Angoulême (see 28-28, below)</span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="color: #666666; font-family: "verdana"; font-size: 10.0pt;">[Entrance Door] Continue on the outside to display cases 3 & 4:<o:p></o:p></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><b>10-11. Margarethenhöhe Keramische
Werkstatt. </b>Left: <b>Johannes Leßmann</b>, 1930s.<b> </b>Right:<b> Walburga Külz</b>, late 40s/early 50s.</span></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; line-height: 21px;"><span class="Apple-style-span">The Bauhaus trained ceramics students to throw pots as a basis for understanding form and material, and for producing design for industry. The emphasis on <span class="Apple-style-span" style="color: #660000;"><b>craft</b></span> production was associated with an <b><span class="Apple-style-span" style="color: #660000;">analytical approach to form</span></b>. Thus, in the green jug, below, </span></span></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: small; line-height: 21px;">each part of the 'body' of the jug</span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: small; line-height: 21px;"> — the <b>foot, body, </b></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: small; line-height: 21px;"><b>handle, shoulder, </b></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; font-size: small; line-height: 21px;"><b>neck, rim</b> and <b>spout</b> — is clearly articulated and emphasized; thus achieving maximum 'legibility'.</span><br />
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; line-height: 21px;"><span class="Apple-style-span">A shift from <b>geometry</b> to <b>organic</b> simplicity and unity of form took place around 1950, under the influence of '<b>streamlining</b>'. </span></span></span><br />
<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; line-height: 21px;"><span class="Apple-style-span"><br /></span></span></span>
<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; line-height: 21px;"><span class="Apple-style-span">This shift can be observed by comparring two works from <b>Margarethenhöhe Keramische Werkstatt</b><b style="font-weight: normal;">: </b>a<b style="font-weight: normal;"> </b>jug in <b>Bauhaus</b> style, by <b>Johannes </b></span><b>Le</b></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;"><b>ß</b></span><span class="Apple-style-span" style="font-family: "trebuchet ms" , "trebuchet" , "verdana" , sans-serif; line-height: 21px;"><span class="Apple-style-span"><b>mann</b><b style="font-weight: normal;"> from the 1930s, and </b>a more fluid vase by <b>Walburga Külz</b>, from the late 40s or early 1950s, reminiscent of ancient ritual vessels found in archaeological museums</span><span class="Apple-style-span" style="font-weight: normal;">:</span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">It can also be observed in two works by <b>Walter Gebauer</b>, from 1938 and 1951, respectively, displayed in the virtual gallery:</span></span></div>
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<span class="Apple-style-span" style="font-size: small;">and in three jug-vases ('krug' vases) by <b>Ursula Fesca</b>, produced for <b>Wächtersbacher</b> during the 1950s [display <b><span class="Apple-style-span" style="color: #0b5394;">case 12</span></b> ] </span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Stylistically close to the Bauhaus, the one on the right may have been originally designed during the 30s, during Fesca's first period of employment at </span></span><span class="Apple-style-span" style="font-size: small;"><b>Wächtersbacher (</b></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">before illness forced her to retire); and could have been 'produced' and edited sometimes during the early 1950s, when she came back as artistic director. The body of the vase is heavier than that of the two others in the display, both made during the 50s.</span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">The red vase, of the same earlier design, however, is much lighter, like the one on the left.</span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>12. Helmut Schäffenacker</b>, Triple
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">During the 1950s, German sculptor <b>Helmut Schäffenacker</b> began to experiment with ceramics; first making ceramic plaques; a popular equivalent of modern art/painting for the home:</span></span><br />
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<tr><td class="tr-caption" style="text-align: center;">Decorative plaque in neo-Cubist style, 1950s.</td></tr>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><br /></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 14px;">Subsequently, he produced vases, which he treated as sculptures. </span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Some are <i>geometric</i> in form, others are <i>organic</i>, like this triple vase (below), which he produced in many variations of form, size and glazes. All make</span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;"> a reference to the mineral world; both in their forms and in their glazes.</span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="color: #660000; font-family: "verdana"; font-size: x-small;">[A small monochrome version from the same series is displayed 'in conversation' with works by <b>Hans Copper</b> and <b>Lucie Rie</b>, in the permanent collection (See blog section 4, n. 1)</span></span></div>
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<span class="Apple-style-span" style="color: #660000; font-family: "verdana";"><span class="Apple-style-span" style="font-size: x-small;">His <b>amonite vase</b>, can be seen in the permanent collection, in dialogue with a large mineral composition by <b>Ewen Henderson</b>, as part of a dynamic display conceived as a ceramic procession/cavalcade, from right to left. Sec tion 4, n. 26]</span></span><span class="Apple-style-span" style="font-family: "helvetica"; font-size: 10px;"></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">In pieces like this, however, he applied the glazes himself, provoking and capitalising on accidental runs and overlays, leaving some parts unglazed; working in a way not dissimilar to that of an abstract painter. </span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b>13-14. </b>Left:<b> Ruscha. </b>Vase 333. 1970s </span><span class="Apple-style-span" style="font-size: small;">[Forrest Poston informs me that form number '333' was first used by Ruscha in </span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">1958 (for a smaller vase of totally different design), and re-used for this larger vase, during the 1970s. This brings the two vases closer in date]</span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"> .</span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"> Slip cast stoneware. <b>Hans Siery</b> (form), <b>Otto Gerhaz</b> (glaze). Right:<b> Schäffenacker. </b>Vase
V13. c. 1960. </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">Slip cast stoneware.</span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px; font-weight: normal;">The perfect line and smooth finish of the </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 15px; font-weight: normal;">slipcast</span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 14px; font-weight: normal;"> <b>Ruscha</b> 'Krug-vase' (left) — reminiscent, in its form, of ancient ritual vessels displayed in archaeological museums — contrast with the heavy, irregularly shaped and textured stoneware vase by <b>Schäffenacker</b>, decorated with a matt green and brown glaze. Although both were cast from a mould, mould casting technology here serves different aesthetics, and the works can in no way be described as 'the work of machines', as the studio pottery 'fundamentalists' would argue.</span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span class="Apple-style-span" style="color: #660000;">Comparing these two vases — in their <i>forms</i> and <i>glazes</i> — with the hand-thrown stoneware vase from <b>La Poterie de la Montagne</b> (St Honoré), in case <b>6</b> [inside the gallery], we note a similarity in colors in the St Honoré and the Schäffenacker matt <b>glazes,</b> but also their extreme difference in <b>form </b>(symmetry/assymetry) and aesthetics (tradition/modernity).</span> </span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b>15. Charles Cart. </b>'Le Cyclope' pottery (Annecy, France). Soup terrine. Slip-cast earthenware, decorated with <b>‘Émaux des
glaciers’ </b>glaze. Late 50s/early 60s. (Cart developed this glaze after asking chemists to show him how to ‘spoil’
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: medium;">Hinting at the refined lines of 18th century '<i>faïence'</i>, this large earthenware soup terrine was produced to function as a decorative object, which connoted class [Louis XV or XVI style], wealth and confort, but was totally unusable for its original function (serving soup). At a time when soup was probably served from a metal cooking pot, the 'soupière' displayed on side boards acted as a formal icon symbolic of the</span><span class="Apple-style-span" style="font-family: "verdana"; font-size: medium;"> ritual of family meals </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: medium;">(see Baudrillard, <i>Systems of Objects</i>)</span><span class="Apple-style-span" style="font-family: "verdana"; font-size: medium;">.</span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span style="mso-spacerun: yes;">The<span class="Apple-style-span" style="color: #ff6600; font-weight: bold;"> </span>bursting of bubbles in the multi-layered, </span></span></span><span class="Apple-style-span" style="font-family: "verdana";">magma-like, </span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span style="mso-spacerun: yes;">runny glaze </span></span></span><span class="Apple-style-span" style="font-family: "verdana";">reveals </span><span class="Apple-style-span" style="font-family: "verdana";">a richness and lusciousness of color and textures; with an added irreverent, dadaistic sense of play which, today, given the conventionalism and one-dimensionality of popular decorative ceramics, confer upon it the quality of a Post-Modern fine art intervention. </span><br />
<span class="Apple-style-span" style="font-family: "verdana";"><b>Cart</b> used <i>bought-in blanks</i> for this item; for his small pottery was not equipped or staffed to slip-cast on a large-scale. His vases, however, tended to be hand-thrown. For this and similar items, it was cheaper to buy-in blanks and decorate them in house.</span><br />
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<span class="Apple-style-span" style="font-family: "verdana";">This practice was also widespread in <b><a href="http://ceramicsconversations.blogspot.co.uk/2012/10/4.html">Vallauris</a>,</b> where the industrial makers of now obsolete cooking pots sold them to different factories to be decorated with bright colors, which gave them a new lease of life as <i>ornaments</i>.</span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b style="font-weight: normal;">16-17. </b><b>Pol Chambost</b><b style="font-weight: normal;"> </b>(France).<b style="font-weight: normal;"> </b>Vase. Hand-thrown and carved earthenware (1930s-50s?) <b style="font-weight: normal;">. </b><b>Irene Pasinski </b><b style="font-weight: normal;">(USA), </b>vase 605/2. Slipcast stoneware for <b>Gräflich Ortenburg</b> (1958). </span><b style="font-size: 10pt; font-weight: normal;"><o:p></o:p></b></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">The perfect line of the Chambost may lead one to assume that it</span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;"> was slip-cast and that the Pasinski, with its rougher texture, was hand-thrown. On closer inspection, however, it appears that the sgraffitoed pattern on the neck of the Chambost (left) are irregular and more clearly the result of hand carving rather than of moulding. This is confirmed by looking inside the vase to see the concentric signs of hand-throwing. </span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">Whereas the smooth glaze on the Chambost vase </span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">recalls</span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;"> the smooth <i>sang de boeuf</i> glazes of classical Chinese porcelain, the glaze on the Pasinski vase deliberately disrupts the surface of the vase with unevenly distributed black occlusions which rise through the textured layer of red.</span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;"><b>Remarks:</b><i> <span class="Apple-style-span" style="color: #660000;">Although hand-throwing can add to the aesthetic quality of a pot, it is no guarantee of quality. Slipcast or press-moulded works can equally achieve aesthetic quality — albeit through a different <b>materiality</b>;<b> </b>often<b> </b>thanks to the properties and qualities, and primary role of the glaze. </span></i></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;"><i>In some cases (as in the <b>Marei</b> vases in display case <b>17</b>), the moulded or slip-cast pot is functioning like a shaped <b>canvas</b>.</i></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;"><i>By contrast, in <b>vase 333</b> by <b>Ruscha</b> (see above <b>13</b>) — the design of the <b>form</b> is more than a pretext for showing off glazes, and contributes significantly to the overall aesthetic of the pot.*</i></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;"><i>* In this respect, it may be relevant to speak of <b>form-led</b> and <b>glaze-led</b> ceramics when looking at and discussing these works.</i></span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><b>18-19. Conversations: Gerda Heuckeroth.</b> Two versions of vase </span></span><span class="Apple-style-span" style="font-family: "verdana";">C 236/20, </span><span lang="EN-US" style="font-family: "verdana";">for <b>Cartens</b> <i>Atelier</i></span><span lang="EN-US" style="font-family: "verdana";"> series. Decorated with
a textured red on matt black and a runny black on copper lustre glazes (1962-64). </span></span></div>
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<span class="Apple-style-span" style="color: #660000; font-family: "verdana"; font-size: large;">By making their glazes richer and thicker, and the surfaces of their ceramics more varied and painterly — allowing under-layers to show through color layers — both <b>Pasinski </b>and <b>Heuckeroth</b> paved the way for the development and appreciation of lava glazes.</span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>20. Le Cyclope
(Annecy),</b> large hand-thrown earthenware vase decorated with ‘Émaux des
guarrigues’ yellow glaze.<span style="color: #ff6600; font-weight: bold;"> </span><span style="color: red; font-weight: bold;"><o:p></o:p></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="background-color: white; color: #666666; font-family: "verdana"; font-size: large;">Enter the gallery. Start on the
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>21-23. Pierre Adrien Dalpayrat,</b> 3
vases. Stoneware. (1 & 2 , top left), decorated with copper oxide glazes, with reduction
firing. c. 1895.</span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">For Dalpayrat and his contemporaries the challenge consisted in producing and controlling the chemical reactions of copper oxides mixed with catalysts to achieve several colors in <i>the same</i> glaze <i>layer;</i> without resorting to over-layering: </span></span></div>
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<span class="Apple-style-span" style="font-size: small;">The start of the process — from red to blue is visible in the vase above.</span></div>
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<span class="Apple-style-span" style="font-size: small;">In this second vase (below) the spectacular result achieved is more complex (more like fireworks) and more of the type which inspired a critic to compare Dalpayrat's glazes, somewhat prophetically, with '<i><b>magma</b></i>' and the <i><b>'flow of volcanic lava'</b>.*</i></span></div>
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<span class="Apple-style-span" style="font-size: small;">* See the essay by Jean Girel in Horst Makus et alt.'s monograph<i> 'Adrien Dalpayrat 1844-1910' </i>(Arnoldsche, 1998), </span><span style="font-size: small;">pp. 179-197 [in French and German].</span></div>
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<span class="Apple-style-span" style="color: #bf9000; font-size: x-small;">The third Dalpayrat, from the left, was acquired for the permanent collection.</span></div>
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<span class="Apple-style-span"><span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: "verdana"; font-weight: bold;">24-25.<i> Grès de Pierrefonds</i></span><span lang="EN-US" style="font-family: "verdana";"><b>. </b>Blue <i>flamé</i></span></span><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"> handled vase (c. 1912)
and globular vase with blue crystalline glaze (c. 1920). Stoneware. </span><b style="font-size: 10pt;"><o:p></o:p></b></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><br /></span></span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";">Whereas the design of the vase on the left is clearly Art Nouveau, the one on the right is more timeless and more generically abstract, and decorated with the rarer and more difficult to achieve <i><b>crystalline</b></i> blue glaze. </span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><b>26. </b><b>Léon Marc Castel</b> (<i>Poterie du
Mont Chevalier</i></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";">, Cannes, 1902-1920). Vase. Stoneware, decorated with volcanic matt glaze. c.
1910. </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXEBcPfd1T_a4oZ1pO7zPj62B2Id5oCmTf-kg5xTKqcY0OnyVjPzqq2ktX1MQ552ye9uVXxLPKqhj0Pv0EMeifO2puvFBQO6DmPV-Ov1nidSmi9yFzTSmw25s2ity170xvFDU4a3OGhjY/s1600/Le%CC%81on+Castel.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiXEBcPfd1T_a4oZ1pO7zPj62B2Id5oCmTf-kg5xTKqcY0OnyVjPzqq2ktX1MQ552ye9uVXxLPKqhj0Pv0EMeifO2puvFBQO6DmPV-Ov1nidSmi9yFzTSmw25s2ity170xvFDU4a3OGhjY/s400/Le%CC%81on+Castel.JPG" width="400" /></a></div>
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<span class="Apple-style-span" style="font-size: large; font-weight: normal;"><span class="Apple-style-span" style="font-weight: bold;"><span lang="EN-US" style="font-family: "verdana";"><br /></span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">This small, artistically ambitious pottery, which continued the work begun by <b style="font-weight: normal;">Léon Castel </b>(father of <b>Léon, Marc Castel</b>), who set up the pottery in 1879, and passed it on to his son in 1902), produced some stark volcanic and accomplished crystalline glazes. Following an initial success in Paris, the firm lacked the financial resources to promote itself, and struggled to keep afloat, till it closed in 1920.</span></span></span><br />
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<span lang="EN-US" style="font-family: "verdana";"><b><span class="Apple-style-span" style="font-size: large;">27.</span></b><i style="font-size: x-large; font-weight: bold;"> Poterie de la Montagne</i></span><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>. </b>St Honoré (Nièvres, France). Vase, hand-thrown stoneware, decorated with cream, green and brown running glazes. 1926.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJg_P9QOrxkBtaqDRHo2kzufnBuiSK9RCtPMiGP2IFI1mZnY5kYA7BAP794Q3zZA_wJoZ4nPkZXP1owS-8fLytWEptEcjDJz9Xz5qTlw-ymnX8lnyyytJO-GW3PkuPcefMUVX04W0EQBY/s1600/St-Honore.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJg_P9QOrxkBtaqDRHo2kzufnBuiSK9RCtPMiGP2IFI1mZnY5kYA7BAP794Q3zZA_wJoZ4nPkZXP1owS-8fLytWEptEcjDJz9Xz5qTlw-ymnX8lnyyytJO-GW3PkuPcefMUVX04W0EQBY/s640/St-Honore.jpg" width="476" /></a></div>
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<span lang="EN-US" style="font-family: "verdana"; font-size: x-small;">This hand-thrown, wood-fired stoneware vase was made in 1926, at the rural 'Poterie de la Montagne', at St Honoré (Nièvres, France). Stylistically, it represents the local tradition upon which the sculptor </span><b style="font-family: '"verdana"';">Jean Carriès</b><span lang="EN-US" style="font-family: "verdana"; font-size: x-small;"> consolidated the stoneware revival he instigated at St Amand-en-Puisaye; with its emphasis on </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: x-small;"><i>hand-throwing</i> and </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: x-small;"><i>wood firing</i>, and other traditional techniques, and on experimenting with the overlay and on the accidental running of <i>muted green and ochre glazes </i>in preference to the bright colors experimented with by </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: x-small;"><b>Dalpayrat;</b> which relied on larger teams, more complex chemical knowledge and more sophisticated (and costly) kiln technology.</span></div>
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<span lang="EN-US" style="font-family: "verdana"; font-size: small;">This aesthetics informed the revival of stoneware at the other important ceramic centre of <b><a href="http://laborne.org/">La Borne</a> </b>(Cher); where over one hundred studio potters are still working today.</span></div>
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<span lang="EN-US" style="font-family: "verdana"; font-size: small;">The remarkable architecture of the 'Poterie de La Montagne' led to its recent listing as 'Monument Historique'.</span></div>
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<b>Antoine Martin</b>, who threw the vase above, is seen here at work, on his own, in the throwing workshop ('atelier de tournage'). The pots drying in the background shows that the pottery produced the works in batches, in a limited set of designs, whose serial number was sometimes inscribed underneath to facilitate re-ordering.</div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><b>28-29.</b> <b><i>Céramique</i></b> <i><b>La Charentaise</b></i></span><span lang="EN-US" style="font-family: "verdana";"><b> </b>(Angoulême, France).
Two stoneware vases decorated with color slip. C. 1920s-30s. <o:p></o:p></span></span></span></div>
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<span class="Apple-style-span" style="font-size: small;">These two vases, from a small factory in Angoulême, decorated in a manner reminiscent of Surrealist <i>automatic drawings</i> or <i>action painting</i>, highlight the coexistence between <b><span style="color: #38761d;">tradition</span></b> and <b><span style="color: #990000;">experimentation</span></b>. The white and green glaze slip was applied on a hand-thrown, unglazed, pre fired stoneware body; highlighting the strong contrast between the rough, matt surface of the clay and the glossy (toffee-like) drip; evocative, in retrospect, of Action Painting. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-I1tRTvXKX3lbRx6mfhz4k4KXje8jD9Ndb_AeNsf60IwpXRfDt-xJhKUKeAiBej3CplNXtwt42oJ-mzuWA2zuFQc_OsvEI813yLUcaCr1pW-gIwdZDxXisWWtX-QcAfscv8aufPXAzqI/s1600/Picture+12.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj-I1tRTvXKX3lbRx6mfhz4k4KXje8jD9Ndb_AeNsf60IwpXRfDt-xJhKUKeAiBej3CplNXtwt42oJ-mzuWA2zuFQc_OsvEI813yLUcaCr1pW-gIwdZDxXisWWtX-QcAfscv8aufPXAzqI/s320/Picture+12.png" width="320" /></a></div>
<span class="Apple-style-span" style="font-family: "arial"; font-size: large; font-weight: bold;"><span lang="EN-US" style="font-family: "verdana";"><br /></span></span><span style="font-family: "times" , "times new roman" , serif;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">The fact that the decoration pre-dates these artistic movements and developed separately from them highlights the presence, during earlier periods, of aesthetic lines that were rediscovered, later during the 20th century, as part of the development of a new ceramic modernity.</span></span> <span class="Apple-style-span" style="font-size: small;">The re-evaluation of these pioneering works is important; for it shows tha anticipatory role of popular arts and crafts in the development of new aesthetic forms. </span><span class="Apple-style-span" style="font-size: large; font-weight: bold;"><span lang="EN-US" style="font-family: "verdana";"><br /></span></span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b style="font-weight: normal;">30. Royal Lancastrian</b>.<b style="font-weight: normal;"> </b>Hand-thrown
earthenware vase (by <b>E.T. Radford</b>), decorated in green luminescent glaze, applied by William Brockbank* (1914-20). </span><b style="font-size: 10pt; font-weight: normal;"><o:p></o:p></b></span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">* described by Lomax as 'the principal glaze sprayer', 'for thirty years', with unequalled skills;who 'took a deep interest in his work and rejoiced greatly at his success'; and for whom, 'in his leisure hours, violin playing was his recreation'. Lomax's full description of Brockbank's skills and attitude are significant; for they contradict subsequent characterisations of the producers of factory ceramics as mere 'factory hands'. </span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">About William Brockbank, see A. Lomax, o.cit. p.126-7.</span></span></div>
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<span class="Apple-style-span" style="font-size: small;">It is easy to under-estimate vases like the one above; for their simplicity may be construed as 'ordinary' or mechanical although the vase was actually hand-thrown).</span></div>
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<span class="Apple-style-span" style="font-size: small;">When compared with contemporary German works — either produced at the Donburg Bauhaus ceramic studio or in other studios, in the Bauhaus spirit [see display case 3] </span><span class="Apple-style-span" style="font-size: small;">during the 1920s and 30s</span><span class="Apple-style-span" style="font-size: small;"> — the <i>subtle</i> shades of colors achieved at the Royal Lancastrian works, by Lomax and his team, makes the works stand out by their subtle <i>chromatic</i> variety and, in this case, by their <i><b>luminous</b></i> quality.</span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Lomax left a detailed account of these experiments (including glaze recipees) in his book <i>'Royal Lancastrian Pottery: 1900-1938'</i> (Bolton, 1957). </span></span><br />
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<span class="Apple-style-span" style="font-size: small;">[See<a href="http://ceramicsconversations.blogspot.co.uk/2012/10/2.html"> http://ceramicsconversations.blogspot.co.uk/2012/10/2.html<span class="Apple-style-span" style="color: black;">]</span></a></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><b>31. Louis Dage. </b>Bowl. Stoneware, decorated with a motif of water, overspilling over a landscape of
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span style="color: black;">Besides certain analogies with <i>craquelé</i> glazes produced </span></span></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">forty years later,</span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span style="color: black;"> by Jopeko and Jasba, the theme of <i>water overspilling</i> from the vase — like a wave — over a <i>landscape of drought</i> takes the decoration of this piece into a <i>conceptual dimension,</i> which contrasts with the more conventional </span></span></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">Art Déco and later </span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span style="color: black;">approaches to surface decoration with <i>floral</i> or </span></span></span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span style="color: black;"><i>geometric motifs, or with abstract craquelées glazes.</i></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">In the absence of documentation, we can only speculate about the intentions of Louis Dage in producing this design. What seems certain is that its inspired one of its owners to use it as a planter! </span></span>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">This example of a work from the '<b>School of Carriès'</b> shows how the interaction between an artist (Jean Carriès) and a traditional potter (<b>Léon Pointu, </b>son of<b> Jean Pointu</b>), in <b>St Amand in Puisaye</b>, resulted in a revitalisation of the old local stoneware tradition.</span><br />
<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;"><br /></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">Remark: The mass-production by small factories of form and glazes in the Art Nouveau style, in response to the fashion for 'grès flamés', led to the production, well into the 1920s, of <i>formulaic </i>slipcast wares made for the mass market. <b>Eugène Lion</b> and <b>Jean Pointu</b>, however, produced works of integrity (Pointu using slipcasting, as in this example); by experimenting with the<i><span class="Apple-style-span" style="color: #274e13;"> <b>color and materiality of their glazes</b></span></i><b>. </b></span><span class="Apple-style-span" style="font-family: "helvetica"; font-size: large;"></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "verdana";"><b><br /></b></span><span class="Apple-style-span" style="font-family: "verdana";"><b>33. Atelier Louis Giraud. </b>Vase of sculptural ‘free form’, decorated in matt black textured over brown shiny glaze. c. 1940s-50s: </span></span><br />
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "verdana";">Early on, as VALLAURIS was making a transition from the production of now obsolete cooking pots to that of decorative wares, <b>Louis Giraud</b> brought a much needed spirit of modernity — with forms reminiscent of <b>Art Déco </b>— but drawing also from an abstract fine art PRIMITIVISM, which confers upon many of his works a sculptural quality (see the 'forme libre' double vase in display case <b>10</b>).</span>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "verdana";"><b>34-35. Atelier of Jerome Massier. </b>Two vases in ‘forme libre’ (free form). Earthenware decorated with painterly glazes (1950s-60s).</span><span class="Apple-style-span" style="font-family: "helvetica"; font-weight: normal;"></span></span></div>
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<span class="Apple-style-span" style="font-size: small;">The <b>'J. Massier'</b> stamp is misleading, for it does not denote the maker, but the name of the firm that produced the designs, over a period of ninety years, under the management of different directors: in this case either <b>Lucien Clergue</b> or <b>Alain Maunier</b>. The vase (above) was acquired </span><span class="Apple-style-span" style="font-size: small;">by a Belgian holiday-maker,</span><span class="Apple-style-span" style="font-size: small;"> from the J. Massier showroom in Vallauris, in 1969, for his holiday home.</span></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "verdana";">In both vases, the organic <i>fluidity</i> of form and decoration shows an affinity with contemporary trends in painting; creating <span class="Apple-style-span" style="color: #660000;"><b>a mediterranean brand of modernity informed by '</b></span></span><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="color: #660000;"><b>Abstraction Lyrique' </b></span>(</span><span class="Apple-style-span" style="font-family: "verdana";">Lyrical Abtraction).</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: "verdana"; font-weight: bold;">36. Jean Calvas-Blanchon. </span><span lang="EN-US" style="font-family: "verdana";">Vase. Terre
Vernissée (hand-thrown earthenware), c. 1949.</span><span lang="EN-US" style="font-family: "verdana";"><span style="color: #ff6600;"> <b> </b></span></span></span></div>
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<span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBx6zuuUyHlsKNhgsL60GIOjsF0zFG4v4zSJ366QvthOZFy9x7koZ6t6IwO0ga8HQfn3YNrxp_KzTpApeQi2-ejcjyYg0zUI_w4K964ZOpim33yhHSV60igJjVKbh3EGSsITMXX0-pFCs/s1600/Calvas-Blanchon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBx6zuuUyHlsKNhgsL60GIOjsF0zFG4v4zSJ366QvthOZFy9x7koZ6t6IwO0ga8HQfn3YNrxp_KzTpApeQi2-ejcjyYg0zUI_w4K964ZOpim33yhHSV60igJjVKbh3EGSsITMXX0-pFCs/s400/Calvas-Blanchon.jpg" width="400" /></a></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">In 1950 <b>Calvas-Blanchon</b> set up <b>FPP </b>(Faïences Poteries de Provence) in partnership with <b>Jean Rossignol</b>; a partnership that lasted</span></span></span><span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"> till 1967. </span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";">The firm continued to produce a traditional range of works in</span><span lang="EN-US" style="font-family: "verdana";"> 'terres vernissées [for which it was famous, and for which demand remained for decorative items which fueled a sense of <i>nostalgia</i> for a rustic way of life], such as the two pieces below (not in the exhibition):</span>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_-zUcsg3SNpBjFCisn0nYKAukyPSAT-F_VzYRAj-FeKnsTVRyyPgQFsgGpqBzM8p1ZekjsBAPYTm03Dy34iQRlrdDT0rFbgnfPvCFueA5KHfDhmfSwubVXk4FDZfjzj4_aBasfCG49s/s1600/FPPVase2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjR_-zUcsg3SNpBjFCisn0nYKAukyPSAT-F_VzYRAj-FeKnsTVRyyPgQFsgGpqBzM8p1ZekjsBAPYTm03Dy34iQRlrdDT0rFbgnfPvCFueA5KHfDhmfSwubVXk4FDZfjzj4_aBasfCG49s/s320/FPPVase2.JPG" width="251" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhiOxlJhrv_TJfMkh28_1AZeQUxzB_NP1yy6TpmTf9M57QtggzRN00DAOfIGP4hubWjfXBUzMmmMWBOfxrzHcgNYJrAFZcXax_UobVZHpwaBhP9S0GnXJ4DPApPk2-CXpc2fUvG14ayS8/s1600/FPP+vase.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhiOxlJhrv_TJfMkh28_1AZeQUxzB_NP1yy6TpmTf9M57QtggzRN00DAOfIGP4hubWjfXBUzMmmMWBOfxrzHcgNYJrAFZcXax_UobVZHpwaBhP9S0GnXJ4DPApPk2-CXpc2fUvG14ayS8/s320/FPP+vase.JPG" width="320" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">as well as <b>fruit bowls, jugs, vases</b>, etc.</span></div>
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<span class="Apple-style-span" style="font-size: small;">Responding to changes in popular taste, FPP progressively extended its range by borrowing ideas from fine art.</span></div>
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<span class="Apple-style-span" style="font-size: small;">The pitcher below (in the virtual gallery, not in the exhibition), made by FPP, reads as a 3D interpretation of a Cubist pitcher, inspired by the works of Picasso:</span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";">but also adopted some of the gaudy glazes that many factories used, and that became synonymous with (cheap) Vallauris:</span></span></span><br />
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><b>37. Foucard-Jourdan. </b>Vase. Hand-thrown earthenware (</span></span><span class="Apple-style-span" style="font-family: "verdana";">Terre vernissée</span><span lang="EN-US" style="font-family: "verdana";">). c. 1950s.</span><span lang="EN-US" style="font-family: "verdana";"><span style="color: #ff6600;"> </span></span></span></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";">This old family of potters was well-known in Vallauris for its</span></span><span class="Apple-style-span" style="font-family: "verdana";"> domestic wares in <b>'terres vernissées' </b>(low fired earthenware vessels, glazed in yellow or green): plates, serving dishes, pitchers, large fruit bowls as well as cooking pots . </span></span><br />
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "verdana";">The </span><span class="Apple-style-span" style="font-family: "verdana";">vase above was made during the early 50s, and consists of two hand-thrown forms, assembled, the upper part reshaped, and connected with pinched <i>'collerettes', </i>which both hid and reinforced the<i> </i>connection. It stands as a typical example of Provençal 'terre vernissée': by its style (no nonsense, rustic simplicity) and by the fact it was made using the skills of the two pillars of the traditional pottery workshop: the '<b>tourneur</b>' (thrower) and the '<b>hansiste</b>' (handle maker) [see postcard below]. </span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">To keep up with fashion and cater for a wider popular tourist market (and boost sales), the firm subsequently produced different versions of this vase; with different painted and scratched flower motifs; below: in the garish style of <b>Poterie de Monaco:</b></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">A move that recalls the addition of flowers on Marguerite Friedlaender-Vildehain's Bauhaus modernist <i>Halle</i> vase.</span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">Foucard-Jourdan also introduced <b>'faux bois'</b>, a decor which proved very popular with tourists:</span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">and was copied by other firms to such an extent that it had to be protected by a patent.</span></span><br />
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">This and other stylistic up-datings helped to keep the pottery in production till 1983, under Françoise Jourdan.</span></span><br />
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<span class="Apple-style-span">This plate, from 1959, by Foucard-Jourdan [not in the exhibition) carries a décor inspired by the pre-historic cave paintings of <span class="Apple-style-span" style="font-family: "verdana"; font-size: x-small;"><span style="background-color: #f9f9f9; font-family: sans-serif; line-height: 15.828125px;"><b><a href="http://www.youtube.com/watch?v=dEtnJHeocKg&ytsession=_Y4Q6zFP6W_ph06YlJBZ6xNH-_heMIXQlNq-Y7sC3hlbrRG5JY8bsDkC4yq2Viigl--_XKOMzOw7-Nm-5QW4CRWJsRYHr1MLkqotBPPzkZjlj202dlntzlU2A7WFmkiRBQ3o1_-xvS0bm6IdPKX78wHiJswmbLv0DeGT4vVI6LD8VJLDL_fXVXO60_i4nJ3jj-rZXMDbyeezB27wNQch0tCuJR_G1HAciKkGnrWZoopRt4lAVUb3w5KeVBA5M3doOcNr8QDLEMY6aT27pra3XQsaPORaeXVORJ8XEFN74nJkR4bbBFmCQbSaTsrr-ZoY74os3NsltmtxK8I309wbOW1BOPA4706aYP4vKCCIHffHinxXY47fuY5E7IHmHwohB06AmuEOmRyxCM7xaVoWcRicM7my1wE2WUKCUL1eLWpUAe_vDtRXO-_cQ1UWqHyl_l9btec-h31gE-YbXnBVeJ4WyYq9P1aieAdbzsbDxcoRVTXY3lVNC5sEep5zySh2TeBR3ejUoQWlV-ACuot95CM9okXNFoOFe54ebLbwALkw_H7Ddnkyn6fEK-lflgaeCU0cdWpW9bORrYul6sN8hXWgWgpPBXZ_">tassili-n-aijer</a></b>, in the Algerian Sahara. These and the cave paintings of Lascaux inspired a number of potters and pottery firms from Vallauris and from Germany (Karlsruhe Majolika, Ceramano, among others) who adapted motifs from cave paintings, in response to the rising popularity of Prehistoric Art.</span></span></span> <span class="Apple-style-span"><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b>38. Joseph Saltalamacchia.</b> Vase, slip cast earthenware, produced at his<b> </b>Gaby Ceram </span></span></span><span class="Apple-style-span" style="font-family: "helvetica";"><span class="Apple-style-span" style="font-size: large;">workshop. <span class="Apple-style-span" style="font-family: "verdana";">Polyhedric vase, decorated with pigments (applied with the spunge), and with sgraffito motifs. Mid 1940s.</span></span></span></div>
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<span class="Apple-style-span" style="font-family: "helvetica";"><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">This excentric, one-off and very singular attempt — by a traditional country potter experienced in (and well known for) making cooking pots — </span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">to develop a ‘modern’ ceramic idiom </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">led to this eccentric vase… an </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;"><i>idiolect, </i>that did not capture the public imagination and was never repeated.</span></div>
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<span class="Apple-style-span" style="font-size: small;">This view of Saltalamacchia's atelier, from the 1950s, shows the traditional <b><i>craft basis</i></b> upon which Vallauris based its revival and its reinvention as a modern pottery town. The label <b>'fait main'</b> (the French equivalent of the German 'handarbeit' ) was often stamped on the basis of pots, in response to public demand for hand-made works. </span><br />
<b><span class="Apple-style-span" style="color: #666666; font-size: large;">In the Vallauris workshops, traditional craft skills, techniques and modes of production continued to be used for the serial production of ceramics for the mass (tourist) market throughout the 50s and 60s. </span></b><br />
<span class="Apple-style-span" style="font-size: small;">The photograph (1950s) shows the 'tourneur' (thrower) and the 'hansiste' (handle maker) — two key pillars of the workshop — at work.</span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: medium;">* Miro was one of the international artists who came to experiment with ceramics in Vallauris. His free use of color in his abstract compositions inspired several potters and workshops (see <b>Panassidi</b>, below).</span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "verdana";"><b>40. Marius Mussara. </b></span><span class="Apple-style-span" style="font-family: "verdana";">Hand-thrown and re-shaped earthenware vase, decorated<span style="mso-spacerun: yes;"> </span>with black and white lava glaze and red
glossy glaze inside. c. 1960.</span><span class="Apple-style-span" style="font-family: "verdana";"><span style="color: #ff6600;"> </span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span style="font-size: xx-small; mso-spacerun: yes;">The strong contrast between the black and white textured (lava) glaze and the smooth red inside of the vase was explored by a number of other ateliers, such as Denys <b>Chiapello</b>, Marius <b>Giuge</b>, Louis <b>Giraud</b> among others.</span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "verdana"; font-weight: bold;">41. Panassidi. </span><span class="Apple-style-span" style="font-family: "verdana";">Slip-cast earthenware vase, decorated with single red splash in ecume de mer glaze. 1960s.</span><span class="Apple-style-span" style="font-family: "verdana";"><span style="mso-spacerun: yes;"> </span></span><span class="Apple-style-span" style="font-family: "verdana";"><span style="mso-spacerun: yes;"> <b> </b></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">Miro's influence is noticeable here, too, in the single, emphatic splash of color…</span><br />
<span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">Double dipping, scrapping an area or using a wax resist process, to allow a patch of glossy red glaze to show through the 'écume de mer' glaze produced this innovative vase, in one of the </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">numerous Vallauris workshops </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">that produced <i>affordable experimental ceramics for the tourist market. </i></span><br />
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;"><i>These works are unjustly neglected and derided by the aesthetic snobbery of those for whom Vallauris means Picasso, Capron and the super stars of the auction room.</i></span><br />
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<span class="Apple-style-span" style="font-size: 10px; font-weight: normal;"><b><span lang="EN-US" style="color: #0b5394; font-family: "verdana"; font-size: large;">Display case 9</span></b></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "verdana"; font-weight: bold;">42. Fady. </span><span class="Apple-style-span" style="font-family: "verdana";">Hand-thrown tapered e</span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">arthenware </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">vase, decorated in ‘écume de mer’ over dark blue glaze. 1950s-60s.</span></div>
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<span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrrf-tWvgQARQPFi0RlaagEmEmuYq94yPMBBcLRdh90snIiciApUSgoSaQqiQB-TumlBPjt8quVgdg3VuXgYEzWGY8jyqpsGms_nd4lfO9KAJwoqUZ5pT-rlm65bGLeftTRhIktu6FeCc/s1600/fady-ecume-vase-bleu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgrrf-tWvgQARQPFi0RlaagEmEmuYq94yPMBBcLRdh90snIiciApUSgoSaQqiQB-TumlBPjt8quVgdg3VuXgYEzWGY8jyqpsGms_nd4lfO9KAJwoqUZ5pT-rlm65bGLeftTRhIktu6FeCc/s640/fady-ecume-vase-bleu.jpg" width="640" /></a></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">The name of the glaze ('écume de mer'; 'froth from/of the sea') is unequivocally illustrated in this hand-thrown vase; with a more luscious, solid materiality than the actual 'écume' from the sea. A careful overlay and dosing of three glazes achieved this delicate balance in their combined flow and mixing, from neck to shoulder…</span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span style="color: #ff6600; font-size: 10pt; font-weight: bold;"> </span><span style="font-size: large;"><b>43. </b></span><span class="Apple-style-span" style="font-size: large;"><b>Louis Giraud. </b>Charger. Slip-cast earthenware,
decorated in thick grey and white lava glaze:<span style="mso-spacerun: yes;"> </span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">This charger or, as it would have been called (and used for): 'corbeille de fruit' or 'dessus de table', shows Giraud's early interest in thick lava-type glazes, which he applied on sculptural pieces.</span><br />
<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">[Compare with Marrius Giuge's candelabra in <b>case 11</b>]</span><br />
<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">This glaze was probably produced by adding a silicon carbide and using twin dipping and partial mixing of glazes to produce the raised lava effect.</span><br />
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"></span><span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana";"><b>44. Michel Ribéro.</b> Thick slip-cast earthenware<b> </b>vase decorated with 'écume de mer' under </span></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">dark shiny blue </span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana";">glaze (1970s).</span></span><span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana";"><span style="color: #ff6600;"> </span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcauRhFyYXH54b_8TyinJPMlO6IG6CvcsJoeeK8V9W5hfH7-Q6uQpOFc1DOg-ZuyOcSUJnqNFk-nG0ZtNh5KylWh-9FL25zu1UsWTtBPXwinxCt5gV3eu28Ho0X-xlVqHhjxN8DRSiRXk/s1600/Ribeiro-Vase-bleu.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgcauRhFyYXH54b_8TyinJPMlO6IG6CvcsJoeeK8V9W5hfH7-Q6uQpOFc1DOg-ZuyOcSUJnqNFk-nG0ZtNh5KylWh-9FL25zu1UsWTtBPXwinxCt5gV3eu28Ho0X-xlVqHhjxN8DRSiRXk/s640/Ribeiro-Vase-bleu.jpg" width="480" /></a></div>
<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;"><br /></span></span><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;">The richness and complexity of the glaze (in contrast with many one-dimensional glazes mass-produced in Vallauris) and the heavy weight of the vase confer upon this piece a Sèvres-like quality/nobility/luxuriousness; although it was made for the general public, probably during the 1970s. </span></span><br />
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<span class="Apple-style-span" style="font-family: "arial"; font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><b>45. Auguste Luc(chesi).</b> Vase. 1950s. Slipcast earthenware, decorated in thick, blue 'écume de mer' glaze:</span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">Note how here, as in the vase by <b>Panassidi</b>, the handles merge into the fluid, melting body of the vase. The white clay used to produce these irregular shapes is extremely fragile and brittle, and prone to chipping and breaking; as this one did in the post…</span></div>
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<span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">Above</span><span class="Apple-style-span" style="font-size: large;"> </span></span></span></div>
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<span class="Apple-style-span" style="font-family: "arial"; font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><b>46-47. Anonymous. </b>Blanc de Chine<b> </b>porcelaine
vase (18<sup>th</sup> century). <b>Atelier Giraud, </b>‘forme libre’ vase. Hand-thrown, cut and re-assembled, decorated in grey and white lava glaze. c. 1950.<span style="color: #ff6600;"> </span></span><span lang="EN-US" style="font-family: "verdana";"><span style="mso-spacerun: yes;"> </span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span style="mso-spacerun: yes;">This juxtapposition — which may seem arbitrary at first — is, in fact, intended to conjure up the different parameters which inspired the making of these two very different vases. Two sets of cultural references: to invite us to appreciate their respective formal properties and aesthetic materialities; and to hint at the innumerable possibilities of <i>hybridization</i> available in between. </span></span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"></span><span class="Apple-style-span" style="font-family: "verdana"; font-weight: bold;">48. Louis Giraud. </span><span class="Apple-style-span" style="font-family: "verdana";">S</span><span class="Apple-style-span" style="font-family: "verdana";">oliflore vase. </span><span class="Apple-style-span" style="font-family: "verdana";">Slipcast earthenware decorated with pumice glaze.1950s-60s.</span><span class="Apple-style-span" style="font-family: "verdana";"><span style="mso-spacerun: yes;"> </span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">Close examination of the surface of the vase enables us to see the results of chemical processes in action, which produced its distinctive volcanic or mineral appearance; also evocative of rock formations bearing the marks of wind and water erosion.</span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "verdana"; font-weight: bold;">49-51. Alexandre Kostanda. </span><span class="Apple-style-span" style="font-family: "verdana";">T</span><span class="Apple-style-span" style="font-family: "verdana";">hree pitchers. Hand-thrown and cut stoneware, decorated with stoneware slip and clear semi-matt and glossy glazes. (mid 1950s).<span style="color: #ff6600;"> </span></span></span><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;"><br /></span></span><span class="Apple-style-span"></span></div>
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<span class="Apple-style-span"><span lang="EN-US"><span style="font-family: "verdana"; mso-spacerun: yes;">The radical approach to redefining the form of the pitcher — away from domestic functionalism — highlights Kostanda' s deconstructive, sculptural approach. Starting with a hand-thrown form, from which he subsequently cut off diagonally a good part of its sides; Kostanda displaced its function from domestic vessel to sculptural form.</span></span></span><br />
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "verdana";">Below</span><span class="Apple-style-span" style="font-family: "verdana";"> </span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><b>52. Alexander Kostanda, </b>Vase.
Hand-thrown</span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">, then re-shaped (with some modeling) </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">stoneware</span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">. Made whilst ‘chef
d’atelier' at Giraud (1949-53):</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZK5izvhyphenhyphenlkCZOEfyegITLQiXTibcYePSWs79W7fuQer4hziuxgnN3c7_v6bFhwOxq9ihRvoS5lFLSRjLYnzVA8SiDFHG38Cb5D2D4nyWj5oXFU8HlPtUSJLyGSxyeFyhQsjE3KhniiSo/s1600/KostandaKnobs.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiZK5izvhyphenhyphenlkCZOEfyegITLQiXTibcYePSWs79W7fuQer4hziuxgnN3c7_v6bFhwOxq9ihRvoS5lFLSRjLYnzVA8SiDFHG38Cb5D2D4nyWj5oXFU8HlPtUSJLyGSxyeFyhQsjE3KhniiSo/s400/KostandaKnobs.jpg" width="342" /></a></div>
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<span lang="EN-US" style="font-family: "verdana";"><br /></span></span><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b>53. Alexander Kostanda</b>, Vase. Hand-thrown, then re-shaped </span></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">stoneware</span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">. Decorated with white and green engobe on brown clay under clear semi matt glaze. c. 1955. <span style="color: #ff6600;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeFBcsqraEMg5OpfDsWhZ8j0bl5O97LrEtSpsCX69rCwHXqBmabK7aPjtNKAivfjkzIzUueiSwbvvo8hkSXhiC33Sme89R2BglzuBMPPCn99k271G-Aj3ZdISkxpx7c5MqBNKHm1aGuPg/s1600/KostandaVaseGres.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgeFBcsqraEMg5OpfDsWhZ8j0bl5O97LrEtSpsCX69rCwHXqBmabK7aPjtNKAivfjkzIzUueiSwbvvo8hkSXhiC33Sme89R2BglzuBMPPCn99k271G-Aj3ZdISkxpx7c5MqBNKHm1aGuPg/s640/KostandaVaseGres.jpg" width="481" /></a></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "helvetica";"></span>Kostanda is credited with introducing <b>stoneware</b> to Vallauris and initiating <b>Daniel de Montmollin</b> to ceramics.</span></div>
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<span class="Apple-style-span" style="font-size: small;">Hand-throwing, combined with the use of natural materials and techniques ('engobe') to decorate the surface of his pots, produces a simple, accessible modernity, which preserves the function of the vase, whilst adding a hint of sculptural quality.</span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b>54. Alexander Kostanda</b></span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;">, Vase. Hand-thrown, then re-shaped </span></span></span><span class="Apple-style-span" style="font-family: "verdana";">stoneware</span><span class="Apple-style-span" style="font-family: "verdana";">. Decorated with painted abstract pattern on brown <i>engobe</i>. (1950s): <span style="color: #ff6600;"><span style="mso-spacerun: yes;"> </span></span><span style="mso-spacerun: yes;"> </span><span style="mso-spacerun: yes;"> </span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: small; font-weight: normal;">Here, by contrast, Kostanda painted an abstract (Post-Cubist) composition on a hand-thrown, then pressed, thicker stoneware vase. </span></div>
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<span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><b>55. Marius Giuge. </b></span><span lang="EN-US" style="font-family: "verdana";">Candle holder (one of a pair)<b>*</b>. Slip
cast earthenware decorated with lava glaze. c. 1960s.</span></span></div>
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<span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">This candle holder was often bought in pairs, with a fruit bowl decorated with the same glaze, to make a spectacular <i>'dessus de table'</i> display (on dining tables) or on the fashionable scandinavian style </span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">side-boards</span><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">:</span><span class="Apple-style-span" style="font-size: large;"> </span></span></div>
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Looking at Giuge's showroom, in Vallauris, shows that alongside the outlandish <i>candellabra,</i> a wide range of popular ware were offered to the tourist market. Like many other Vallauris firms, Giuge produced ornaments decorated in the characteristic free-flowing (and more banal) color glazes which are, today, synonymous with the cheapest 'Vallauris' wares.</div>
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<span class="Apple-style-span" style="font-family: "arial"; font-size: large;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>56. Attributed to Marino Le Vaucour </b> Moulded earthenware vase, in free form, decorated with ‘écume de mer’ light blue on white over dark shiny blue glaze, on folded and carved body. (1960s).</span></span></div>
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<tr><td class="tr-caption" style="text-align: center;"><span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">Slip-cast earthenware vase, in free form decorated with ‘écume de mer’ and red, pink, green and light blue on dark blue glaze. 1960s.</span></td></tr>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "verdana";"><b>57. Marino Le Vaucour</b><b style="font-weight: normal;"> </b><b style="font-weight: normal;"> [</b></span><span class="Apple-style-span" style="font-family: "verdana";">attribution based on seeing a vase of the same form, but with a different glaze, signed 'Le Vaucour . Vallauris'. The possibility that two different manufacturers may have bought blanks of the same design remains a (slight, given its extraordinary shape) possibility. This practice is well documented for cooking pots that were produced and sold to different firms, to be glazed decorated with their own designs].<b style="font-weight: normal;"> </b> </span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">This and the vase above — as well as the large vase in <b>display case 2</b>; all three probably from the same workshop — exemplify the impact of fine art (in the <b>'free' forms</b> and in the <b>experimental glazes</b>) on an anonymous range of wares (simply signed 'Vallauris') which stand out among the plethora of formulaic vases that have become synonymous with Vallauris and given the town a bad name for kitsch. </span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">Combining, in their spectacular textured glazes, characteristics found in the works of <b>Luc</b>(chesi), </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><b>Fady</b>,<b> </b><b>Louis Giraud</b> and <b>Asbotte</b>, they testify to the rise of a playful, popular modernity, obscured by the works of potters who, like <b>Capron, Picault</b> and others, achieved an international notoriety <i>at their expense</i>; masking their significant contributions to the Vallauris ceramic renaissance. </span></div>
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<tr><td class="tr-caption" style="text-align: center;">Engraved mark 'VALLAURIS' on base; but very probably Le Vaucour.</td></tr>
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Vase signed 'Le Vaucour . Vallauris'. The signature on this vase constitutes the evidence upon which I have based my attribution of exhibits 5, 56 & 57. The design is found on other pieces signed 'Le Vaucour'. </td></tr>
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<span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";">This display presents modernity as a succession of actions and modifications of previous forms — in this instance from Neo-classicism — designed for serial production in undecorated porcelain.</span></span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">Above<b> </b>(left to right)</span></span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><b>58. Carl Friedrich Schinkel,</b></span></span></span></span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";">
‘Fidibus’ vase (1820-30), edited by KPM, Berlin. </span></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">This represents the Neo-Classical nucleus from which the Halle vase was evolved. The onion shape was derived from Ancien Greek Attic vases and was widely used in ceramics, and for making concrete and cast iron urns for use in parks. </span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;"><b><br /></b></span></span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><b>59.</b> <b>Marguerite
Friedlaender-Vildehain</b>, Halle vase (1931), KPM.</span></span></span></span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="color: #ff6600;"> </span></span></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="font-size: xx-small; mso-spacerun: yes;"><br /></span></span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="font-size: xx-small; mso-spacerun: yes;">Morphologically, the form of the Halle vase was evolved by pulling the Fidibus vase upwards; to extend it dynamically along a vertical axis. </span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="mso-spacerun: yes;"><br /></span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="mso-spacerun: yes;"><b>60.</b> <b>Marguerite Friedlaender-Vildehain</b>, </span>Small <i>Halle</i></span><span lang="EN-US" style="font-family: "verdana";"> vase/tea caddy (1931),
KPM.</span></span></span></span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"> </span></span></span></span><br />
<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"> <b>61.</b> <span style="color: black;"><b>Walter Nitszche, </b>Vase for Furstenberg, 1937</span>.</span></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">Whereas an upward mouvement animates the Halle vase, here the emphasis on the body of the vase confers upon it an overall sense of stability. </span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><b>62.</b> <span style="color: black;"><b>Siegmund Schutz*, </b>Vase, porcelain,1930s. KPM.</span> </span><br />
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">This vase distills ancient forms, which it renders in simplified lines, with no surface decoration. Classical modernism?</span><br />
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><span style="color: black; font-weight: bold;">63*-64*. Theodor Bogler, </span><span style="color: black;">Two slipcast earthenware vases, decorated with a pitted blue glaze. For Maria Laach Abbey ceramic workshop. (</span>1950s). </span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicVwnqeqXUbKqkLKVhs89OlgjSYFqc1U4-FcjSrXzpekdw-Z2Le6ViBtuKDhZkL2xpKmRPV6XC1Hos3CKmWKB22NM16lsxmFqMTXcaTJJGjmzFAQULz42N_gA4C9TMPKnWNC_staCZK1Q/s1600/Theodor-Bogler,-Blue-vaseb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicVwnqeqXUbKqkLKVhs89OlgjSYFqc1U4-FcjSrXzpekdw-Z2Le6ViBtuKDhZkL2xpKmRPV6XC1Hos3CKmWKB22NM16lsxmFqMTXcaTJJGjmzFAQULz42N_gA4C9TMPKnWNC_staCZK1Q/s640/Theodor-Bogler,-Blue-vaseb.jpg" width="628" /></a></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">The simple, unbroken lines of the two vases and the subtle luminosity of their glaze confer upon these vases a meditative quality.</span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="color: black; font-family: "verdana";"><b>65. Ursula Fesca</b>, Jug-vase.
Slip-cast stoneware decorated with ‘Oslo’ ‘dekor’. c.1950.</span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="color: black; font-family: "verdana";"><b>66-67.</b> Ursula Fesca, Two jug-vases. Right: design:
1930s. Glaze: c. 1950. For Wächtersbacher. Left: design and glaze: 1950s.</span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"> </span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtAjEeN0m4vi2ne-NroZdL9wgeXb-ObouumIlocGVd19RGIoohPp3GBnqKJdI5dOlb8mZPAA5n5zeEasez3Kk3era4bmA-A8MgczIGzJ4gpjJEZFosGkraUuPFgBGBEhVsX4BsSRl4mNU/s1600/UrsulaFesca_2krugVasesb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtAjEeN0m4vi2ne-NroZdL9wgeXb-ObouumIlocGVd19RGIoohPp3GBnqKJdI5dOlb8mZPAA5n5zeEasez3Kk3era4bmA-A8MgczIGzJ4gpjJEZFosGkraUuPFgBGBEhVsX4BsSRl4mNU/s400/UrsulaFesca_2krugVasesb.jpg" width="398" /></a></div>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";">This juxtapposition </span></span></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">(different from the one in the exhibition) </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">of two jugs of very different design that may have been edited around the same time (1950s; after Fesca's return to work at </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">Wächtersbacher</span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">) illustrates the co-existence of old (Bauhaus) and new (Streamline) forms at a time when a key stylistic change was about to take place in Germany.</span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><b>68. Cedric Ragot</b>, 'Fast' vase, for Rosenthal</span><span lang="EN-US" style="font-family: "verdana";">. Porcelain. 2004.</span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">On one side 'Fast' emulates classical Chinese forms:</span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0HYJJruO1ems-vP_ZeNYL2DvzCeMBJ8zKtzBHQegP5XAJZpMHh5BvJ73RrzXelzmAcQ_a5En6gcG_G1d1RNHuuD1sLpCpaOx2dykQ-kthXnLMM3sxQ-T2zifHZ9WZsCiG4L-dM8Mz69Q/s1600/Fast-Vase_Chinese-side.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0HYJJruO1ems-vP_ZeNYL2DvzCeMBJ8zKtzBHQegP5XAJZpMHh5BvJ73RrzXelzmAcQ_a5En6gcG_G1d1RNHuuD1sLpCpaOx2dykQ-kthXnLMM3sxQ-T2zifHZ9WZsCiG4L-dM8Mz69Q/s320/Fast-Vase_Chinese-side.jpg" width="226" /></a></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">On the other side, it reveals a disquieting feature, as its surface is pulled by an invisible force:</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkgaiqstYMNE-n2-fPn0GVCiL0n-rStd83Qv028v9WMTpDT-Gw4UPpCHh5mlihe3H6k2fcWTtDdrEZw7V7t2Ben_tmQ5kbmBHrpgC8vB6i5w7wMRK4jUvyIms78vVATGiS-k4CcwkoNDo/s1600/FastVaseFurstenbergwww.jpg" imageanchor="1"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgkgaiqstYMNE-n2-fPn0GVCiL0n-rStd83Qv028v9WMTpDT-Gw4UPpCHh5mlihe3H6k2fcWTtDdrEZw7V7t2Ben_tmQ5kbmBHrpgC8vB6i5w7wMRK4jUvyIms78vVATGiS-k4CcwkoNDo/s400/FastVaseFurstenbergwww.jpg" width="400" /></a></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Ragot interpreted this spectacular disruption of the surface of the vase as an expression of the digital age.</span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">Top</span><b style="font-size: 10pt;"> </b></span></span></span><br />
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b><br /></b></span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>69. Ichino Shinsui (1932-2001). </b>Second generation of Shinsui kiln.<b> </b>Vase for tea
ceremony. Tamba ware. Hand-thrown, then reshaped, stoneware. 1960s. </span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAJutmRtOEkAe43hd_SoIogoibdfp_6Qg3Uu-fgn1R3jbqLRaFlmVdJ6BBA7IhsdrRp0ReId9skthsVBFlnEvdZNfWIOVbL43-ntruVm8Kfi-LyNk4kiy5RXEDXNNk4x0K-kD1BBvG-Q0/s1600/Ic-hino-ShinsuiVase.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiAJutmRtOEkAe43hd_SoIogoibdfp_6Qg3Uu-fgn1R3jbqLRaFlmVdJ6BBA7IhsdrRp0ReId9skthsVBFlnEvdZNfWIOVbL43-ntruVm8Kfi-LyNk4kiy5RXEDXNNk4x0K-kD1BBvG-Q0/s640/Ic-hino-ShinsuiVase.jpg" width="640" /></a></div>
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<span class="Apple-style-span" style="font-size: small;">It is not known exactly when this vase of Tamba ware made its way to Germany, probably during one of several exhibitions* during the 70s that made the German public more aware of Japanese stoneware. The <b>Kubicek</b> vase in the same case (and the two illustrated below) shows that German potters were aware of Japanese stoneware and were assimilating its influence. Some artists like<b> Rudi Stahl</b> and <b>Gerhard Liebenthron</b> combined Japanese influences with the local (Westerwald) German tradition of undecorated stoneware in some of their work.</span></div>
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*See, for instance the catalogue of <i>Japanische Keramik, Kunstwerke historischer Epochen und der Gegenwart</i> (1978) of the exhibition that was shown in Dusseldorf, Berlin and Stuttgart.</div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>70. Elmar and
Elke Kubicek, </b>Vase </span></span></span><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">[right]</span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;">. Hand-thrown stoneware decorated in brown and yellow
semi-crystalline glaze. c. 1960.<b> </b></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXA2mQea-tmc4Vnl6sDu3nA6LLIjS7VdE-daJFO5ly8OAd5uhU5re2r2xf1lA-kMqhVP8ojJFjDkUN4EAHYi4e3O22cUEjm_B5e1IS2kA6fEGjgqoQ781wrNqR8KiAotaOo9PByGHaaAg/s1600/3kubicek.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhXA2mQea-tmc4Vnl6sDu3nA6LLIjS7VdE-daJFO5ly8OAd5uhU5re2r2xf1lA-kMqhVP8ojJFjDkUN4EAHYi4e3O22cUEjm_B5e1IS2kA6fEGjgqoQ781wrNqR8KiAotaOo9PByGHaaAg/s640/3kubicek.jpg" width="640" /></a></div>
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<span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><b><br /></b></span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">Of these three vases by the Kubicek, only one is included in the exhibition (right). The group, however, shows how they assimilated Japanese forms from ceramics for the tea ceremony: sake bottles, vases, etc.</span></span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b> 71. Tea bowl. </b></span></span><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;">Japan.</span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="color: #2a2a2a; font-family: "verdana"; font-size: large;">'Narumi-Yaki, 16th century. Narumi-Town, Nagoya-city, Aichi-Prefecture'.</span></span></span></div>
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<span class="Apple-style-span" style="font-weight: bold;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0bjGiVWNBqOUu6u1VdhslfkjY51ctN0Lt4-pVm1RqxJblxJGFXiagUVwCu-3aRPVJJ68BquINwQfi1rYPKD33QIPF283DKKGHRd_QifPzf-qJOD865w_v97URhaXi34YDv6ilVXIcQCA/s1600/LavaTbowlb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="264" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0bjGiVWNBqOUu6u1VdhslfkjY51ctN0Lt4-pVm1RqxJblxJGFXiagUVwCu-3aRPVJJ68BquINwQfi1rYPKD33QIPF283DKKGHRd_QifPzf-qJOD865w_v97URhaXi34YDv6ilVXIcQCA/s640/LavaTbowlb.jpg" width="640" /></a></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span lang="EN-US" style="color: #2a2a2a; font-family: "verdana"; font-size: 10pt;"><br /></span></span></span>
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span lang="EN-US" style="color: #2a2a2a; font-family: "verdana"; font-size: 10pt;"><br /></span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span lang="EN-US" style="color: #2a2a2a; font-family: "verdana"; font-size: 10pt;">This spectacular bowl, made as part of a rural tradition, seems to prefigure the urban lava glazes of the 20th century.</span></span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">The simplified lines of the two bottle-vases up-date and refine two traditional forms of </span></span></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">German </span><span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">domestic vessels. The uncompromising application of the luscious blue glaze instigates a new modernity through a free interpretation of the traditional blue glaze in a tachiste vein. Hence the (ironic) title I have given to the vase… echoing the Ruskin vs Whistler trial…</span></div>
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<span class="Apple-style-span" style="font-size: large; font-weight: bold;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><br /></span></span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b>74. Royal Lancastrian. </b>Vase.
Slipcast earthenware decorated with a version of the famous ‘orange vermilion’ uranium glaze.
1930s.<span style="color: #ff6600; font-weight: bold;"> </span></span></span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><span style="mso-spacerun: yes;"> </span></span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRcU8C7nn9ED6wf1dVRPN7adMOiy-vJn88ybWvmzwgCBJ9k2a-MdYJGJPUIFfmzJUr_s52BbTFysQx8HeQvkklfXARsRKHnjVzr1_WUBad4eWasY2pkSAfaSrKChz4pmEts0C-h0YHya8/s1600/LancastrianOrange.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjRcU8C7nn9ED6wf1dVRPN7adMOiy-vJn88ybWvmzwgCBJ9k2a-MdYJGJPUIFfmzJUr_s52BbTFysQx8HeQvkklfXARsRKHnjVzr1_WUBad4eWasY2pkSAfaSrKChz4pmEts0C-h0YHya8/s640/LancastrianOrange.jpg" width="593" /></a></div>
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="font-size: xx-small; mso-spacerun: yes;">Unlike the hand-thrown vase displayed in case <b>6</b>, this one was slip-cast and decorated with the more dramatic and famous 'orange vermilion' glaze; one of the pride glazes developped at the Royal Lancastrian works, from uranium oxides.</span></span></span></span><br />
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="font-size: xx-small; mso-spacerun: yes;">This type of glaze, which relied on extensive knowledge of and engagement with glaze chemistry, stands out alongside the works of William Howson Taylor, at the Ruskin Pottery, and prefigures in Britain the subsequent experiments that, from the 50s onwards, in France, Germany and Italy, promoted <b>color</b> and <b>texture</b> as key attributes of a new aesthetics.</span></span></span></span><br />
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="font-size: xx-small; mso-spacerun: yes;"><br /></span></span></span></span>
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="font-size: xx-small; mso-spacerun: yes;">In Britain, the exponents of this trends (inspired by Dalpayrat's work seen at the 1900 Paris International Exhibition) were derided as mere 'glaze chemist' by Leach and the exponents of the studio pottery revival. </span></span></span></span><br />
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="font-size: xx-small; mso-spacerun: yes;"><br /></span></span></span></span>
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="color: #660000; font-size: xx-small; mso-spacerun: yes;"><b>Rather than assuming with Bernard Leach and others that factory production is <i>incompatible</i> with artistic quality, this exhibition identifies concrete examples in which the integration of art and craft skills within industrial or semi-industrial production enabled <i>team work</i> to achieve works of real <i>artistic quality</i>.</b></span></span></span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><span style="mso-spacerun: yes;">75. </span></span></span></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><b>Wilhelm Kagel,</b> Two-handled jug. Hand-thrown earthenware decorated with sgraffito under green glaze.</span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;"><b>The invention of (a new) Tradition…</b></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55mCe8OY8K8JDIxG1Qii-I2btcGL1cPq5NAxo1gegp5aSeJomYBYsGt6y-6k52741nAO7NTOmW1THX8PJ8t_PjN32_YKMw-1Ul-1mTPs2om-TdrvPq5hw_3n2CKmjd66xiicnHxHW-_o/s1600/W.Kageljug.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi55mCe8OY8K8JDIxG1Qii-I2btcGL1cPq5NAxo1gegp5aSeJomYBYsGt6y-6k52741nAO7NTOmW1THX8PJ8t_PjN32_YKMw-1Ul-1mTPs2om-TdrvPq5hw_3n2CKmjd66xiicnHxHW-_o/s400/W.Kageljug.jpg" width="298" /></a></div>
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">Departing from the conventional floral decoration adopted by his father, William Kagel evolved a subtle neo-traditional style based on fine sgraffito patterns on earthenware vessels uniformly coated with a single matt glaze: green, yellow, orange or blue. The result has a distinctive Art and Craft feel, with a subtle touch of modernity.</span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="color: #0b5394; font-family: "verdana"; font-size: large;">Case 14<o:p></o:p></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>76. Veb
Haldensleben, </b>Slipcast vase decorated with<span style="mso-spacerun: yes;"> </span>a blue and white snake glaze (below left).<b> </b>1970s.</span></span></span></div>
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<tr><td class="tr-caption" style="text-align: left;"><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">Left: <b>Veb Haldensleben</b> . Right:<b> Unterstab studio</b>. Two examples of experiments which owe to the 'snake glazes' re-discovered by Albert Kiessling. Inspired by Japanese works, 'snake glazes' were emulated in France by Carriès during the 1890s and by the 'School of Carriès' during the first decades of the 20th century. They were subsequently rediscovered in Germany, by Albert Kiessling, and experimented with by the Unterstab and others.</span></span></td></tr>
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><b>77-79. Studio Unterstab. </b>Three hand-thrown
stoneware vases decorated with a blue crystalline glaze. 1970s:</span></span></span></span><span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="color: #ff6600; font-weight: bold;"> </span></span></span></span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="mso-spacerun: yes;"> </span></span></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span style="font-size: xx-small; mso-spacerun: yes;"><span class="Apple-style-span" style="font-family: "arial";">(See display case above, top shelf: 2, 3 and 4 from left)</span></span></span></span></span><span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><br /></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>80. Wendelin Stahl. </b>Hand-thrown stoneware vase decorated with blue crystalline glaze. 1970s.</span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJCe_HMbB5DBHwwWP4gW2ly2kLNUq3gnFkoMq9vpRpO2V5sD0v0DX2apY7VYwo2w8X7aVhHZrUvyzUkQHH3co_tbPdhTwoR2-hir4wXzCO2aCASWdABgPZLLt9qxP2LzKfzqenocCKsQM/s1600/2blueW.StahlVases.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="476" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJCe_HMbB5DBHwwWP4gW2ly2kLNUq3gnFkoMq9vpRpO2V5sD0v0DX2apY7VYwo2w8X7aVhHZrUvyzUkQHH3co_tbPdhTwoR2-hir4wXzCO2aCASWdABgPZLLt9qxP2LzKfzqenocCKsQM/s640/2blueW.StahlVases.jpg" width="640" /></a></td></tr>
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<span class="Apple-style-span" style="font-size: small;">These two vases retain in their form a distinctive similarity with some of the rustic forms that Wendelin Stahl learnt with his brother Rudi in their father's workshop. The result, however, was transformed by a refinement of the shapes, and enhanced by the addition of a blue crystalline glaze, adopted during the 70s, alongside Walter Gebauer, Albert Kiessling, Kerstin Unterstab and others.</span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>81. Albert Kiessling, Vase. </b>Hand-thrown stoneware, decorated with white snake glaze
(1960s). </span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKzk8ctWPvTzVw5ZwudsU1S_BxQpMv7wL8mN0aWDrGp40mqMrkPwyV95UtM_EkK2-lOo84Vvw7uEQqUlP8Fwq7zgVFk00Mx6YCb8ZrHq04Qq0SFc-z02ynlzko-bb3Zun0Og9lf2lBswk/s1600/KiesslingWhiteCrocodileGlaz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKzk8ctWPvTzVw5ZwudsU1S_BxQpMv7wL8mN0aWDrGp40mqMrkPwyV95UtM_EkK2-lOo84Vvw7uEQqUlP8Fwq7zgVFk00Mx6YCb8ZrHq04Qq0SFc-z02ynlzko-bb3Zun0Og9lf2lBswk/s400/KiesslingWhiteCrocodileGlaz.jpg" width="221" /></a></div>
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Close examination of the glaze shows the formation of 'scales' ; the first step towards the development of 'snake glazes'.</div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">The following three vases, by Albert Kiessling, shows two different ways of achieving snake glazes; by breaking the continuity of the glaze surface in a 'crazy paving' type pattern or by creating a cluster of raised glaze nuggets using a wax resist process:</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKXvxQbS9FJVuhlNlBePLtupjixjaB4rzbFufzXI_1bikXODAzWrMaPi4VLd09fY36cj6C3WyYiRBV5Xke6kUBWWhVi3c2dWGveO5n4rTGlqVo4s5Zyp_-P3SZfBOAbDlJWmO_TMP-xc/s1600/Kiessling3snakeshinglazesb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHKXvxQbS9FJVuhlNlBePLtupjixjaB4rzbFufzXI_1bikXODAzWrMaPi4VLd09fY36cj6C3WyYiRBV5Xke6kUBWWhVi3c2dWGveO5n4rTGlqVo4s5Zyp_-P3SZfBOAbDlJWmO_TMP-xc/s640/Kiessling3snakeshinglazesb.jpg" width="640" /></a></div>
<span class="Apple-style-span" style="font-family: "arial";"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>82</b>. Hand-thrown stoneware
decorated with dark green snake glaze. 1960s. </span></span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>83*</b>. Hand-thrown stoneware vase
decorated with green and white snake glaze (on stand). 1960s.<b> </b></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>84-86. Studio Unterstab. </b>Three hand-thrown stoneware vases decorated with snake glazes.
1970s:</span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKip6c94qzCb8Sai0y8oAAv6J-OADljHaHd33zHgm3wm7a-oaGGCeyc2TCtz_891UgKSoeLMV-y1-HKa1dZSzDIfM-lt8ms0OedNC0Gwb2gHvjaxcLQk4hH3AKR1dbucrAMJaRUlt7_hQ/s1600/K.UNterstabGreen-Snaneskinb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKip6c94qzCb8Sai0y8oAAv6J-OADljHaHd33zHgm3wm7a-oaGGCeyc2TCtz_891UgKSoeLMV-y1-HKa1dZSzDIfM-lt8ms0OedNC0Gwb2gHvjaxcLQk4hH3AKR1dbucrAMJaRUlt7_hQ/s640/K.UNterstabGreen-Snaneskinb.jpg" width="492" /></a></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">The similarity between some of the glazes used by the Unterstabs and by Albert Kiessling may be accounted for by the continuity from one studio to the next. In the absence of secure dates, the glaze on this vase that bear the Unterstab mark may have been produced after Kiessling's death in 1964.</span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">This is particularly evident in the blue and white glazes that recently appeared on the market (not in the exhibition):</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFW5GOIwZEx6k95beXW4O3GMZz2OuGxmlUAsfU18b-aOWDqdtCr8uvtH4ppybJj62qpC7P_cIIo-OlZz7E6_nGxWE3ndByejpUbw9PZtFJTwxXFbzSU13CHae7uCXDKBqvgoPSpyV3R68/s1600/A.Kiessling-Kwww.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="347" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFW5GOIwZEx6k95beXW4O3GMZz2OuGxmlUAsfU18b-aOWDqdtCr8uvtH4ppybJj62qpC7P_cIIo-OlZz7E6_nGxWE3ndByejpUbw9PZtFJTwxXFbzSU13CHae7uCXDKBqvgoPSpyV3R68/s640/A.Kiessling-Kwww.jpg" width="640" /></a></div>
<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: x-small;"><span style="font-size: x-small;">A recent (2018) communication by a collector suggested that Kerstin Unterstab is a fiction that never existed; and that work attributed to her (marked 'KTM') should be re-attributed to Ralf Unterstab workshop. The error (if demonstrated) may have arisen from the existence of two distinctive signatures stamped on works attributed to the Unterstab family.</span></span></span>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>87. Scheurich, </b>Vase (529/25), slip-cast stoneware, decorated with dark green, variegated lava glaze.<b> </b></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg58VRXZcsVEo8j7jDd6PbSl9UcOsYo9s2X1eFKBeJGpYjDCASwXqsna-fJdV6NI-WvjXK2MhuzypBS4_b2q-upwRdyKDXB35AtCMdvo-yuqrVGCLb_YRDbjnhJ-rpOTTz6Y9BArbOjO_g/s1600/green-shiny-scheurich-lava-.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg58VRXZcsVEo8j7jDd6PbSl9UcOsYo9s2X1eFKBeJGpYjDCASwXqsna-fJdV6NI-WvjXK2MhuzypBS4_b2q-upwRdyKDXB35AtCMdvo-yuqrVGCLb_YRDbjnhJ-rpOTTz6Y9BArbOjO_g/s400/green-shiny-scheurich-lava-.jpg" width="400" /></a></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>88. E.S. Keramik, </b>Krug vase decorated with dark
blue and white on black lava glazes.<b> </b></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>89. Fohr Keramik, </b>Slipcast vase (513/25) decorated with
shiny red on matt black lava glaze (below, left).<b> </b></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicPNri6vUiB72bFTRpTriaNoQiGH6ErxnW_HDLkiAsfWJA0RRBKDVbIwtWPoED16Hu1SOyVVzk_WYc1K2EXNhFz2ycHGCpiJvm2zwzsPjni2q0rgvnAkmy8GETEZQ0HC7Izz01DP53sIo/s1600/Fohr.Vallauris-red-vasesb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="341" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicPNri6vUiB72bFTRpTriaNoQiGH6ErxnW_HDLkiAsfWJA0RRBKDVbIwtWPoED16Hu1SOyVVzk_WYc1K2EXNhFz2ycHGCpiJvm2zwzsPjni2q0rgvnAkmy8GETEZQ0HC7Izz01DP53sIo/s400/Fohr.Vallauris-red-vasesb.jpg" width="400" /></a></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">Here the slipcast <b>Fohr</b> vase meets a hand-thrown vase by <b>Annette Roux</b> from Golfe Juan (near Vallauris). The encounter highlights the contrast between the subjective, free-flowing, painterly motif on the Vallauris (right) and the objective form (but aleatoric) chemistry of the lava glaze on the German vase.</span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b>90*. Fohr Keramik, </b>Slipcast stoneware vase (411/20), decorated
with matt black pumice on yellow shiny glaze, with black occlusions. 1970s. </span><b style="font-size: 10pt;"><o:p></o:p></b></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Here, by contrast, the application of the black pumice glaze required a different mastery, on the part of the glazier, to control the flow of the black glaze and ensure that it did not run too far beyond the shoulder of the vase. </span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: 13px;">This juxtapposition, inspired by <b>Gulliver's Travels</b>, presents a <i>visual proposition</i> about organic forms in ceramics. Whereas the motif of the gourde was used by <b>Edwin Martin</b> in stylised (non-literal) decorative ways, in the <b>Kreutz</b> vase, the surface treatment reaches <i>into</i> the fabric of the vase, emulating the organic look of a rotting fruit; combining it with a mineral (and industrial) references to volcanic lava.</span><br />
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span" style="font-family: "verdana";"><b>92. Scheurich</b> </span><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";">Large vase (517/30), decorated with a purple blue irrisdescent lava glaze.</span></span></span></span></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-style: normal; font-weight: normal;"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";">The contrast between the restrained, classical symmetry of the vase and </span></span></span><span class="Apple-style-span" style="font-family: "verdana";">the experimental lava glaze produces a quirky example of ceramic post-modernity that uses <b>tradition as a basis for innovation.</b></span><span class="Apple-style-span" style="font-family: "verdana"; font-style: normal; font-weight: normal;"> </span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b style="font-weight: normal;">93. </b><a href="https://www.facebook.com/media/set/?set=oa.10150250731391060&type=1">Jopeko</a><a href="https://www.facebook.com/media/set/?set=oa.10153894961456060&type=1"><span style="font-weight: normal;">/</span>Stein</a><span style="font-weight: normal;">,
</span></span></span></span><span class="Apple-style-span" style="font-weight: normal;"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;">Krug vase. Slipcast stoneware decorated with dark green and black running on
bright yellow glaze.<b> </b></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">The classical form of the jug, also available in a plain green glaze, is enhanced by the addition of a dark green streak of glaze running down its neck.</span></span></span><br />
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<span class="Apple-style-span" style="font-size: large;"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><b style="font-weight: normal;">94. </b><a href="https://www.facebook.com/media/set/?set=oa.10150250731391060&type=1"><b>Jopeko</b></a><a href="https://www.facebook.com/media/set/?set=oa.10153894961456060&type=1"><span style="font-weight: normal;">/</span>Stein</a><span style="font-weight: normal;">, </span></span></span></span><span class="Apple-style-span" style="font-weight: normal;"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";">Small slipcast krug-vase decorated with a yellow
and black lava glaze. 1970s.</span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: small;">Besides blurring the regular, classical form of the jug, the glaze injects it with a sense of dynamism that arises from its spectacular materiality and brightness.</span></div>
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large;"><b>95-96. Conversation </b>(left)<b>: Rudi Stahl.</b> Hand-thrown, unglazed stoneware vase (1950-60s)<b> . Scheurich. </b>Slipcast round stoneware vase decorated with red and black lava glaze (1970s).</span></div>
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<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="color: #666666; font-size: small;"><b>The heavily grogged, hand-thrown, </b><b>unglazed</b><b> stoneware vase by <b>Rudy Stahl</b> (left) exhudes a timeless beauty, and a synthesis of East and West that remove rustic elements; avoiding oriental <i>pastiche</i>. </b></span></span></div>
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<span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="color: #666666; font-size: small;"><b>The subtle ascending curves of the vase and its raw unadorned (ascetic) body confer upon it the Zen quality of an abstract sculpture — Brancusi-like — of simple metaphysical resonance.</b></span></span></div>
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<span class="Apple-style-span" style="background-color: white; color: #666666; font-size: small;"><span class="Apple-style-span" style="font-size: small;"><b>By contrast, the </b></span><span class="Apple-style-span" style="font-size: small;"><b>regular (moulded) contour of the </b></span><span class="Apple-style-span" style="font-size: small;"><b>Scheurich vase </b></span><span class="Apple-style-span" style="font-size: small;"><b>(form '284/19') </b></span><span class="Apple-style-span" style="font-size: small;"><b>is blurred and enhanced by the thick lava glaze, which brings it to life; placing its outline in a state of flux; </b><b>as if </b><b>it could melt and loose its form at any moment. Allusion/celebration of the fire that melted its surface?</b></span></span></div>
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<b><span class="Apple-style-span" style="background-color: white;"><span class="Apple-style-span" style="color: #666666;"><span style="font-size: small;">The juxtapposition of these two aesthetically very different vases creates a <i>tension </i>and a <i>polarity</i>. The point, here, is not to emphasise that one was made in a <i>studio</i> and the other in a factory, but to highlight that, through their distinct <i>materialities</i> and <i>form/design qualities</i>, and through their respective <i>modes of production</i>, they each express a distinct aesthetics, which, in this juxtaposition, can trigger a spiritual dialogue, transcending their function as vases.</span></span></span></b></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihouYUTcIlAJj_58Ur8dDcWUuMd7TkdQz6Z8RvFuKC8zvqxE5nYj5Wkc3ijb9JIeZlgqcBq0O7F0ZfeuskB26AXnxLTTYABwOwOCgDXP92qAdFMkOk0ldqJYpW54mvFLcRb1Nv-YX52Ns/s1600/Case16.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEihouYUTcIlAJj_58Ur8dDcWUuMd7TkdQz6Z8RvFuKC8zvqxE5nYj5Wkc3ijb9JIeZlgqcBq0O7F0ZfeuskB26AXnxLTTYABwOwOCgDXP92qAdFMkOk0ldqJYpW54mvFLcRb1Nv-YX52Ns/s640/Case16.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Left: E.S. Keramik, Chimney vase.</td></tr>
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<span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif; font-size: large;"><span class="Apple-style-span" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large; font-weight: bold;">97-98.</span><span lang="EN-US" style="font-family: "verdana"; font-size: large; font-weight: bold;"> Conversation:</span><span lang="EN-US" style="font-family: "verdana";"><b> Rudi Stahl, </b>krug vase. Hand-thrown stoneware, decorated with a matt brown runny glaze (1950s). <b>Ruscha Keramik, </b>Vase 315. Slipcast stoneware. Form: <b>Kurt Tschorner</b> (1954). Glaze: <b>Otto Gerhaz</b> or <b>Gerda Heuckeroth</b>. Red glaze with black occlusions and fine craquelée effect.</span></span></span></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "trebuchet ms" , sans-serif;">In this encounter, a serially-produced, but hand-thrown, stoneware bottle vase by Rudi Stahl (left) inspired by a traditional country form faces a slip-cast vase designed by Kurt Tschörner (form) and Otto Gerhaz (glaze) or Gerda Heuckeroth; and made by skilful craftsmen and/or women as part of a process of <i><b>collective authoring</b></i>, which capitalised on the <b><span class="Apple-style-span" style="color: #660000;">integration of craft skills in an industrial mode of production.</span></b></span><span class="Apple-style-span"></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>99-101. <a href="https://www.facebook.com/media/set/?set=oa.10150250731391060&type=1">Jopeko</a>,
</b>three slipcast stoneware handled vases decorated in volcanic glaze ‘Paris’. </span></span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: large;"><b>102. Dumler und Breiden, </b>Krug vase. Slipcast stoneware decorated with white lava glaze on matt blue glaze. Early 1970s.</span><b style="font-size: 10pt;"><o:p></o:p></b></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>103. Ü-Keramik.</b> Large chimney vase (1447/45). Slipcast stoneware decorated with white and cream running on dark blue glaze.</span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">Above</span><b style="font-size: x-large;"> </b></span></span></span><br />
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;"><b>104-109. Marei Keramik. </b>Selection of 6 vases decorated in blue and white (‘Capri’,
1967), red (‘Lava’, early 70s) and orange (?) lava glazes. <o:p></o:p></span></span></span><br />
<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: x-small;">(Information Courtesy Ralf Schumann)</span></span></span></div>
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<span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: small;">Middle</span><span class="Apple-style-span" style="font-size: large;"> </span></span></span><br />
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><br /></span></span></span><span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><b>110-115. Roth Keramik</b>. Selection of 6 vases decorated with a black pumice glaze over a
bright red or an orange glossy glaze. <o:p></o:p></span></span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana"; font-size: large; font-weight: bold;">116-120. Marei Keramik. </span><span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";">Selection of 5 vases, decorated with lava glazes.</span></span></span><br />
<span class="Apple-style-span" style="font-size: large;"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><br /></span></span></span>
<span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">The matt black on glossy red glaze on the vase on the right, called 'lava', seems to have been introduced in Spring 1967 (info courtesy Ralf Schumann). The Marei vases shows a more varied and more complex range of glazes than the Roth; although until recently they were believed to have been made at the Roth factory.</span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana"; font-size: large;">121-129. Charles
Cart. Le Cyclope pottery (Annecy, France).<o:p></o:p></span></span></span></div>
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of 9 decorative earthenware vessels decorated in the<i> ‘Émaux des glaciers, émaux des neiges’
</i>(blue and white on black) and <i>‘Émaux des guarrigues’</i> (honey yellow) glaze.</span><span lang="EN-US" style="color: red; font-family: "verdana"; font-style: normal;"><o:p></o:p></span></span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">The close up photo of the fondue or tapas plate, below well illustrates <b>Charles Cart</b>'s deconstructive approach to glazing. </span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">For his research Cart asked chemist to show him how to 'spoil' glazes. The result produced his outstanding <b style="font-weight: normal;"><span class="Apple-style-span" style="color: #444444;">glazes</span></b> which seem to have been inspired by the famous Vallauris's <b>'Écume de Mer'</b> glaze, for which he (or retailers) used the label on some of his early production; including the vase above. </span></span></div>
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<span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: small;">Cart (if he did put the labels) probably did it to capitalise on the popularity of the 'écume de mer' glaze before establishing his own reputation with<b><span class="Apple-style-span" style="color: #444444;"> 'Émaux des glaciers. Émaux des neiges', 'Émaux des garrigues' and 'Émaux Terre de Feu'.</span></b></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCPmb8gbYysR75NH-g5bT2fB2OiwVa6Lh02WXF03tR9ty4mw2sU_NlWxg8nEBwZ9tZhmp9ZmH7vxpQ3wwSEvYMso7D0ld1vFVg4684ivNtNnTWYi6hbGFN_MV0sAby7k5XIVTbWE38YXk/s1600/CyclopePlatecloseupb.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCPmb8gbYysR75NH-g5bT2fB2OiwVa6Lh02WXF03tR9ty4mw2sU_NlWxg8nEBwZ9tZhmp9ZmH7vxpQ3wwSEvYMso7D0ld1vFVg4684ivNtNnTWYi6hbGFN_MV0sAby7k5XIVTbWE38YXk/s640/CyclopePlatecloseupb.jpg" width="640" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">To achieve this effectsseveral glaze layers were applied. The addition of a chemical agent produced the retraction of the upper layer, forming craters of different sizes. Other glaze recipes produced bubbling.</td></tr>
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<span class="Apple-style-span" style="font-size: small;">As was customary at the time, paper labels were often added, which suggested that the works (made in Annecy) were in some way connected with the places where they were sold. One Cyclope jug, recently bought in Pyrénees Orientales, still carried the paper label 'Emaux des Pyrénées'! Clearly a ploy to suggest that the piece was made in the area where it was sold; to better qualify as a tourist 'souvenir' from the region!</span><span class="Apple-style-span" style="font-family: "myriad pro condensed"; font-size: small;"><br /></span>
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Gérardhttp://www.blogger.com/profile/04992523117116530484noreply@blogger.com4tag:blogger.com,1999:blog-7076457529302746523.post-28755320453641617002013-05-03T01:32:00.002-07:002019-01-23T01:44:56.664-08:004. INTERVENTIONS IN THE PERMANENT COLLECTION <div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="Apple-style-span" style="color: purple; font-size: large;"><b>INTERLOPERS</b></span></div>
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<span class="Apple-style-span" style="font-size: large; font-weight: bold;"><span lang="EN-US" style="color: #444444; font-family: "verdana"; font-size: 10pt;">Keramik Conversations </span><span lang="EN-US" style="color: #666666; font-family: "verdana"; font-size: 10pt;">extends the dialogue in the permanent collection,</span></span></div>
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<span class="Apple-style-span" style="font-size: x-small; font-weight: bold;">in the form of a friendly <i>infiltration </i></span><span style="font-size: x-small; font-weight: bold;">of the brown pot brigade'</span><span style="font-size: x-small; font-weight: bold;"> by 'foreign (ceramic) agents'…</span></div>
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<span class="Apple-style-span" style="font-size: x-small; font-weight: bold;">These 'interlopers' are clearly marked by figurines and by a number which identifies them on a free hand-out available in the gallery.</span></div>
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<tr><td class="tr-caption" style="font-size: 9px; text-align: center;">View of 3 infiltrations (top shelf of next case) seen through a Cardew-filled display case.</td></tr>
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<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;">1.<b> <b>Schäffenacker pottery</b> </b>[West Germany] </span><span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;">Triple vase. </span><span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;">Slipcast stoneware.</span></div>
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<span class="Apple-style-span" style="color: #bf9000;"><span class="Apple-style-span" style="font-size: x-small;">* </span><span class="Apple-style-span" style="font-family: "arial";">Acquired for the permanent collection.</span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjippXT0F64CJ8k5u1iWoKE6IlibY_-e_J1QwiLC7i_DB1J8JvAn2juyX8adva0YB_HZYJglaSOLXZG1ffiPER7_S2y-dbbCQy40vmVqtIN8WUCAXch4HqZsCxiiCc5xSn3-SiMsW_UgQ/s1600/Small-Schaffenacker.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjippXT0F64CJ8k5u1iWoKE6IlibY_-e_J1QwiLC7i_DB1J8JvAn2juyX8adva0YB_HZYJglaSOLXZG1ffiPER7_S2y-dbbCQy40vmVqtIN8WUCAXch4HqZsCxiiCc5xSn3-SiMsW_UgQ/s320/Small-Schaffenacker.jpg" width="320" /></a></div>
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<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>2. Gramann Romhild, </b>Vase. Hand-thrown stoneware decorated with white and pink lava on pitted grey matt glaze. 1950s-60s.<b><o:p></o:p></b></span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE_CgACcWHL0hphQrjbC8EPa-SMnCmEp1mbB1hA4bzI32Gu_sQ7pPtUBuJE1FWssBj_R-aq_-s8hXoV7cQvn4HhyphenhyphenVhlR5eKexpOvJ5e_LVmAovh1LQosIRLRPKuHUkhrNs8hnmNtHKUX0/s1600/GramanR.Giraud.Kepp.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgE_CgACcWHL0hphQrjbC8EPa-SMnCmEp1mbB1hA4bzI32Gu_sQ7pPtUBuJE1FWssBj_R-aq_-s8hXoV7cQvn4HhyphenhyphenVhlR5eKexpOvJ5e_LVmAovh1LQosIRLRPKuHUkhrNs8hnmNtHKUX0/s640/GramanR.Giraud.Kepp.jpg" width="640" /></a></div>
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<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0GrRqLBIxLRdkfSjp34oS4vlsDSwse22NeB8ZLMgbnaWunoKHtemjMAxCoBwlgiQbRhsGcQxUB9IfT43yT8Fd5ZzmCgwVC0CA2-6w5Mn7gsyqHBR9nfTnnsUIO-TgArqT13TIJXSPuFw/s1600/smallGiraudbowllave.jpg" imageanchor="1" style="color: #10435d; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="298" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg0GrRqLBIxLRdkfSjp34oS4vlsDSwse22NeB8ZLMgbnaWunoKHtemjMAxCoBwlgiQbRhsGcQxUB9IfT43yT8Fd5ZzmCgwVC0CA2-6w5Mn7gsyqHBR9nfTnnsUIO-TgArqT13TIJXSPuFw/s400/smallGiraudbowllave.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-color: rgb(255, 255, 255); border-bottom-style: solid; border-bottom-width: 1px; border-color: initial; border-left-color: rgb(255, 255, 255); border-left-style: solid; border-left-width: 1px; border-right-color: rgb(255, 255, 255); border-right-style: solid; border-right-width: 1px; border-top-color: rgb(255, 255, 255); border-top-style: solid; border-top-width: 1px; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="400" /></a></span></span></div>
<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></span></span>
<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span class="Apple-style-span" style="font-size: x-small;">The addition of a hand-thrown vase by Gramann Romhild, and a small bowl by Louis Giraud — both produced for a wide market, but using <i>craft skills</i> for <i>serial production</i> — shows that works of artistic integrity could be produced economically, retail at affordable prices and, thus, reach a wider public.</span></span></span></span><br />
<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><span class="Apple-style-span" style="font-size: x-small;"><br /></span></span></span></span></div>
<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span class="Apple-style-span" style="font-size: x-small;"><span lang="EN-US"><span class="Apple-style-span" style="font-family: "verdana";">A more individually and exclusively produced studio vase by </span><b style="font-family: Verdana;">Steen Kepp</b><span class="Apple-style-span" style="font-family: "verdana";">, wood-fired according to the <i>Tanegashima/yakishime</i> technique (i.e.</span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;"> '</span></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">designed and fired without loosing the natural feel of clay, water and fire', in the words of </span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif;">Sister Johanna Becker), at <b>La Borne</b> (France) during the mid 1980s, represents a <i>limit case</i> on the scale of ceramic technology: from 'archaic'-'traditional' to 'high tech' (symbolized on the right by a slipcast vase from Jopeko (germany):</span></span></span></span><br />
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<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhOU-5JP-zhvYTN3FTx_pNcdylrKud3HiAW6DZgWIF27cWmhOtwbNMCAZiqmSIUYU94JG6DIqWlkaPusYxFlXgFUDWq_MUjkfB6b9_MU7IlVMmuX6_phBinbvMmF8y7F5FxfuFilrSwL8/s1600/Kepp.RedJopekowww.jpg" imageanchor="1" style="color: #10435d; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhhOU-5JP-zhvYTN3FTx_pNcdylrKud3HiAW6DZgWIF27cWmhOtwbNMCAZiqmSIUYU94JG6DIqWlkaPusYxFlXgFUDWq_MUjkfB6b9_MU7IlVMmuX6_phBinbvMmF8y7F5FxfuFilrSwL8/s640/Kepp.RedJopekowww.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-color: rgb(255, 255, 255); border-bottom-style: solid; border-bottom-width: 1px; border-color: initial; border-left-color: rgb(255, 255, 255); border-left-style: solid; border-left-width: 1px; border-right-color: rgb(255, 255, 255); border-right-style: solid; border-right-width: 1px; border-top-color: rgb(255, 255, 255); border-top-style: solid; border-top-width: 1px; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="640" /></a></span></span></div>
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<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;"><span class="Apple-style-span" style="font-family: "helvetica"; font-size: 10px;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: x-small;"><span style="color: #444444;">In the Virtual Gallery the </span><b style="color: #444444;">Steen</b><span style="color: #444444;"> </span><b style="color: #444444;">Kepp</b><span style="color: #444444;"> vase, fired in La Borne (France), in a </span><b><a href="http://vimeo.com/58366134" style="text-decoration: none;"><span style="color: #3d85c6;">wood kiln</span></a><span style="color: #444444;"> </span></b><span style="color: #444444;">[</span><span style="color: #0b5394;">click to preview film</span><span style="color: #444444;">] over a period of ten days, is shown in dialogue with an industrially-produced vase — by </span><b style="color: #444444;">Jopeko Keramik </b><span style="color: #444444;">— decorated with a rich, red lava glaze fired in an industrial kiln. Two extremes on the spectrum of firing technologies. Two different aesthetics…</span></span></span></span><br />
<span class="Apple-style-span" style="color: #444444; font-family: "verdana"; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: x-small;"><br /></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: x-small;">Second most recent vase </span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: x-small;">— after </span><span class="Apple-style-span" style="font-size: x-small;"><span class="Apple-style-span" style="font-family: "verdana";"><span lang="EN-US" style="font-family: "verdana";"><b>Cedric Ragot</b>'s '<b>Fast</b>' porcelain vase, designed for Rosenthal in</span><span lang="EN-US" style="font-family: "verdana";"> 2004 — </span></span></span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: x-small;">the <b>Steen</b> <b>Kepp</b> vase </span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: x-small;">(c. 1986) </span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: x-small;">closes the series of 'interlopers' (nº 27) </span><span class="Apple-style-span" style="font-family: "verdana" , sans-serif; font-size: x-small;">chronologically, by returning us to the start.</span></span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: medium;"><b>4. Raoul Lachenal, </b>Vase. Hand-thrown white clay decorated with 'Egyptian' blue glaze. c. 1920.</span></span></span><br />
<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: x-small;"><br /></span><span lang="EN-US" style="font-family: "verdana"; font-size: x-small;">Whereas Wells emulated Chinese models, in this piece Lachenal emulated the <b>Ancient Egyptian</b> blue found in recently excavated tombs and displayed in popular exhibitions and in museum collections. His second source of inspiration was <b>Isnik</b> ceramics which had been re-discovered by Theodor Deck and others: </span></span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: x-small;"><b>5. Wim Mühlendyck, </b>Vase. Hand-thrown stoneware decorated with a simple pattern of incised marks and brown matt glaze. The <i>form</i> of the vase reflects the Bauhaus principle of simplicity. 1950s:</span></span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span class="Apple-style-span" style="font-size: x-small;"><span lang="EN-US" style="font-family: "verdana";">The smooth finish of this hand-thrown vase, decorated with a discrete and refined crystalline </span><span class="Apple-style-span" style="font-family: "verdana";">glaze, — from the <b>Cavendish</b> series, designed during the early 30s by art graduates — contrasts with the surrounding 'studio' pots, which deliberately and ostentatiously emphasise their hand-thrown quality.</span><span class="Apple-style-span" style="font-family: "verdana";"> By contrast, the Langley, although thrown on the wheel, emphasises its <i>architectural</i> form and perfect symmetry, attenuated by the running and the different levels of transparency of the glaze.</span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: x-small;">Produced during a very brief phase, around 1934, when art graduates were employed briefly and on a part-time basis, to design an 'Art range', this hand-thrown and cut/turned stoneware vase, exudes a sense of architectural modernity reminiscent of Frank Lloyd-Wright, which makes it stand out in stark contrast with the <i>ruralist</i> tone of the surrounding studio pots made in the wake of the ceramic revival instigated by Leach.</span></span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: x-small;">The geometric perfection of the Langley vase was not produced not from a mould, but first designed by the <b>artists</b>, then hand-thrown and glazed by highly skill <b>craftsmen</b> (in a platonic search for perfect form?) — in a <b>creative collaborative effort</b> carried out in a <b>factory</b> — contrasts with and exposes the contrived 'archaic' ruralist forms ('rural idyll') of the surrounding studio dishes. </span></span></span></div>
<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><br /><span class="Apple-style-span" style="font-size: xx-small;"><b>7</b>. <span style="color: #660000; font-family: "trebuchetms";"><b>René Neve for Hutschenreuther*</b></span><b style="color: #660000; font-family: trebuchetms;">, </b><span class="Apple-style-span" style="color: #660000; font-family: "trebuchetms";">Plate. </span></span></span></span></span><br />
<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: xx-small;"><span class="Apple-style-span" style="color: #660000; font-family: "trebuchetms";">Stoneware, decorated with painted and sprayed pattern of concentric lines. 1960s. in conversation with </span><b style="color: #660000; font-family: TrebuchetMS;">Bernard Leach</b><span class="Apple-style-span" style="color: #660000; font-family: "trebuchetms";">plate, showing an Asian pilgrim in a mountainous landscape.</span></span></span></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: x-small;"><b>8. Louise Duncker, </b>Jug. Hand-thrown stoneware inspired by the Bauhaus style, decorated in green on brown glaze. 1950s-60s</span></span></span><br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD0esTj4WbqQTKekeE89qLiscK7Q0ctJVgCocblg2rLmthPpT3cvG0ndZb1xqdn7cIjoKK-BPsEwvmhj1e5uqb0i0oKYk4jAw7gvpEOzJUAWO9wemMjm4bVuHVGknoAl0FUBGbfw0q4-o/s1600/CrownDucalinstudiocontext.jpg" imageanchor="1" style="color: #10435d; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhD0esTj4WbqQTKekeE89qLiscK7Q0ctJVgCocblg2rLmthPpT3cvG0ndZb1xqdn7cIjoKK-BPsEwvmhj1e5uqb0i0oKYk4jAw7gvpEOzJUAWO9wemMjm4bVuHVGknoAl0FUBGbfw0q4-o/s400/CrownDucalinstudiocontext.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-color: rgb(255, 255, 255); border-bottom-style: solid; border-bottom-width: 1px; border-color: initial; border-left-color: rgb(255, 255, 255); border-left-style: solid; border-left-width: 1px; border-right-color: rgb(255, 255, 255); border-right-style: solid; border-right-width: 1px; border-top-color: rgb(255, 255, 255); border-top-style: solid; border-top-width: 1px; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="400" /></a></div>
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<span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><br /></span><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Echoing the shapes of the surrounding studio pieces (including the concentric rings of the hand-throwing marks), this slip-cast vase stands out by its use of color to convey the 'organic vitality' Herbert Read found lacking in factory-produced pots, and identified with the process of hand-throwing.</span><br />
<span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">In <i><b>English Pottery</b></i> (1924), co-written with Bernard Rackham, Herbert Read had remarked <i>'Forms capable of being multiplied without variation from a single original model cannot but have a much smaller interest than those in which each individual piece is the direct expression of the potter's instinct'</i>, and concluded that <i>'such vital quality in the finished work can never come from the passive settling of particles of clay on the inner side of a porous mould'</i> (p. 129) and that cast works are <i>'mechanical production' </i>useful to produce 'useful' wares such as <i>'for table use especially, where cleanliness and health are to be taken into reckoning' where they 'must be acknowledged as superior to hand-made wares'.</i></span><br />
<span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">The problem is that slip-cast works are not necessarily identical ('without variation'); especially when they rely on hand-applied glazes for their aesthetic effect.</span><br />
<span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">In <i>Art and Industry</i> Read formulated a distinction between 'thrown' versus ''cast' pots in functional terms, by postulating two forms of vitality: <b>'organic vitality' </b>emanating from hand-throwing and <b>'mechanic dynamism'</b>, arising from design; adding that the latter <i>'should be the invention of an artist' </i>(p. 74)</span><br />
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;">In cases of works where glazing was the most important aesthetic element, and where it was experimental and applied by hand, this distinction looses its pertinence and becomes void.</span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;">This is evident in the lava glazed works by <b>Marei Keramik</b> (Display case 17).</span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;"><br /></span></span><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;">In the colourful <b>Crown Ducal</b> vase (above), the fact that the glazer was anonymous (his/her identity lost in the collective, hierarchical process of industrial production) makes it easier to under value it.</span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;">Re-contextualising it, as in this case, surrounded by British studio ceramic 'super stars', invite us to respond directly to their materiality; unhindered by preconceptions.</span></span></div>
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<span class="Apple-style-span" style="color: #660000; font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;"><b><i>'Monument to the unknown glazier'?</i></b></span></span></div>
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</span></span><span class="Apple-style-span" style="font-size: 13px;">Crown Ducal is associated with the name of <b>Charlotte Rhead</b>, who supplied many designs of flowers, fruits and geometric motifs, in the Art Déco style. </span></div>
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<span class="Apple-style-span" style="font-size: 13px;">Abstract glazes of the type illustrated here represented a very small proportion of their overall production.</span><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"></span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>10. Anon., Italian factory*. </b>Decorative plate. Earthenware, decorated with white slip on blue, red and yellow. 1950s or 60s. In conversation with <b>Michael Cardew </b>plate, decorated with slip motif of fish.</span></span></span><br />
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhehYWyAenaKnRWXcHiqLZvUCQ0N7A08WfnQduogpg3o5iKstdZzhFVbpuiO-u7xDQLWiXVEOJnbvw3z5H6PXdquM8G_FFh97scFqYPX_7kUOTSegZyBTlcx0HBYzxm0FqQoRVyR8IwPko/s1600/MadeinItalyinContext.jpg" imageanchor="1" style="color: #10435d; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="360" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhehYWyAenaKnRWXcHiqLZvUCQ0N7A08WfnQduogpg3o5iKstdZzhFVbpuiO-u7xDQLWiXVEOJnbvw3z5H6PXdquM8G_FFh97scFqYPX_7kUOTSegZyBTlcx0HBYzxm0FqQoRVyR8IwPko/s640/MadeinItalyinContext.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-color: rgb(255, 255, 255); border-bottom-style: solid; border-bottom-width: 1px; border-color: initial; border-left-color: rgb(255, 255, 255); border-left-style: solid; border-left-width: 1px; border-right-color: rgb(255, 255, 255); border-right-style: solid; border-right-width: 1px; border-top-color: rgb(255, 255, 255); border-top-style: solid; border-top-width: 1px; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="640" /></a></span></span></div>
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<span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span"><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="font-size: 13px;">Next a 19th century pitcher from a country pottery in or around St Amand in Puisaye (or La Borne) faces a 'free form' slip cast vase by <b>Le Vaucour</b>, from Vallauris.</span></span></span></span></div>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJmmKIK00wl676ylHDI-uZpQSIIpVEuXlaiJEsFgufXiX8g3vN9e00iFkr2IGlFihWVbVb8dO50aul6w89QVpto5EEuQt_klX0wzuBr1oVC7nQWuDbOxSudLpoYCexaaHjsvrPM4OL-Ew/s1600/MadeinItalyConversation.jpg" imageanchor="1" style="color: #10435d; margin-left: auto; margin-right: auto; text-decoration: none;"><img border="0" height="366" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJmmKIK00wl676ylHDI-uZpQSIIpVEuXlaiJEsFgufXiX8g3vN9e00iFkr2IGlFihWVbVb8dO50aul6w89QVpto5EEuQt_klX0wzuBr1oVC7nQWuDbOxSudLpoYCexaaHjsvrPM4OL-Ew/s640/MadeinItalyConversation.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(255, 255, 255); border-left-style: solid; border-right-color: rgb(255, 255, 255); border-right-style: solid; border-top-color: rgb(255, 255, 255); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="640" /></a></td></tr>
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><br /></span></span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">As with the<b> Leach. Hutschenreuther</b> juxtapposition, this conversation challenges widespread assumptions by inviting us to dare compare two very different ways of using slip, from two opposite aesthetic positions; </span></span></span><span style="font-family: "verdana"; font-size: 13.333333015441895px;">temporarily </span><span style="font-family: "verdana"; font-size: 10pt;">suspending conventional aesthetic hierarchies.</span><br />
<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><br /></span></span></span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span class="Apple-style-span" style="font-family: "verdana";"><span class="Apple-style-span" style="color: #660000; font-size: 13px;"><b>The intention, here, is to help <i>expand the ceramic field on a broader aesthetic basis, free from arbitrary, conventional aesthetic hierarchies.</i></b></span></span></span></span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9cVz2ewfPGOKyZGiJCCILq4K7XWa1s6HhCvQxQe6z4e6XkWxheSiElQospAz2VydYQ1rMgMMGiftjDmMLhQL3InpP1ucxcnCD6-0Q0jm0FOmvFjyrovKEQY8pADuVcT299amUHrl7N3Y/s1600/Puisaye.Vallauris.jpg" imageanchor="1" style="color: #10435d; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="306" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi9cVz2ewfPGOKyZGiJCCILq4K7XWa1s6HhCvQxQe6z4e6XkWxheSiElQospAz2VydYQ1rMgMMGiftjDmMLhQL3InpP1ucxcnCD6-0Q0jm0FOmvFjyrovKEQY8pADuVcT299amUHrl7N3Y/s320/Puisaye.Vallauris.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial initial; background-repeat: initial initial; border-bottom-color: rgb(255, 255, 255); border-bottom-style: solid; border-bottom-width: 1px; border-color: initial; border-left-color: rgb(255, 255, 255); border-left-style: solid; border-left-width: 1px; border-right-color: rgb(255, 255, 255); border-right-style: solid; border-right-width: 1px; border-top-color: rgb(255, 255, 255); border-top-style: solid; border-top-width: 1px; border-width: initial; box-shadow: rgba(0, 0, 0, 0.0976562) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="320" /></a></span></span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><br /></span></span></span></div>
<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><br /></span><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Taken out of its original context, the pitcher may acquire a dual significance: as document/monument of popular ceramic history and as a manifesto for a <b>rural aesthetic revival</b>.</span></span></span><br />
<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">In this context, it invites us to reflect about the relation between the aesthetics of objects of every day use (pitcher) and objects specifically and solely created to serve a decorative function (vase). Although able to function as a vase, the 'Vallauris' was primarily intended for display, with or mostly <i>without</i> flowers: as a vase-sculpture.</span></span></span><br />
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit3ckf_X3kgVEHYe2fDUJ7sid5sVg4oJNE87iHS3Z4pP-tXLZ4L_SmLvZQtB8sYQ5z-1_b9TsWinT5cJA0_tk9utEMy_Ks6ZGwHAh6xOusimPwtuEhrv7B5PKK5USRt2oacwBHW4w4CZg/s1600/vallaurisFormeLibre1.jpg" imageanchor="1" style="color: #10435d; margin-left: 1em; margin-right: 1em; text-decoration: none;"><img border="0" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEit3ckf_X3kgVEHYe2fDUJ7sid5sVg4oJNE87iHS3Z4pP-tXLZ4L_SmLvZQtB8sYQ5z-1_b9TsWinT5cJA0_tk9utEMy_Ks6ZGwHAh6xOusimPwtuEhrv7B5PKK5USRt2oacwBHW4w4CZg/s640/vallaurisFormeLibre1.jpg" style="-webkit-box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; border-bottom-style: solid; border-color: initial; border-left-color: rgb(255, 255, 255); border-left-style: solid; border-right-color: rgb(255, 255, 255); border-right-style: solid; border-top-color: rgb(255, 255, 255); border-top-style: solid; border-width: initial; box-shadow: rgba(0, 0, 0, 0.09375) 1px 1px 5px; padding-bottom: 5px; padding-left: 5px; padding-right: 5px; padding-top: 5px; position: relative;" width="476" /></a></span></span></div>
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<span lang="EN-US" style="font-family: "verdana"; font-size: x-small;">This glaze is the most common found on Vallauris vases, plates and other ornaments of that period. It consists of two bright colors (often red and yellow; but also blue and purple) running over a white textured glaze over a brown<i> engobe</i> coated by a clear shiny glaze.</span></span></span><br />
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>13. Vase, KPM, Berlin. </b>Slipcast porcelain. 1974. </span></span></span><br />
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>15. Anon. (Puisaye, France). </b></span><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;">Gourde-shaped vase. Stoneware. C. 1910.<b> </b></span></span></span></div>
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b><br /></b></span><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>16. Charles Cart, </b>Le Cyclope pottery (Annecy, France. Vase. Decorated in blue and white lava glaze. 1950-60.<b><o:p></o:p></b></span></span></span><br />
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>17. Anon. </b>Jug. Alsace, France. Stoneware, decorated in blue glaze. c. 1910. </span></span></span><br />
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<span class="Apple-style-span" style="color: #444444; font-size: small;"><span class="Apple-style-span" style="color: black; font-family: "helvetica"; font-size: 10px;"><span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>18. Wim Mühlendyck, </b>Vase. Hand-thrown stoneware, decorated in brown glaze. 1950s.</span></span></span><br />
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<span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>20. Studio of J. Massier (Vallauris, France),</b>Vase, decorated with glossy green on matt grey and white glaze. Late 1950s. </span><br />
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<span lang="EN-US" style="font-family: "verdana"; font-size: 10pt; font-weight: bold;">21. Céramique d’Art d</span><span lang="EN-US" style="color: black; font-family: "verdana"; font-size: 10pt;"><b>e Bordeaux, </b>vase. Stoneware decorated with flame light on dark green glaze. c. 1920.</span><br />
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<span lang="EN-US" style="color: black; font-family: "verdana"; font-size: 10pt;"><b>22. Fady (Vallauris), </b>vase. Slipcast earthenware, decorated with ‘écume de mer’ glaze. late 1950s-early 1960s.</span><br />
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<span lang="EN-US" style="color: black; font-family: "verdana"; font-size: 10pt;"><b>23. Anon. (Vallauris), </b>vase. Slipcast earthenware, decorated with ‘écume de mer’ glaze. late 1950s-early 1960s. </span><br />
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<span lang="EN-US" style="font-family: "verdana"; font-size: 10pt;"><b>24. Gerhard Liebenthron.</b> Large bottle vase. Grogged stoneware, decorated with free motifs of washes. 1969.</span></div>
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<span lang="EN-US" style="color: black; font-family: "verdana"; font-size: 10pt;"><b>25. Aegitna (Vallauris). </b></span><span lang="EN-US" style="color: black; font-family: "verdana"; font-size: 10pt;">Hand-modelled oyster. Earthenware, decorated with glossy yellow and green glaze. 1940s.<b> </b></span></div>
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<span class="Apple-style-span" style="font-size: x-small;">This novelty oyster continues the tradition of 'terres vernissées and shows its persistence, during the 50s and its adaptation to purely decorative items; before Aegitna (like countless other workshops and factories in Vallauris) adopted a more modern idiom; characterised by streaks of bright layers of glazes running into eachother, which became a trademark of 'Vallauris':</span></div>
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<span lang="EN-US" style="color: black; font-family: "verdana"; font-size: 10pt;"><b>26. Schäffenaecker, </b>Amonite vase. Slipcast stoneware, decorated with matt brown and light green glaze. 1960-70. </span></div>
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In the virtual gallery Schaffenacker's amonite vase meets with a porcelain vase by <b style="font-family: Helvetica;">Heutschenreuther*</b>. Whereas the Heutschenreuther vase incorporates the amonite motif as part of its decoration, Schaffenacker has turned the vase into an amonite.</span></span></div>
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<span class="Apple-style-span" style="font-size: small;"><span class="Apple-style-span" style="font-family: "helvetica"; font-size: 10px;"><span class="Apple-style-span" style="font-size: medium;">The reference to Japanese ceramics, in particular stoneware, by European potters, inspired a wide range of practices: (in La Borne, where this vase was made), and earlier on in St Amand en Puisaye: where a stoneware revival was instigated around 1900 by the sculptor <b>Jean Carriès</b>, who attracted in his wake a number of artists to this traditional pottery town, and stimulated traditional potters to make decorative wares in more modern styles.</span></span></span></div>
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<span class="Apple-style-span" style="color: #7f6000; font-size: medium;"><b>Eugène Lion</b> was such an artist; who shared with Carriès his technical knowledge, experience and skills, and was, in turn, inspired — through his encounter with Carriès, and by his works — to redefine himself as an 'artiste-potier'. Official accounts of Carriès and his 'school', in their concerns to promote the myth of the genius, tend to ignore this <i><b>two way process</b></i>.</span></div>
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Gérardhttp://www.blogger.com/profile/04992523117116530484noreply@blogger.com1tag:blogger.com,1999:blog-7076457529302746523.post-87842130310924516342013-05-03T01:31:00.005-07:002014-01-27T07:12:28.430-08:003. Works for Sale <div dir="ltr" style="text-align: left;" trbidi="on">
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A number of works in the exhibition — in the actual gallery and in the virtual gallery — will be available for sale, in the future.<br />
Four items have been acquired by the University Ceramic Gallery.</div>
Gérardhttp://www.blogger.com/profile/04992523117116530484noreply@blogger.com1tag:blogger.com,1999:blog-7076457529302746523.post-12617435351601630622013-05-03T01:31:00.002-07:002018-02-14T12:36:50.623-08:002. POST-SCRIPT<div dir="ltr" style="text-align: left;" trbidi="on">
<span class="Apple-style-span" style="font-size: large;">By presenting a selective overview of what was produced in France (Vallauris, Annecy) and Germany during the 50s, 60s and 70s, in the field of what could be termed 'popular ceramics' and placing the works in a broader historical context (with reference to British industrial and Japanese studio </span><span class="Apple-style-span" style="font-size: large;">ceramics), the exhibition</span><span class="Apple-style-span" style="font-size: large;"> aimed to open up new perspectives on ceramic history.</span><br />
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<span class="Apple-style-span" style="font-size: large;">It did so by challenging widespread assumptions about the relation between aesthetic quality and modes of production</span><span class="Apple-style-span" style="font-size: large;"> (craft</span><span class="Apple-style-span" style="font-size: large;">s and industrial), and by experimenting with <b>museography</b> (presenting the objects in <b>conversations </b>not in <b>isolation </b>from each other.).</span><br />
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<span class="Apple-style-span" style="font-size: large;">The displays staged anthropomorphic encounters between ceramic objects to invite free comparisons; beyond conventional art historical ways of looking at them in isolation.</span><br />
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<span class="Apple-style-span" style="font-size: large;">It brought together ceramics which are normally kept in separate categories.</span><br />
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<span class="Apple-style-span" style="font-size: large;">Most of the works have not yet begun to attract the attention of museum curators and are awaiting incorporation into the ceramic 'canon'. I doubt whether they ever will. This is a case where the collector leads the way and curators either follow or don't.</span><br />
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<span class="Apple-style-span" style="font-size: large;"><br /></span><span class="Apple-style-span" style="font-size: large;"><b>The exhibition highlighted that, in the best cases, <span class="Apple-style-span" style="color: #660000;">works produced in industrial or semi-industrial conditions could incorporate a high level of craft skills in their making.</span></b></span><br />
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<span class="Apple-style-span" style="font-size: large;">Inspired by the Bauhaus, many German studio potters developed designs that could be <i>serially</i> produced and retain their artistic integrity. This is particularly noticeable in the works of <b>Rudy </b>and<b> Wendelin Stahl</b> (Germany) and <b>Louis Giraud </b>and<b> Alexandre Kostanda</b> (France), who made artistically ambitious works based on experimentation with forms and glazes, avoiding pastiche.</span><br />
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<span class="Apple-style-span" style="font-size: large;">In the case of ceramics which focused on glazes, some of the works decorated with 'lava' glazes, produced in the workshop of <b>Marei Keramik</b>, highlight the capacity of the glaze to transfigure a mass-produced, standardised slip-cast form, and achieve high artistic integrity; comparable to that of studio works. In these cases the clay body becomes a 'canvas' for painting abstract pictures. But not all mass-produced pots have the same quality; perhaps only a small minority do (as the vast mass of tat for sale on eBay and elsewhere testifies!). </span><br />
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<span class="Apple-style-span" style="font-size: large;">The irony is that, in spite of being hand-made, many studio works produced in Britain and elsewhere, by the 'brown pot brigade', have ended up being formulaic and lifeless; lacking both in inspiration and in formal quality.</span><br />
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<span class="Apple-style-span" style="font-size: large;">A good <b>Marei Keramik </b>vase, in which the glazier exploited the aleatoric processes at work during firing — like the one displayed in case 2 and on the poster — have more aesthetic quality than the banal neo-ruralist brown pots set up for too long as examples to young potters; by Leach, Cardew and their followers.</span><br />
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<span class="Apple-style-span" style="font-size: large;">Highlighting <b>Dalpayrat</b>'s experiments with color, during the 1890s, enabled us to follow the emergence of color in ceramics; at a time when brown seemed to dominate the stoneware production of traditional potteries.</span><br />
<span class="Apple-style-span" style="font-size: large;">The experiments with crystalline blue glazes at <b>Pierrefonds</b> paved the way towards later experiments by <b>Walter Bauer, Albert Kiessling, Ferraro, Topferei Unterstab</b> and <b>Wendelin Stahl</b>, among others.</span><br />
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<span class="Apple-style-span" style="font-size: large;">Looking back from the XXIst century, these popular experiments remain on the perifery and are not likely to be written into the history of 20th century ceramics, soon.</span><br />
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<span class="Apple-style-span" style="font-size: large;">To make sure they remain in public consciousness is in the hand of enthusiastic collectors who have taken the first steps towards digging them out of oblivion and neglect; however indiscriminately.</span><br />
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<span class="Apple-style-span" style="font-size: large;">One difficulty arising from showcasing these works widely is that they challenge the studio ceramics establishment into reconsidering, critically, the basis of their exclusive focus on some works and to arbitrarily neglect others.</span><br />
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<span class="Apple-style-span" style="font-size: large;">Public collections of ceramics in Britain would gain to confront themselves with these works, in the form of <b>visual dialogues with the works they hold</b>, to open up the aesthetic field of ceramics and, thus, to broaden the parameters currently used to define what is <i>significant</i> from what is not. </span></div>
Gérardhttp://www.blogger.com/profile/04992523117116530484noreply@blogger.com2tag:blogger.com,1999:blog-7076457529302746523.post-22977286514315305562013-05-03T01:30:00.001-07:002018-01-25T14:27:28.325-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
<b><span class="Apple-style-span" style="color: #134f5c; font-size: large;">1. Curating Differently:</span></b><br />
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<b>Finding & Defining an Exhibition Concept</b><br />
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This exhibition evolved through a series of <b>chance encounters</b> with ceramic objects; first at street markets and second-hand shops, and later on e-bay.<br />
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The first set of objects that inspired this project was a set of six (fondue/tapas?) plates decorated with such a glaze that seemed to preclude its domestic use, implied by the design of its form:<br />
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At the time, I thought that I may use the plates as part of a future art installation, and put them away.</div>
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A year later, I came across a vase, at a car boot sale. A brief search on the internet informed me that the vase had been made by the German firm <b>Scheurich</b>, probably during the 70s; that it was known to collectors as <b>'fat lava'</b>, and that it was quite cultish.</div>
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Although unremarkable in itself, the vase led me to make a connection with the spectacular blue plates and induced me to further investigate.</div>
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From this initial juxtaposition a <b>dialogue</b> ensued between the two, an <b>exhibition concept</b> evolved that would explore these unusual ('volcanic' or 'lava') glazes and the artistic context in which they were made.</div>
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It also seemed important to set these experiments — that are marginalised or ignored by ceramic histories — into a broad, international historical context.</div>
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Further searches and visits to museums (V & A, British Museum, Sèvres, etc.) and galleries revealed that the ceramic establishment in France, Germany and the UK had shown no interest in these works, which it regarded as inferior, and thus not worthy of attention alongside the 'higher' forms ('studio ceramics') that museums valued, collected and identified as <i>significant</i>.</div>
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This neglect confirmed that an exhibition showcasing <i>popular, experimental</i> and <i>pioneering</i> works from France and Germany was worth pursuing, and may extend the field of post-war ceramic history; especially in a country where the St Ives tradition had inhibited experiments with colors and textures that called upon sophisticated industrial chemical knowledge.</div>
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<span class="Apple-style-span">Comparing the ' fat lava' works I saw on the </span><a href="http://www.ginforsodditiques.com/">web site</a> <span class="Apple-style-span"> of Forrest Poston — a collector-dealer, in America, (and listening to his<a href="http://www.youtube.com/watch?v=D7g5sGdT4-0"> discussion of lava glazes</a>)— with the intriguing set of blue <b>plates</b>, I had bought a year or so before (decorated with an outlandish blue 'lava'-type glaze which, at the time, I assumed had been made in the famous French pottery town of VALLAURIS), </span>and had kept in their box as potential material for an art installation, I imagined a project that would bring together and explore <b>popular</b> ceramics produced in GERMANY and FRANCE (both in <b>studios</b> and <b>factories</b>), that <b>experimented with glazes</b>, (as part of a 'commercial' range) and defined a <b>new ceramic modernity</b> against the views of traditionalist studio potters, like Bernard Leach, — known as 'the brown pot brigade' — who advocated a return to the East and to 17th century English slipware, and turned their back on the Continental Modernity that had started experimenting with glazes during the late 19th century!</div>
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The plates that inspired this project, alongside the Scheurich vase, were made during the 60s at the <b>Poterie du Cyclope</b>, in ANNECY (France), by <b>Charles Cart</b>, who evolved his distinctive new glazes by asking chemists to show him how to <i>'spoil'</i> glazes.<br />
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Information about this small pottery was found on a web site which has, since, unfortunately disappeared.<br />
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<span class="Apple-style-span" style="color: #cc0000; font-size: large;">My initial intention was to focus on works which defined a <b>new modernity </b>and<b> made it available potentially to</b> <b>every home <i>through </i></b><b><i>ceramics</i></b><b>.</b></span><br />
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This was achieved by combining <b>art, design </b>and<b> craft skills</b> with <b><span style="color: #cc0000;">serial production</span></b> and <span style="color: #cc0000;"><b>moderns modes </b>and<b> techniques </b>of<b> industrial </b>or<b> semi-industrial production</b>.</span><br />
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<span class="Apple-style-span" style="color: #073763;">Many studio potters also adopted serial production as a way of making their work available to as wide a number of people as possible, at affordable prices, and, in so doing, made their practice economically viable.</span><br />
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<span style="color: #cc0000;">As the exhibition shows, the works of <b>Wilhelm Kagel, Albert Kiessling, Heiner Hans Korting, Rudi and Wendelin Stahl, Gerhard Liebenthron, Kerstin Unterstab</b>, among others, demonstrate that a ceramic practice could be both <i>economically viable</i> and produce works of <i>quality</i> and <i>integrity</i>, that were both <i>modern</i> and <i>affordable</i>.</span><br />
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This resolutely <i><b>modern</b></i> and <i><b>democratic</b></i> approach by German potters and ceramic manufacturers — inspired b y the Bauhaus — ran contrary to the exclusive, passeist and rarified <b>studio ceramics revival</b> instigated by Bernard Leach in Britain; which, in elitist and anti-modern and modernist fashion (although inspired/animated by good intentions) claimed both the moral and the aesthetic high ground for itself.<br />
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COLLECTING</div>
Many collectors of WGP (West German Pottery) buy everything they can find , if cheap enough, at car boot sales, charity shops, etc., and tend to accumulate as many pieces as possible, without much discrimination; letting <b>personal taste </b>rule and a magpie approach take over. This is evident in the form of the <a href="http://www.youtube.com/watch?v=4SsXut3Wu34">extensive displays</a> it inspires.<br />
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Being able to identify the firm that produced items, the designer/s and the date seems to satisfy many collectors. Being able to sell some of the the pots on e-bay (to fuel their passion and 'de-clutter' their homes) seems also an incentive. Thus, many collectors of WGP are often dealers.<br />
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It seems that <span class="Apple-style-span" style="color: #134f5c;"><b>enthusiasm for WGP has induced non-discriminating practices of collecting </b>(intent on acquiring works by specific potters and factories; with the objective to fill or complete series (such as trying to collect <i>all</i> the different 'dekor' on a vase of the same 'form'/ design, and in finding 'rare' pots that can be sold at a 'hefty profit')<b>, at the expense of developing 'critical' forms of collecting based on an appreciation of quality, and on an awareness of <i>how</i> these pots fit in an <i>expanded </i>ceramic history.</b></span><br />
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<span class="Apple-style-span" style="color: #134f5c;"><b>It seems that , for many collectors of WGP, TASTE is the guiding factor, rather than informed critical appreciation based on wider ceramic knowledge.</b></span><br />
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<b>In Search of accidental masterpieces…</b><br />
Just likes the Japanese tea-masters of the 17th century went in search of <i>accidental masterpieces</i> at humble rural kilns, the challenge, today, for the <i>discriminating</i> collector, is to <i>find modern industrial or studio equivalents</i>. This, however, requires special skills to discriminate between the mass of 'ordinary' glazes (more or less competently applied, and often bearing the signs of a rushed, standardised industrial production; leaving little room for surprises) and find <b>distinctive</b> ('extra-ordinary') examples of glazes, that bear the marks of <b>artistic skills</b>, <b>flair</b> during application, and (in many cases) the <i><b>gift of chance</b>,</i> produced during firing. <br />
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Looking closely at different versions of the same vase (in Germany:often bearing the same serial number), one notices enormous differences between two seemingly identical pieces; differences due to their actual execution and to the chemical reactions and transformations that occurred during firing.<br />
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Unfortunately many collectors-turned-ebay-sellers have established artificial <b>hierarchies</b> and inflated <b>prices</b> on the basis of arbitrary criteria informed by personal taste rather than on the actual properties and aesthetic qualities of the ceramics themselves.<br />
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This is reflected in the rudimentary language used to use describe the pots. Inflated adjectives like 'stunning', 'rare' and the likes, are used piecemeal to describe unremarkable, banal and gaudy pots.<br />
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<span class="Apple-style-span" style="color: #660000; font-size: large;">This lack of engagement with quality</span> (obscured by personal taste) and the <b><span class="Apple-style-span" style="font-size: medium;">absence of critical tools</span></b> (and of a sophisticated <b>critical language</b>) to engage with <i>quality</i> and with the <b><i>ceramic</i> <i>materiality</i> </b>of the works represent a major obstacle towards getting this area of ceramics taken seriously by curator and museums.<br />
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<span style="font-size: large;">This exhibition emphasizes that one must be selective and learn to distinguish the <b>good</b> from the <b>ordinary</b>, and not be afraid to <i>discard</i> the <b>bad</b> and the <b>mediocre</b>. Quality is <i>not</i> just 'in the eyes of the beholder', and personal taste or enthusiasm are aleatoric and, ultimately irrelevant here.</span><br />
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<b><span class="Apple-style-span" style="font-size: large;">Collecting for this Project</span></b><br />
<b><span class="Apple-style-span" style="font-size: large;"><br /></span></b>In November 2011, with no knowledge about German and French ceramics of the post war period — when 'lava'-type glazes were developed, and when Vallauris switched from producing domestic/cooking pots in 'terres vernissées' (earthenware pots coated with a simple green or yellow glaze), to the making of funky new decorative ceramics — but with a previous experience of collecting British and French Art pottery from the 1890 to the 1930s (and with an artistic eye for quality), I started roaming e-bay, searching under 'fat lava', 'Vallauris' and Annecy', 'Cyclope', 'Écume de mer', etc.<br />
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The first piece I bought was a vase by <b>Friedegard Glatzle</b>, designed for <b>Karlsruhe Majolika Manufakture</b> in 1960, and decorated with a subtle salmon pink <i>craquelée</i> glaze, reminiscent of old Chinese glazes:<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM0NtJMB69WufGtYP7B_bPUBaRUN-ZKY7Pg8RfpyoXM8Y50jOeZvOXH85qhkIOjewICsvQ7ItbYHcSCc2A5M7uXyYYS4RnSOg6ja4Ws8rIE_h46wIAiRw5ar4vs6o6tVZ1GlL-JPAKqGA/s1600/1stwwwpurchaseKKM.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="239" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhM0NtJMB69WufGtYP7B_bPUBaRUN-ZKY7Pg8RfpyoXM8Y50jOeZvOXH85qhkIOjewICsvQ7ItbYHcSCc2A5M7uXyYYS4RnSOg6ja4Ws8rIE_h46wIAiRw5ar4vs6o6tVZ1GlL-JPAKqGA/s320/1stwwwpurchaseKKM.jpg" width="320" /></a></div>
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This was no 'fat lava', but represented a subtle integration of <b>form</b> and <b>glaze</b> which <i>combined eastern and western tradition rather than confine itself to a <b>pastiche</b> of the East.</i><br />
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The first items I acquired were German ceramics of simple, elegant forms decorated with subtle glazes; not lava glazes:</div>
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<span class="Apple-style-span" style="font-size: x-small;">From Left to right: Karlsruhe Keramik Manufaktur, Jopeko, Otto Keramik (2), Ruscha (front), unidentified (green jug), glass candle holder (mistaken for a ceramic!), Silberdistel, Van Daalen, Wilhelm Kagel, Van Daalen, Steuler.</span><br />
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<span class="Apple-style-span" style="font-size: x-small;">From various German dealers I acquired a varied selection of vases and jugs of different shapes and sizes by <b>Wilhelm Kagel</b>, made during the 50s and 60s, in the family workshop he took over in 1956, in Garmisch-Partenkirchen:</span></div>
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Unlike his father's works, which were decorated with painted flowers on a white ground, W. Kagel evolved his own style: an <b>'Art and Craft' for the present</b>; a <b>neo-traditionalism</b> that has integrity and is not a mere pastiche of previous styles.</div>
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A close look at the forms reveals a subtle blend of references — to the Bauhaus and to traditional German stoneware — not a mean feat to achieve in earthenware. The decoration consists of simple patterns of lines sgraffitoed under a green, brown, yellow, orange or blue semi-matt glaze.</div>
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The large jug, in the center (above), is not by Kagel, but was made at the Steuler factory.</div>
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Slip-cast but hand-engraved and glazed, the jug holds its own among the hand-thrown studio pots; demonstrating that factory-produced ceramics are not necessarily inferior, as Bernard Leach had intimated.</div>
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Kagel's work is represented in the exhibition with a large jug that reinterprets historical forms; updating them for the present:<br />
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ENTERS <b>LE CYCLOPE</b><br />
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During the first month of the project I came across a small vase, on ebay, with a label which identified it as made by <b>Le Cyclope</b> pottery in Annecy. This provided a third strand to explore (alongside <b>WGP</b> and <b>Vallauris</b>):<br />
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Around the same time I bought this vase, which seemed to come from the same pottery as the six plates that I had bought a year previously, and that were the seeds for this project:</div>
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A small web site with information about the <b>Cyclope pottery </b>in Annecy (which asked, à propos of a 'mystery' egg cup whether it was from Vallauris or from somewhere else) provided the only information I have been able to find about this pottery. </div>
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Unfortunately, this site is no longer on-line. When it was, however, it provided me with the only published information I have come across about this pottery (the information on the web site seems to have been collected from people who worked at or knew the pottery).</div>
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Visually the similarities with Vallauris <b>'écume de mer' </b>glazes are strong.<br />
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An early vase by Le Cyclope (in the exhibition, case 18) carries an <b>'écume de mer'</b> paper label, without naming the Cyclope pottery nor Annecy. This may have been an attempt to capitalise on the popularity of that Vallauris glaze (although it is quite different, and one see the signs of it evolving towards more defined 'craters' visible on the vase as well as on the blue plate, above).</div>
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As its name indicates, <b>'écume de mer'</b> glazes emulate the 'froth of the sea'; as can be seen in this hand thrown vase, probably by <b>FADY</b> from Vallauris; unsigned but stamped 'tourné et décoré main' (hand-thrown and hand decorated) [The signature 'Fady' was usually applied on a paper sticker]:</div>
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Details of a the glaze on a conventional amphora style vase provide a good example of what 'écume de mer' consists of. Here the thick mineral (magma-like) glaze has been applied on the body of a vase of traditional form, leaving the neck and foot plain; coated with a semi-transparent glossy blue glaze, that was extensively used by Vallauris potters and factories.<br />
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These attributes closely resemble those of the 'Capri' glaze introduced in Germany by MAREI KERAMIK around 1967.</div>
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<span style="color: #0b5394; font-size: large;">The exhibition explores <b>experimentation</b> in studio and factory-produced works, by setting up CERAMIC CONVERSATIONS between studio pots and factory-made ones, allowing their <i><b>materialities</b></i> to blurr the differences, and inviting us to appreciate their respective qualities without preconceptions.</span><br />
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Gérardhttp://www.blogger.com/profile/04992523117116530484noreply@blogger.com0