An exceptionally thoughtful and well-written biography of one of the most influential studio potters in Britain Widely recognized as the father of studio pottery, Bernard Leach (1887-1979) played a pioneering role in creating an identity for artist potters in Britain and around the world. Born in the East (Hong Kong) and educated in the West (England), throughout his life Leach perceived himself as a courier between the disparate cultures. His exquisite pots reflect the inspiration he drew from East and West as well as his response to the basic tenets of modernism--truth to materials, the importance of function to form, and simplicity of decoration. This outstanding biography provides for the first time a vivid and detailed account of Leach's life and its relation to his art. Emmanuel Cooper, himself a potter of international reputation, explores Leach's working methods, the seams of his pottery, his writings and philosophy, his recognition in Japan and Britain, and his continuing legacy, bringing into sharp focus a complex man who captured in his work as a potter the "still center" that always eluded him in his tumultuous personal life.
This book was written by the author of the award-winning author of `Hare with the Amber Eyes¿ Edmund de Waal and includes full colour illustrations of all Leach¿s best-known work. This book features a new foreword putting the book in context since its first publication and has been reissued in the brand new hardback British Artists format. Bernard Leach was a pre-eminent artist-potter of the twentieth century. In the early part of his career he spent twelve formative years in Japan, during a period of febrile excitement in the arts. In 1920 he returned to England to set up a studio in St Ives. Leach¿s influence on the growth of the studio pottery movement, both in Japan and in the West, has been profound. His making of ceramics and his teaching of some of the foremost aritst-potters of the period gives him a central place in the international history of the decorative arts. Edmund de Waal is a world-famous author and ceramicist. He wrote the `The Hare with Amber Eyes¿ which won the Costa Book Award for Biography and the Galaxy National Book Award (New Writer of the Year Award), and was also selected as an Economist Book of the Year.
Bernard Leach (1887-1979) was as renowned in Japan and the East as in Europe and America,both as an artist-craftsman and as a thinker. His interpretation of the traditions of the Orientin the making of pots - and in evolving a philosophy of life - was a lodestar for many potters inthe West. Beyond East and West, first published in 1978, is more than an autobiography. Full of sharply-etched and amusing recollections, it contains much of Leach's deeper thought and a great dealtoo about the practical application of his ideas. Its recurrent theme is the meeting of East andWest at all levels - artistic, cultural, social, political.
The Benezit Dictionary of British Graphic Artists and Illustrators consists of over 3,000 entries on a range of British artists, from medieval manuscript illuminators to contemporary cartoonists. Its core is comprised of the entries focusing on British graphic artists and illustrators from the 2006 Benezit Dictionary of Artists with an additional 90 revised and 60 new articles. The collection highlights the rich history of British printmaking-both fine art prints and mass print media-and related activities in the production and illustration of printed books and manuscripts. Because of Benezit's focus on European artists of the 18th, 19th, and 20th centuries, this collection provides comprehensive coverage of British graphic art and illustration during their most significant periods of development. Entries provide straightforward, concise narratives of the artists' lives and careers, and many entries include bibliographies, auction sale records, exhibition histories, and museum collection holdings. This collection also includes over 200 images of artists' signatures. The Benezit Dictionary of British Graphic Artists and Illustrators serves as a compact, affordable alternative to the fourteen-volume Benezit for specialists and collectors in the fields of British art and/or printmaking.
This book explores the notable roles that contemporary British artists of African descent have played in the multicultural context of postwar Britain. In four key case studies— Magdalene Odundo, Veronica Ryan, Mary Evans, and Maria Amidu—Monique Kerman charts their impact through analysis of works, activities, and exhibitions. The author elucidates each of the artists’ creative response to their unique experience and examines how their work engages with issues of history, identity, diaspora, and the distillation of diverse cultural sources. The study also includes a comparative discussion of art broadly defined as “black British,” in order to question assumptions concerning racial and ethnic identities that the artists often negotiate through their works—particularly the expectation or “burden” of representing minority or marginalized communities. Readers are thus challenged to unburden the artists herein and celebrate their work on its own terms.
Accompanying his first major retrospective in the UK, this beautifully-produced catalogue documents recent and new work by German-born artist Kai Althoff presented together with ceramics by Bernard Leach, selected by Althoff.Kai Althoff (b. 1966 Cologne) is renowned as a figurative painter and creator of poetic mises-en-scène, all-encompassing environments that incorporate textiles, photographs, drawings and artifacts.Althoff draws from a wide range of literary, cultural and artistic influences in his work, and for his unique display at Whitechapel Gallery he will pay tribute to British potter Bernard Leach (1887-1979), selecting around twenty of Leach's ceramic vessels and tiles from the 1920s onwards to be displayed in specially designed vitrines. As a counterpoint to Leach's own work, Althoff will present his own new paintings and sculptural installations, as well as recent pieces which bring together fabrics, found material and paintings inspired by Japonisme.This unique publication, created in close collaboration with Kai Althoff, will include installation photography of the exhibition, as well as a new interview with Althoff and commissioned writing on the work of both Althoff and Leach.The exhibition will coincide with the centenary of the Leach Pottery in St. Ives, founded in 1920 and considered to be the birthplace of British studio pottery.
The first ever book to provide a comprehensive history of British pottery, The Potter's Arttraces its remarkable development all the way from the rudimentary pots of the Middle Ages to the sophisticated art of today's studio potters. Beginning with the peasant potter, Garth Clark moves on to describe the development of style and fashion under the renowned industrialist Josiah Wedgwood. He also examines the work of the artist-potters William De Morgan and the Martin brothers, and the studio potters Bernard Leach and Lucie Rie. Focusing particularly on the distinctly human angle to the craft, the author brings the potters' personalities to life by describing their working conditions, lifestyles and characters. For all collectors and potters, this indispensable survey, with a bibliography, chronology and glossary, sheds new light on the history of British pottery. For anyone with a sense of aestheticism or a general interest in the arts, this is an absorbing introduction to perhaps the most fundamental artistic medium in the history of civilization.
This exhibition investigates the theme of Western inspiration in the arts of Japan and also raises the notion of individuality in a culture known for its conformity. The examples shown here encompass five decades (1900-1950) representing a panorama in Japanese creative prints (sosaku hanga).
This detailed and comprehensive survey charts the entire history of British studio ceramics from the emergence of modern ceramics from the Victorian factories around 1900 to the wide variety of extraordinary work being produced today. All the best-known potters such as Leach, Hamada, Cardew, Rie, and Coper are examined in depth in terms of their different areas of interest and influence. An extensive appendix gives information on 200 leading makers with their identifying marks and cross-references with a list of museums where their work can be seen. Lavishly illustrated throughout with some 250 color photographs, this is a book for the collector needing in-depth information or for those who just want an introduction to this important and beautiful work.
Highlighting the works of the great French Impressionists, as well as those of American, Italian, Spanish, Scandinavian, English, German, and Japanese artists, a lavish volume includes more than five hundred illustrations from museums and private collections all over the world.
British culture is marked by indelible icons—red double-decker buses, large oak wardrobes, and the compact sleekness of the Mini. But British industrial and product design have long lived in the shadows of architecture and fashion. Cheryl Buckley here delves into the history of British design culture, and in doing so uniquely tracks the evolution of the British national identity. Designing Modern Britain demonstrates how interior design, ceramics, textiles, and furniture craft of the twentieth century contain numerous hallmark examples of British design. The book explores topics connected to the British design aesthetic, including the spread of international modernism, the eco-conscious designs of the 1980s and 1990s, and the influence of celebrity product designers and their labels. Buckley also investigates popular nostalgia in recent times, considering how museum and gallery exhibitions have been instrumental in reimagining Britain’s past and how the heritage industry has fueled a growing trend among designers of employing images of British culture in their work. A thoughtful look at the aesthetic heritage of a nation that has left its footprint around the globe, Designing Modern Britain will be a valuable text for students and professionals in design.
A Study of the Weatherhead East Asian Institute, Columbia University Kingdom of Beauty shows that the discovery of mingei (folk art) by Japanese intellectuals in the 1920s and 1930s was central to the complex process by which Japan became both a modern nation and an imperial world power. Kim Brandt’s account of the mingei movement locates its origins in colonial Korea, where middle-class Japanese artists and collectors discovered that imperialism offered them special opportunities to amass art objects and gain social, cultural, and even political influence. Later, mingei enthusiasts worked with (and against) other groups—such as state officials, fascist ideologues, rival folk art organizations, local artisans, newspaper and magazine editors, and department store managers—to promote their own vision of beautiful prosperity for Japan, Asia, and indeed the world. In tracing the history of mingei activism, Brandt considers not only Yanagi Muneyoshi, Hamada Shōji, Kawai Kanjirō, and other well-known leaders of the folk art movement but also the often overlooked networks of provincial intellectuals, craftspeople, marketers, and shoppers who were just as important to its success. The result of their collective efforts, she makes clear, was the transformation of a once-obscure category of pre-industrial rural artifacts into an icon of modern national style.