Studio pottery

Pre-1900 Notable studios included Brannam Pottery, Castle Hedingham Ware, Martin Brothers and Sir Edmund Harry Elton. 1900-1960: Development of contemporary British ceramics Several influences contributed to the emergence of studio pottery in the early 20th century: art pottery (for example the work of the Martin Brothers and William Moorcroft); the Arts and Crafts movement, the Bauhaus; a rediscovery of traditional artisan pottery and the excavation of large quantities of Song pottery in China. and the apprentice system he ran at his pottery in St Ives, Cornwall, through which many notable studio potters passed. ''A Potter's Book'' espoused an anti-industrial, Arts and Crafts ethos, which persists in British studio pottery. Leach taught intermittently at Dartington Hall, Devon from the 1930s. Other ceramic artists exerted an influence through their positions in art schools. William Staite Murray, who was head of the ceramics department of the Royal College of Art, treated his pots as works of art, exhibiting them with titles in galleries. Dora Billington (1890–1968) studied at Hanley School of Art, worked in the pottery industry and was latterly head of pottery at the Central School of Arts and Crafts. She worked in media that Leach did not, e.g. tin-glazed earthenware, and influenced potters such as William Newland, James Tower, Margaret Hine, Nicholas Vergette and Alan Caiger-Smith. Lucie Rie (1902–1995) came to London in 1938 as a refugee from Austria. She had studied at the Vienna Kunstgewerbeschule and has been regarded as essentially a modernist. Rie experimented and produced new glaze effects. She was a friend of Leach and was greatly impressed by his approach, especially about the "completeness" of a pot. The bowls and bottles which she specialised in are finely potted and sometimes brightly coloured. She taught at Camberwell College of Arts from 1960 until 1972. Hans Coper (1920–1981), also a refugee, worked with Rie before moving to a studio in Hertfordshire. His work is non-functional, sculptural and unglazed. He was commissioned to produce large ceramic candlesticks for Coventry Cathedral in the early 1960s. He taught at Camberwell College of Arts from 1960 to 1969, where he influenced Ewen Henderson. He taught at the Royal College of Art from 1966 to 1975, where his students included Elizabeth Fritsch, Alison Britton, Jacqui Poncelet, Carol McNicoll, Geoffrey Swindell, Jill Crowley and Glenys Barton, all of whom produce non-functional work. After the Second World War, studio pottery in Britain was encouraged by two forces: the wartime ban on decorating manufactured pottery and the modernist spirit of the Festival of Britain. Studio potters provided consumers with an alternative to plain industrial ceramics. Their simple, functional designs chimed in with the modernist ethos. Cranks restaurant, which opened in 1961, used Winchombe pottery throughout, which Tanya Harrod describes as "handsome, functional with pastoral but up to date air". 1960s-present: Modern British potters , Bedfordshire. From the 1960s onwards, a new generation of potters, influenced by Camberwell School of Art and the Central School of Art and Design including Ewen Henderson, Alison Britton, Elizabeth Fritsch, Gordon Baldwin, Ruth Duckworth and Ian Auld British organisations The representative body for studio pottery artists in the United Kingdom is the Craft Potters Association, which has a members' showroom in Great Russell Street, London WC1, and publishes a journal, Ceramic Review. == US studio pottery ==

Pottery had been an integral part of the United States Arts and Crafts movement in the late 19th century and early 20th century. A major figure in the growth of this movement was Charles Fergus Binns, who served as the first director of the New York State School of Clay-Working at Alfred University. Binns was a British potter who had previously worked at the Royal Worcester Porcelain Works. After emigrating to the United States he was recruited to direct the new program at Alfred University, and over the next three decades he helped it grow into one of the most prestigious ceramic arts programs in the nation. Some potters in the United States adopted the approach from emerging studio pottery movements in Britain and Japan. In addition, American folk pottery of the southeastern United States was seen as an American contribution to studio pottery. University programs at Ohio State University, under the direction of Arthur Eugene Baggs in 1928 and under Glen Lukens in 1936 at the University of Southern California, began training ceramic students in presenting clay ware as art. Baggs had been intimately involved in the Arts and Crafts movement at Marblehead Pottery and, during the 1930s, he revived interest in the salt glazing method for studio pottery. Karl Martz was a student of Baggs. European artists coming to the United States contributed to the public appreciation of pottery as art, and included Marguerite Wildenhain, Maija Grotell, Susi Singer and Gertrude and Otto Natzler. Significant studio potters in the United States include George E. Ohr, Otto and Vivika Heino, Karl Martz, Warren MacKenzie, Paul Soldner, Peter Voulkos and Beatrice Wood. US organizations • National Council on Education for the Ceramic Arts == Museum studio pottery collections ==

;Canada • Gardiner Museum ;United Kingdom • Birmingham Museum & Art Gallery in Birmingham, England • Sainsbury Centre for Visual Arts at the University of East Anglia in Norwich, England • Swindon Museum and Art Gallery • Victoria and Albert Museum in London, England • York Art Gallery in York ;United States of America • American Museum of Ceramic Art in Pomona, California • Schein–Joseph International Museum of Ceramic Art, Alfred University, New York • Scripps College, Ruth Chandler Williamson Gallery The Marer Collection of Contemporary Ceramics in Claremont, California • University of Michigan Museum of Art in Ann Arbor, Michigan ;Australia • National Gallery of Victoria == References ==