Pottery In Britain
Studio pottery is made by artists working alone or in small groups, producing unique items or short runs, typically with all stages of manufacture carried out by one individual. It is represented by potters all over the world but has strong roots in Britain, with potters such as Bernard Leach, William Staite Murray, Dora Billington, Lucie Rie and Hans Coper. Bernard Leach (1887–1979) established a style of pottery influenced by Far-Eastern and medieval English forms. After briefly experimenting with earthenware, he turned to stoneware fired to high temperatures in large oil- or wood-burning kilns. This style dominated British studio pottery in the mid-20th century. The Austrian refugee Lucie Rie (1902–1995) has been regarded as essentially a modernist who experimented with new glaze effects on often brightly coloured bowls and bottles. Hans Coper (1920–1981) produced non-functional, sculptural and unglazed pieces. After the Second World War, studio pottery in Britain was encouraged by the wartime ban on decorating manufactured pottery and the modernist spirit of the Festival of Britain.
The simple, functional designs chimed in with the modernist ethos. Several potteries were formed in response to this fifties boom, and this style of studio pottery remained popular into the nineteen-seventies. Elizabeth Fritsch (1940-) took up ceramics working under Hans Coper at the Royal College of Art (1968–1971). Fritsch was one of a group of outstanding ceramicists who emerged from the Royal Collage of Art at that time. Fritschs' ceramic vessels broke away from tradditional methods and she developed a hand built flattened coil technique in stoneware smoothed and refined into accurately profiled forms. They are then hand painted with dry matt slips, in colours unusual for ceramics.
There is a long history of ceramic art in almost all developed cultures, and often ceramic objects are all the artistic evidence left from vanished cultures, like that of the Nok in Africa over 2,000 years ago. Cultures especially noted for fine ceramics include the Chinese, Cretan, Greek, Persian, Mayan, Japanese, and Korean cultures, as well as the modern Western cultures.
Elements of ceramic art, upon which different degrees of emphasis have been placed at different times, are the shape of the object, its decoration by painting, carving and other methods, and the glazing found on most ceramics.
Questions and Answers
From the 8th to 18th centuries, glazed ceramics was important in Islamic art, usually in the form of elaborate pottery, developing on vigorous Persian and Egyptian pre-Islamic traditions in particular. Tin-opacified glazing was developed by the Islamic potters, the first examples found as blue-painted ware in Basra, dating from about the 8th century.
Ceramic art has generated many styles from its own tradition, but is often closely related to contemporary sculpture and metalwork. Many times in its history styles from the usually more prestigious and expensive art of metalworking have been copied in ceramics.
The Han Dynasty (206 BCE – 220 CE), founded by the peasant rebel leader Liu Bang (known posthumously as Emperor Gaozu), was the second imperial dynasty of China. It followed the Qin Dynasty (221–206 BCE), which had unified the Warring States of China by conquest.
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The Kingdom of England was, from 927 to 1707, a sovereign state to the northwest of continental Europe. At its height, the Kingdom of England spanned the southern two-thirds of the island of Great Britain (including both modern-day England and Wales) and several smaller outlying islands; what today comprises the legal jurisdiction of England and Wales.
The first phase of conflict was between 1455–1460. The Yorkists were victorious at the First Battle of St Albans and attempts were made to reconcile differences. Margaret resisted attempts to have her son Edward of Westminster disinherited, and Richard was forced to return to Ireland as a lieutenant.
Prior to Henry IV taking the throne and becoming the first Lancastrian king, Edmund Mortimer, Earl of March was the actual heir presumptive to Richard II, through his deceased grandmother Philippa, according to cognatic primogeniture. Phillipa was the only child of Lionel, Duke of Clarence.
The right of succession to the House of Capet was disputed. Philip IV of France had three sons, all of whom died without having produced male issue, aside from Louis whose son, John, lived for only five days. In feudal law, Philip IV's daughter and sole remaining child Isabella of France (mother of Edward III of England) had claim to the French throne, and the seniority of the House of Capet.
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