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"La Ceramique Francaise Des Annees French Pottery Of The 50s" STAUDENMEYER, Pierre (SOLD)
Price on Request
[335] pp.
STAUDENMEYER, Pierre
Norma Editions
12.25" x 9.5"
Foisonnante is the best definition of post-war French ceramic production. With a long historical past and production centers still alive, France saw at this time the emergence of a generation of ceramists who knew how to implement the multiple trends of an art perceived until then as solitary. and Promethean. From the exaltation of color to the rigor of sandstone, from the exacerbation of sculptural forms in search of obvious simplicity, from the series to the unique piece, the ceramic creation of the 1950s testifies, by its vitality, of the rediscovered freedom and the birth of a new society, without however denying its belonging to the Popular Arts and Traditions. Pierre Staudenmeyer's work shows the inscription of this traditional practice in a changing world, its encounter with modern art initiated by Picasso in Vallauris, decisive for the liberation of forms and techniques. He illustrates its richness and diversity through the career of some forty potters, such as Roger Capron, Jean Derval, Elisabeth Joulia, Georges Jouve or Suzanne Ramié, whose work - whether it has a timeless dimension or that it represents a strong moment of the style of a closed period - has value of roots for our own modernity.
STAUDENMEYER, Pierre
Norma Editions
12.25" x 9.5"
Foisonnante is the best definition of post-war French ceramic production. With a long historical past and production centers still alive, France saw at this time the emergence of a generation of ceramists who knew how to implement the multiple trends of an art perceived until then as solitary. and Promethean. From the exaltation of color to the rigor of sandstone, from the exacerbation of sculptural forms in search of obvious simplicity, from the series to the unique piece, the ceramic creation of the 1950s testifies, by its vitality, of the rediscovered freedom and the birth of a new society, without however denying its belonging to the Popular Arts and Traditions. Pierre Staudenmeyer's work shows the inscription of this traditional practice in a changing world, its encounter with modern art initiated by Picasso in Vallauris, decisive for the liberation of forms and techniques. He illustrates its richness and diversity through the career of some forty potters, such as Roger Capron, Jean Derval, Elisabeth Joulia, Georges Jouve or Suzanne Ramié, whose work - whether it has a timeless dimension or that it represents a strong moment of the style of a closed period - has value of roots for our own modernity.