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Bernard Howell Leach CH CBE (5 January 1887 – 6 May 1979) was a British studio potter and art teacher. [1] He is regarded as the "Father of British studio pottery". [2]
The Leach Pottery was founded in 1920 by Bernard Leach and Shoji Hamada in St Ives, Cornwall, in the United Kingdom. [ 1 ] The buildings grew from an old cow / tin-ore shed in the 19th century to a pottery in the 1920s with the addition of a two-storey cottage added on to the lower end of the pottery, followed by a completely separate cottage ...
Bernard Leach is credited with restarting craftsman pottery in Britain in 1920. One of his early students was Michael Cardew who, at 25, was looking for a suitable site for his own pottery and in 1926 rented the old pottery buildings. [ 3 ]
Batterham worked in the tradition of Bernard Leach and Shoji Hamada, for whom the term ethical pot was later coined and whose approach was in turn rooted in the Japanese Mingei movement. The ideal of this movement was the anonymous craftsman who quickly and dynamically produces ceramics for everyday use and in this way creates art without ...
MacKenzie and his first wife, Alix, studied with Bernard Leach from 1949 to 1952. His simple, wheel-thrown functional pottery is heavily influenced by the aesthetic of Shoji Hamada and Korean ceramics. He is credited with bringing the Japanese Mingei style of pottery to Minnesota, fondly referred to as the "Mingei-sota style." [1]
In 1924, Pleydell-Bouverie was taken on by Bernard Leach at his pottery in St. Ives. She remained at the Leach Pottery for a year and learnt alongside Michael Cardew, Shoji Hamada and Tsuronosuke Matsubayashi (known as Matsu). She did the necessary odd jobs at the pottery whilst observing technical lectures from Matsu and was soon given the ...
One of twelve children born of Finnish immigrants, Lena and August Heino, in East Hampton, Connecticut, United States.His family ran a dairy farm in quiet farm country. Otto Heino's involvement with ceramics began while serving in the U.S. Air Force in England; during a military leave, he spent several days watching Bernard Leach throw po
In this respect, he was at variance with Bernard Leach and his followers, for whom functionality was a key tenet. Murray's aim was to raise the profile and reputation of pottery to a level where it would be regarded as equal to painting and sculpture. [ 4 ]
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