In Search of German Ceramic Histories

The ceramic revival that took place in Germany during the post-war years owes much to the  Bauhaus;  in particular its focus on students mastering traditional hand-throwing techniques (till they became 'second nature'); then on applying these skills and knowledge to the design of beautiful, functional objects for daily use -  pitcher, tea & coffee pot, plate, bowl, etc. - that achieve a synthesis between  modernity  and  tradition.  Although the Bauhaus advocated designing ceramics for industrial production, many German potter who set up studios and workshops chose to  produce objects of daily use by hand; albeit in series. Hence the presence of serial numbers incised next to signatures: to enable shops to re-order and to ensure continuity. This conferred upon German ceramics a distinctive craft quality: the persistance of the ‘hand-made’ at the heart of its production, in an increasingly industrialised world.  The ceramic unit at the Ba...

A look at four jugs made between the 30s & the 50s shows a rigorous formal structuring of the vessel into its constituent part: All four were hand-thrown; but each offers a distinctive interpretation of the jug.  From left to right: an unsigned piece (inspired by traditional rural pottery), Louise Duncker, Paul Dressler, Louise Duncker. All, however, display a touch of modernity in their interpretation of the jug. None could be described as a  pastiche . Even in the most traditional artefacts one notes a touch of Modernity that infused the works. If we look at a wider range of design spanning over the next decades we note of broadening of approaches as well as the persistence of traditional forms: Over the same period we note a new turn in the adoption of stronger color glazes that accompany the emergence of Modern forms: either hand-turned (L to R: 1 to 4)  or cast (5): Thus,  Eva Kumpman (below, left) adopts a traditional form, which she updates, and presents...