Decorative Ceramics - Pottery

Starting Out - by Jim Robison

Growing up in Independence, Missouri, in the 40’s and 50’s did little to prepare me for a life time in the field of Art and Ceramics.  Except, as the name implies, Independence was the jumping off point for wagon trains west and hopes of a better future.  So, at the age of 17, on completion of high school, and with little idea of what my future could or should be, I joined a friend who was enlisting in the USAF for four years (my parents had to sign for me because of my age). 

It was, perhaps, a good time to be in the Air Force, post Korea and pre Viet Nam; lots of Cold War huff and puff, but little action. 

With an aptitude for things mechanical (I loved cars, had an after school job with a mechanic and remnants of no fewer than 6 old fords in our back yard when I was 16) I completed training as a Jet Engine Specialist and was assigned to 3 years in Germany. (Funny to hear Hahn Air Base now described as ‘Frankfurt Hahn’ for low cost flights abroad.)  

Living abroad, travelling through Europe, and putting up with military life certainly widened my horizons and woke me up to the need for higher education. 

An application to Graceland College,  a small college in southern Iowa was successful and in 1961 began 4 years study for a liberal arts degree. 

American colleges have wide ranging courses and you select from pick and mix, until building up ‘majors and minors’ in chosen subjects. 

Among the welter of Maths, Psychology, English and History options taken, was Les Wight’s Art Course. An imposing man who asked questions about design, advertising, and the nature of sculpture, painting and art history. 

Ceramics was there too, and his enthusiasm was contagious.  We were mixing our own clay and glazes from the start and travelled to Des Moines, Iowa (Bill Bryson’s home town--The Big City!) to see sculptural ceramics by Daniel Rhodes and demonstrations by Peter Voulkos.

It was the period of Action Painting and Peter had carried these bold new ideas into clay.  Daniel Rhodes added fibre glass to his clay to strengthen large sculptural forms…Paul Soldner began ambitious Raku ware. (Many years before the new fibre clays now seen) There was lively discussion in Ceramics Monthly about the subversion of pottery ideals.  

Somewhere in there, I was asked to teach a high school class, became convinced of the need for education in the arts, and completed enough credit hours to qualify as an art teacher. 

Successfully obtaining a teaching post in Ann Arbor, Michigan in 1965.  Working across a range of media, but with responsibility for sculpture and ceramics. 

I went on to complete a post graduate MA at Eastern University in Sculpture and Ceramics and began to exhibit in both areas while head of Art at the newly built Huron High School. 

There were many potters in the area and via the Universities, visitors from abroad often came into view. I remember watching Hamada apply vigorous brush stokes  and seeing photos of a Michael Cardew demonstration. 

It was an optimistic time for both education and the arts.  

How I came to be in England is often the first question I am asked.  And I reply that I have a deep cultural interest, and I married her.  Liz turned up in Michigan on a teacher exchange year from Yorkshire. 

A couple of years later, (1972), I took a leave of absence and temporary post as  artist in resident/ teacher at Weatherby High School, the year they raised the age of school leavers.  We were married in the Spring of  73 and remain so.  

I’d decided that I’d had enough of being a ‘jack of all trades’ and wanted to become, perhaps, a master of just one…It was time to ‘have a go’ as a full time potter. 

First in the bedroom of our flat, then knocking on doors of garage owners in our Leeds’s neighbourhood.  Asking them to rent space to me (fewer cars then!) turned up a small stable which was rented to me for £2 per week, electric included.

With no money to buy anything, a wheel was built out of timber with a cast concrete momentum weight, and  kilns cast from refractory concrete and fired on propane. 

Making stoneware and Raku pots, I began selling from the studio and arranged several exhibitions.  I also had limited success selling wheel kits to Podmores (they took the idea!) and was about the first to see the potential of the incinerator bin with its chimney for a lid, selling Raku kits to schools and potters for several years.  

Her Majesty’s Government intervened at this point to insist that I show some ‘approved employment’ to remain in the country.  Women could not as a right, keep their husbands in the country—a strange rule, now changed, I believe.  ‘Self employed potter’ was not considered sufficient either, so I found myself an acceptable part time job teaching Ceramics on the Barnsley foundation course, then Lady Mabel College (Sheffield)  and then, Leeds University College, Bretton Hall (Home of the Yorkshire Sculpture Park).  

Desire to have home, studio and gallery under one roof led to months of searching and ultimately to Holmfirth and purchase of small house with derelict barns attached.    

Booth House Gallery was opened to the public with a mixed Christmas exhibition in November 1975.  Rather different to its current state 31 years later, gaps between the stone roof slates let the snow drift in and caused panic when it settled on the picture frames of exhibitors’ water colours. 

Pots were not a problem, of course, but keeping warm definitely was until the pot-belly stove got really hot.  

Perhaps it was an oversight in my education, but I never understood the divide between Ceramics and the world of Fine Art.  To me they remain intertwined.  What else makes such durable architecture, murals, sculptures, beautiful and useful objects?  

Creation of large works for public places seemed a natural approach to the material.  Several commissions involved groups of people and making clay impressions of objects or environments became part of the work in progress. Bisque fired impressions could be used as press moulds.  There was a steep learning curve on how to make pieces more durable too.   

I was fortunate in that an Architect and Cambridge City planner asked me to submit design work for shopping centres and new buildings.  Often (usually) these pieces took far more time than the fee allowed for. 

The Grafton Centre sculpture in Cambridge (to celebrate its twin town scheme with Heidelberg) involved some 1500 hours of work for about £5000.00 as I recall.  I thought that being in such a prestigious town, an automatic future in this work would be assured… Dream on… I do not think there was ever a request that came directly from seeing it.  

I found that the folio was building and the work was an enjoyable challenge, but my accountant repeatedly reminded me not to give up the ‘day job’ in teaching.    

Promotion of large works also took place at our gallery in 1980.  Dearly departed Monica Young, David Lloyd Jones, and Mick Casson were part of it. 

I remember the look on Mick’s face when confronted by Monica Young’s huge efforts.  He had two enormous salt glazed jugs in his hands and he said: ‘ Never mind Jim, we will just call them cream jugs!’   Influenced by standing stones and trips to the British Museum, I created 9 ft stoneware columns with lustre hieroglyphics on the surfaces. 

These led to an exhibition with Tony Hepburn at the Yorkshire Sculpture park and subsequent exposure at Milton Keynes and other venues.  The techniques of using wood supports, stacking sections and bolting pieces together were developed.  

Fifteen years of working in the cold, nearly windowless barn (beneath the gallery) came to an end with the building of a new studio on the remains of 3 outside loos and my kiln shed. 

We also were able to purchase at auction, the farmland next to the house.  Inspired by green thoughts, we planted about 1000 trees and put in a pond. 

We also had parking space for the gallery at last.   

Ceramics is such an international activity now, and I maintained contact with potters in the USA and new friends in Europe.  It seemed that there might be a book on the subject of larger works.

A trip to Australia to attend Clay Sculpt Gulgong, on Janet Mansfield’s extensive ranch made an impact on me. 

Lured by the hope of seeing Peter Voulkos again (he failed to turn up), this initial disappointment was overcome with the likes of Nina Hole and Robert Harrison’s architectural pieces and kiln building by Fred Olson, et al. 

This experience proved to be the catalyst necessary to bring together material for ‘Large Scale Ceramics’.  It brought together many years of thought and effort and opened a few doors in the process.   

Surprisingly, perhaps, when the book was completed, there was a period of depression… like where do I go now, and what to do next? 

It was such an effort to bring together this summary of involvement that everything seemed to come to a full stop.  Life never does, of course, but it felt like it. 

I resigned from the position of ‘head of ceramics’ at Bretton, although agreeing a part time renewable contract, to spend more time in the studio and gallery.   

My interest in things mechanical led to involvement with extruders and slab rollers and invitations to take part in the American annual ceramic conferences, and exhibitions there. New equipment and these challenges of approaching dates were like a breath of fresh air and I began to explore new directions and possibilities.

It seems to me that deadlines and commitments are the best way to work yourself out of a slump.  Don’t feel like working?  Look at the calendar, work backwards from the exhibition date to ‘unload kiln’ and see how much time you need to make the required items. It does it every time.  And with the abrupt closure of Bretton 6 years ago by Leeds University, the studio has become seamlessly full time.  

Requests by a garden designer, followed by the opportunity of the Rufford Orangery exhibition meant that my desires to make fairly large work could be fulfilled with wonderful places to show them.

Its centrepiece took about 12-16 weeks to complete and there was little else undertaken for another 6 months while preparing for the show.  And as the exhibition enters its second period of extension ‘due to popular demand’ so to speak, the effort has proved well worthwhile.  

Ceramics is so special.  I enjoy anything connected with clay, pots and potters and have done what I could to promote it. 

Potters are also unique in their enthusiastic willingness to share ideas. In supporting roles, I became involved with founding the Northern Potters, (at number 28, the oldest current member, I was recently told!) and the CPA, helping at the many potters’ events over the years. 

Demonstrating at Aberystwyth, I vividly remember when the ultimate enthusiast, Mick Casson, turned to me on stage and suggested taking his place in fielding queries as he could ‘no longer hear the questions’.       

Some years ago, a photograph of Michael Cardew appeared on the cover of  ‘Craft Magazine’.  He was labouring over a massive lump of clay, with a wide grin on his face.

He looked ancient!  But he looked so happy.  It made a big impression on me, to think that you could work that hard, be that old, and be that happy.  There must be something in this magic of ceramics worth living and working for.  There is.  

Posted on 11 Mar 2007 by Dave R

Michael Cardew 1901-1980 Nigerian Field Vol 66 Pt.2 Oct 2001 Michael Cardew and the Abuja potters by Liz Moloney - photos by Doig Simmonds ©1959 The Ladi Kwali Pottery in Suleija is 50 years old this year. It has not being a working pottery as long as that, it is true; but it was in August 1951 that the English studio potter, Micheal Cardew, recruited by the Nigerian colonial Government in 1950 as pottery Officer, moved up from Lagos to the small town then called Abuja and started, with a small team of local workmen to build the new Pottery Training Centre. Ladi Kwali was not to join the trainees there until the end of 1954, but Cardew had already been excited by her beautiful pots in the village of Kwali and hoped to persuade her to come and work with him. Looked at from the vantage point of 2001, for the colonial government to start busying itself about the “improvement” of the pottery techniques of Nigeria it was odd thing to happen, considering that Nigerian pots, made according to the traditional method practiced for centuries, were are magnificent already. The decision to do this, however, resulted in the potters who made then. Micheal Cardew was one of the best publicist ever for West Africa`s traditional potters even as he worked to create a new network of rural Potteries using techniques foreign to the region. He went to Nigeria when he was 49, not because he had an urge to change Nigerian pottery but because he desperately wanted to get back to west Africa where he had unfinished business after 5 years spent in Ghana ( then Gold Coast ) 1943-1948. He was deeply attached to a young potter there, Clement Kofi Athey, who was running the pottery at Vume they had set up together, but had had to return to England after re-current ill-health and he felt he owed it to Kofi not to allow that project to fail. From Nigeria he thought he could keep in touch, and visit during his leave, for the sake of his obsession with Africa he left behind him once again his pottery at Wenford bridge in Cornwall ( rented out), his wife (teaching in London), three young sons ( still at school) and his reputation as an outstanding studio potter ( known to few, even among the British, in Nigeria ). Of course, Nigeria took him over and altered his motive. He did a preliminary tour of the Western region, and quickly reported to the department of commerce and industries that some of their ideas needed modification, he could hardly do himself out a job by rejecting them altogether, given his desire to be in West Africa and work with West African Potters. In fact the job description he had been given was not about changing traditional pottery but about setting up a sort of inter mediate technology project, a rural industry using the wheel, glazes and high-firing in the European studio pottery tradition. It was evidently prompted by the perceived need for a home-grown industry to supply the middle-class Nigerian demand for a glazed tableware suitable for European-style meals and hot drinks, at that time already supplied by factory-produced imports. Cardew`s first report of July 1950 states that a wholesale transformation of the Nigerian native pottery industry is considered to be neither practicable or desirable`, although he said this idea had been widely entertained by non-technical observers. This native industry had ‘technical advantages peculiar to it, which the others do not possess’, was ‘distinguished by simiplicity and nobility in shape and decoration’, remarkably cheap to produce, and ‘in a healthy state and not likely to suffer from the competition of locally-produced glazed wares.’ He pointed out that glazing and high-firing to make the proposed table ware non-porous ‘ would largely lose one of the great virtues of the native pottery - tolerance of the thermal shock.’ He felt able to support the argument for a home industry to run parallel to the local village pottery, producing pots for a modern middle- class westernized life style. he proposed small ‘experimental stations’ with small numbers of trainees, rather than a central school of ceramics. This report resulted in his promotion to senior pottery Officer, and for the next two years he was involve in the setting up of pottery at Okigwe and Ado-Ekiti with other British pottery Officers, V A Gregory and S Atkins. But the decision about where to put the northern region pottery training centre turned out to be the crucial one for Cardew, and for a number of Nigerians whose lives were changed by it. The notes, illustrated by sketches, for his second report in early 1951, following a tour of Nigeria`s Northern Region in November and December 1950, show his excitement as he discovered its varied pottery; he especially admired the pots made by women in the Abuja area. He was able, as a colonial Officer, to call upon an impressive network of existing knowledge to help him. Local potters, district heads, administrators, miners, Geologists Educationists Missionaries - all sorts of people knew about the soil structure, the transport systems, the fuel, the traditions and other factors he had to consider in deciding how to proceed, and in particular, where to site the Pottery Training Center. He was allowed to use the Furnaces of the Amalgamated Tin mines of Jos to test clay samples. It was a unique support system for a researcher into traditional pottery as well as prospective local potter. ‘We decided ABUJA after all!’ he wrote in his note after a meeting in Kastina with Stanhope (Sam) White of the department of Commerce and Industries, Kaduna, in April 1951. ‘Good and central for N.Nigeria, Wonderful local pots, a nice town where trainees can live, Hausas would not be out of place there, and above all, a 1st rate Emir – yes, hurray !!!’ The ‘after all’ meant ‘in spite of Abuja’s not being on the railway’, but as it was to be a training center and not a commercial production Center, this was decided not to be crucial. Abuja was the place for ‘inspiration’, he said, and that would made for good pots. From late August 1951 he supervised the building of the pottery at Abuja, locally thatched buildings; (the present ones were built in 1973 ) and started selecting trainees. Who were these to be? An aspect of the European-style pottery which contrasted with African pottery was the fact that the trainees were expected to be men, where as most of Nigerian potters were women. Hausa land was the big exception, although within northern Nigerian there were also non-Hausa communities with women potters. The Abuja emirate was Hausa, that its population was overwhelmingly Gwari and included outstanding Gwari women potters. Cardew, in his 1950 report, said he envisaged the new techniques being mainly to men with only a ‘Small fringe’ of women potters. This could be for a numbers of reasons, some referred to elsewhere in Cardew’s writings such as the fact that in the traditional industries, potting was,in parts, the whole way of life, not something as a western industrialized society and regarded as a career. Men would found it easier to train and join a paid work- force, because they were less encumbered by family committments. This view may be regarded as reflecting British prejudices and practices and distorting African Society structure, as happened in the case of Agricultural and other training. Or you could see it as a realistic appraisal, since Cardew had already suggested that the traditional, mainly women, potters would not adversely affected by a new small-scale industry and African societies, like British once at the time also tended to separate men’s and women’s work. He had himself always worked with other men in both England and the Gold Coast, except when apprenticed with Bernard Leach, and would probably be inclined to prefer this. As it later turned out, the Abuja Pottery Training Centre`s star potter ( Cardew would have hated the description of any potter as a star, but that was exactly what she became on overseas tour ) was a woman, Ladi Kwali, whose basic skill and genius, he always freely acknowledged, were fully developed before she joined him. But there were always more men than women working with Cardew. It is odd in a way that he went along with the argument for a separate work force outside the old social structures, given that he always professed a desire to eliminate the distinction between one’s working life and everything else, and to achieve an undivided life as had been done in pre-industrial England. But he had to work within a framework of an administration struggling to show that it was modernising the northern region of Nigeria. I suspect that this masculine bias involve all sorts of different reasons.   So the earliest trainees were Hausa men, Audu and Gwadabe from Kano, Closely followed by men from other regions with an increasing number of local potters. Among the first to start were Okoro Ike from the south-east, Tankol Ashada Mohammed and Bawai Ushafa. Audu Mugu and Sidi came down from Sokoto. Later came Bako Maigari, Audu (Wahala) and Musa (Nawa) Nok in 1956, Mohammed Inuwa, Hassan Lapai and Usman Zukoko in 1957, Ibrahim Muhtari Zaria and Peter Bute Kuna Gboko in 1957, Gugong Bong, Bala Yawa and Abu Karo in 1958 . Kofi Athey, though continuing to run the Vume pottery in Ghana, worked at Abuja for several stints of a few months before coming to Nigeria to run the new Jos pottery in 1963. The kiln gang, who remained throughout Cardew`s time and later, were Danjuma Kilin, Husseine, Gwari and Na`anabi. However quite early on, Cardew`s preference for male trainees was overridden by his respect for superb skill and his wish to work with people endowed within. In the Abuja area, these were women. He had wanted to bring Ladi Kwali into the training centre from the beginning, and finally, after negotiations with her and with the local authorities, she arrived in December 1954.She learned to throw ordinary tableware and smaller pots for practical use, but she also continued to hand-build pots, which were then controversially glazed and high-fired. Cardew was well aware of the drawbacks of this procedure in terms of weight and utility. They were much less breakable than traditional pots though, and they became Collector`s treasures, now worth huge sums at auction which neither Cardew nor Ladi herself could ever have envisaged. Cardew`s international reputation played a key role in putting Abuja potters on the international ceramic world map. He had previously exhibited at the Berkeley Gallery in London, and was able to arrange for Abuja exhibitions there in 1958 and 1959, which increased his own fame and made Ladi Kwali in particular a name in the pottery world. Her success opened the door to other women potters: Halima Audu from Ido, came in 1959, and made some superb pots (in Britain, her work can be seen in the Milner-White collection at York City Art Gallery.) She died tragically young only two years later. Asibe Ido and Lami Toto arrived in 1963, followed by Kande Ushafa. At the time of Cardew`s departure in 1965, the four surviving women along with six men-Tanko Ashada, Gugong Bond, Peter Gboko, Abu Karol, Ibrahim Muhtari and Bawa Ushafa, plus Danjuma Landam, Assistant pottery Officer, were still at the Abuja Pottery training center. The Kano and Sokoto Potters had gone back to their home towns, and Okoro had gone to modern ceramics in Umuahia. Above - Ladi Kawli's pots being fired in the traditional way Footnotes: Quality of photos - The photographs are scanned from the journal and enhanced as far as possible. Among other resources on the web - see www.studiopottery.com/potters/cardewmichael.html Some of these potters and no doubt others who never left there villages, were also outstanding, but Ladi Kwali remained grande dame of the Abuja pottery. In 1962 she spent three weeks in England demonstrating Gwari pot – building techniques, attending another Berkeley Gallery Exhibition of Abuja Pottery and received the MBE. Coming back to Abuja she was so full of her experiences that other staffs sardonically nicknamed her ‘Radio London’, ( as Micheal O’Brien, who came to Abuja soon afterwards and later took over from Cardew, recalls). later she was awarded an honorary Doctorate of Ahmadu Bello University, Zaria , an unprecendented academic distinction for a woman potter without formal education. She would certainly not have granted this if she had not been ‘discovered’ by Cardew and then the world outside Nigeria. Micheal Cardew stayed at Abuja until 1965, normally spending ten months there and two on leave at Wenford Bridge in every year, but also going back to Ghana occasionally to help Kofi at Vume. Abuja turned out to be just as pleasant a place in which to run a pottery training centre as he had envisaged in his diary notes of 1951, and the Emir,the famous Suleiman Barau,was even better than ‘1st rate’,being a friend, supporter and advisor in everything. But it was not an easy life. Cardew`s early Nigerian years involved him in relentless physical slog, following in the footsteps of the great geologist Falconer on camping treks of several days at a time in his search for kaolin, feldspar, limestone and other raw materials for pottery and glazes. He was already in his fifties - much older than the Nigerians who accompanied him -and continued to suffer regular bouts of ill-health, including bilharzia and from the results of some dramatic car accidents. Cardew was unique in his relationship with Nigerian potters, But he was also part of a group of British people in the 1950s who tried, in the run-up to independence, to make sure that Nigerian art and history were appreciated and preserved for the people of Nigeria. these included Bernard Fagg, who excavated the Nok culture, started the Jos museum and instigated instigated the magnificient collection of pots there;Sylvia Leith-Ross, who collected the pots for jos at the already distinquished career in education, the historian Micheal Crowder, who succeeded E.H.Duckworth as editor of Nigeria Magazine and Kenneth Murray, first Survey of Antiquities. He wrote the introduction ‘pottery techniques in Nigeria’ for Sylvia Leith-Ross’s Nigerian pottery ( Ibadan,1970) and articles on traditional pottery for Nigeria Magazine as well as his book pioneer pottery for studio potters starting up in similar conditions. The Abuja Pottery Training Centre never fulfilled the early aim of spreading a network of small potteries, run by potters trained there, to supply new Nigerian needs.By the late fifties it has become a show piece celebrated in Nigeria and abroad, and sold mainly to expertriates and members of Nigerian elites. the best pots were put aside for London or other European exhibitions. Peter Dick, a british potter who worked at Abuja in 1961-2, remembers the staff saying ‘Sai London! Sai paris!’ when an exceptionally good pot emerged from the kiln. Potteries started by Abuja- trained potters under Cardew’s guidance in Sokoto and Kano failed within a few years, largely, Cardew said in later discussions with O’Brien, because as government employees the workers never worked hard enough or use enough initiative to make them succeed. The later Jos pottery, founded with help from Bernard Fagg and money from an American ‘fairy good mother`, did continue under Kofi Athey. How did the training centre continue to obtain government finance well into the era of independence Nigeria? It was never commercial until after cardew’s departure ( under Micheal O’Brien}and its original purpose of created a network of rural industries to supply to supply Nigerians with a tableware made locally from local materials had not been fulfilled. Was Cardew just lucky to find modest but secure patronage for a marvelous experiment in Anglo-Nigerian cross-cultural ceramics,because of the particular circumstances of northern Nigerian? Certainly the publicity Abuja brought to Nigeria at a crucial time in its history was favourably viewed by both the late colonial and new Nigerian governments. Michael Cardew, having left Nigeria rather reluctantly ( though well past civil service retirement age at 64 ),did not cease to be involved with his old friends. Ladi Kwali went on another triumphant tour demonstrating her work, this time to the United states in 1972 with Cardew and Kofi athey assisting and explaining where necessary. She has continued working at the pottery, and one the most delightful scenes in the BBC television film of 1974 Mud and Water man shows her greating Cardew on her return visit to his old place at Abuja with its new buildings. He continued his active and international life until his sudden death in Cornwall in 1983. Ladi Kwali died at almost the same time but at a much younger age in Minna. Kofi Athey, after leaving Jos at about 1990, worked in the early nineties at Margaret Mama’s Jacaranda pottery, also near Kaduna, with some other Abuja staff trained by Cardew, and is believed to died in Ghana in the 1990’s. The Emir of Abuja, who was so vital a part of this ( as of other developments in his emirate), has also died. So what is left ? There has been small but significant continuing results from this unusual episode in late colonial history, and this obsession of an English potter. There was of course the impact of Ghana and Nigeria on Cardew’s own work, for the pots of his west African period are generally agreed to have been among his best. But also he gave a unique training to his small group of trainee potters and stimulated appreciation, both in Nigeria and elsewhere, of traditional pots and potters. The Ladi Kwali pottery at Abuja is still government–owned and employing staff, but reports suggest it is not producing much pottery. I have not yet been able to visit it to see for myself. Perhaps the Anglo-Nigeria studio pottery movement started by Cardew is being upheld more effectively elsewhere in the country. Michael O’Brien, Cardew’s colleaque and immediate successor, continues to spent much of his time unobtrusively helping Nigerian potters. One such is Danlam Aliyu of Al Habib pottery, Minna, who was trained by O’Brien at Abuja and then by Cardew at Wenford Bridge, his pottery in Cornwall. Danlami has written in Pottery Quarterly about his work and the fact that his work is different from that of local women but in no way supplants it. His brother Umaru also runs a successful small pottery, the Maraba near Kaduna. Others, though not directly connected to Cardew, have found inspiration in his work for similar subjects in other parts of Nigeria. Cardew’s forecast that traditional pottery would not be threatened by this studio pottery has been proved correctly. The threat comes from much bigger forces. Cardew’s was a ‘small is beautiful’ enterprise, embodying his care for, and enjoyment of, the people and their environment. This article arises from research for a project biography of Micheal Cardew’s work in west Africa from 1942 to 1965. I would like to thank Michael O’ Brien, Cardew’s successor at Abuja, and Michael Cardew’s eldest son, Seth Cardew, of Wenford Bridge Pottery in Cornwall, for their great help with this project, as well as Cardew’s friends and colleaques who have contributed their recollections. REFERENCES Cardew M.A. 1950 A preliminary Survey of pottery in West Africa (report). Lagos, Department of Commerce and Industry 1951 A Tour of parts of Zaria, Plateau, Niger, Ilorin and Kabba …(report) Lagos Department of Commerce and Industry 1952 “Nigerian Traditional Pottery,” Nigeria Magazine39 1961 “Firing the Big Pot and Kwali,” Nigeria Magazine 70 1962 “ Traditional Pottery. The pottery training Centre,” in Alhaji Hassan and Mallam Shaibu Na’ibi, tr.F.Heath, A chronicle of Abuja, African Universities Press, 2nd ed. Lagos 1969 Pioneer Pottery. London: Longman 1988 A Pioneer Potter: An Autobiography. London: Collins 1989 A Pioneer Potter (paperback) Oxford University Press 1970 “Pottery Techniques in Nigeria,” in S.Leith Ross, Nigerian Pottery Ibadan University Press Unpublished notes, letters and diaries, consulted courtesy of his son,Seth Cardew Aliyu,D 1980 “Nigerian Pottery Tradition and New Techniques,” Pottery Quarterly Michael Cardew and pupils 1983 Cataloque: exhibition at York City Art Gallery Clark,G. 1978 Michael Cardew. London: Faber Falconer, J.D 1911 the geology and geography of Northern Nigeria. London: Macmillian Hallum, Alister 1974 Mud and Water Man BBC/Arts Council of Great Britain (television programme) O’Brien,M. 1975 Abuja after Michael Cardew,” Ceramic Review 34 ©The Nigerian Field Society
Renaissance Portraits in Deruta Ceramics    by Tiziana Manzetti   During the Renaissance portraits were one of the favorite subjects of Deruta potters, less keen on painting historical scenes (istoriato) which, on the contrary, were the pride of Gubbio, Casteldurante, Faenza and Urbino. Before going through the reasons why Deruta pottery was so different from other Umbrian ceramics, its necessary to take a step back and focus on the revolutionary impact of the Renaissance on the contemporary lifestyle. The central feature of humanism in this period was the commitment to the idea that the Greek and Roman intellectual achievements should be taken as a model by contemporary Europeans. Fine arts revived the Classical values and artistic styles and developed the use of proportion, perspective and chiaroscuro in the accurate portrayals of figures and landscapes. The new geographical discoveries (America!) and the increase of trade between nations during the early Renaissance created a new wealthy mercantile class, eager to govern over the rising urban communes and increasingly demanding luxury goods. Italian ceramics became the ideal artistic medium of the Renaissance society. Through pottery the fine art values and the spirit of the Renaissance entered the houses of the new social classes. Well crafted, elegantly decorated, Italian Renaissance ceramics gained the status of an art form. They became a fashionable item. Lavishly decorated dishes, apothecary jars, handled vases and bowls were displayed prominently by citizens from all levels of society and swiftly traded all over Europe. Potters closely followed the works of the most popular painters, more or less freely reinterpreting them in their ceramics. This was particularly evident in Deruta ceramics, which were deeply influenced by Perugino and Pinturicchio paintings, both active in Perugia and having personal relationships in Deruta. Although their influence on Deruta ceramics was not limited to the choice of portraits as favourite subjects, it certainly accounts for the superior quality and distinctiveness of achievements of the local potters. Perugino is skill in depicting the human body and flesh tones, both in religious paintings and in secular portraits, was extremely original and explains his first, dazzling success in Rome. He became the most sought-after painter in Italy, and the most expensive. Nonetheless, Perugino never abandoned his home turf, and was to spend much of the rest of his career in Umbria, mostly in Perugia. His vision and techniques were to nurture the talent of one of his pupils, Pinturicchio, who rapidly became very famous himself. From his finely decorated figures glistening with gold, Deruta potters got the inspiration for their beautiful yellow-gold lustres and the taste for details in portrait painting. Please, dont jump to the conclusion that the relationship between Deruta potters and Perugino and Pinturicchio is painting was merely based on a common artistic taste, though. It was also very practical, indeed. Deruta and Perugia are very close, so it was very easy for Deruta potters to get the cartoons of the original frescos and copy them. It was also very easy to go and see the painters works in Perugia and the surrounding cities. As a matter of fact Perugin's frescoes in the Collegio del Cambio in Perugia supplied potters with a huge number of models for their Deruta pottery (Saints, Ladies, Warriors) and so did Pinturicchio's paintings in Spello. Last but not least Perugia was also the major trading center in the region, and it was much easier to sell Deruta pottery which was sure to meet the local tastes, which were dominated by the new techniques and styles masterfully interpreted by Perugino and his pupils. Although sometimes the portraits painted on Deruta ceramics were very similar to their source of inspirations, they rarely were mere copies. Deruta potters were among the best in Italy. They had been refining their skills generation after generation. Moreover the protection and encouragement granted by the Baglioni, Lords of Perugia to Deruta ceramic trade attracted to Deruta many technically and artistically gifted potters. Their talent added much to their beautiful models. They also developed a technique to satisfy the increasing demand for the most popular subjects without making copies. Using the “spolvero's technique they could repeat the same basic drawing on their ceramics, which they personalized and differentiated in the painting stage. Worth mentioning is the name of Nicola Francioli a.k.a. Co who worked in Deruta in the first half of the 16th century. His art was deeply influenced by Perugino's and Raphael's works which he originally reinterpreted in his ceramics. His works, together with some other masterpieces in portrait ceramics from the Renaissance are on display at the Museum of Ceramics in Deruta. Francioli has been one of the first artists to embody the expressive independence of ceramics from the finer arts and to turn Deruta pottery into. One of the purest expressions of Italian Renaissance culture, as stated by Laurence Kanter, curator of the Robert Lehman collection at the Metropolitan Museum of Art in New York. Today, only a few potters in Deruta own the technical skills to achieve good results in Renaissance style portrait painting. Still, the tradition is alive.   About the Author Tiziana Manzetti is the co-creator of thatsArte.com, the webstore featuring one of the largest collections of Fine Italian Ceramics over the Internet. Visit thatsArte.com for an exciting shopping experience: the core of Italian quality dinnerware and decorative majolica is waiting for you. A Special Order service allows you to commission talented artists for tailormade ceramics. Learning To Make Pottery With Films   by Victor Epand   Pottery making is an almost 12 thousand year old art of making objects by molding clay. Pottery making is a wonderful combination of the potter's wheel and the balance maintained by the potter. There are various schools active in teaching the art of pottery. Today we have various short films introducing the art of ceramics to the common people. In these films you can learn the art of pottery making by watching it on your television or computer monitor. Famous professional potters run the ceramics departments of various countries. Through films and videos they introduce us to various steps and prerequisites of pottery. They teach us to open the clay after understanding its various properties. Then we learn how to form various items through a range of hand movements and how to fire the clay in a kiln at the pertinent temperature for it to become pottery ware. Even decorating the pottery with paints is learned by simply watching the demonstrations. Today with numerous decorating techniques and beautiful designs, pottery has attracted people of all ages. Pottery has become a personal hobby. It takes a lot of hard work and patience but people interested in pottery have great fun making ceramics. With the help of short films on pottery making we can fullfil our aspirations to make our own pottery objects without having to go to pottery classes. Pottery making films, involve a stepwise introduction to the art of pottery for beginners. Pottery making films can also be used as reference study material for those who are taking pottery classes. People who want to enhance their skills in pottery can also brush up with various demonstrations in the films. Pottery making films are a creation of the modern era that have augmented the personal interests of people towards the art of pottery. The culture and resources of a country are the leading factors in deciding the styles and designs of pottery but the pottery making style of any country can be learned at home through pottery making films. Today, individually involved potters are into making pottery a thing of beauty. We can learn to make some of the masterpieces in ceramics by following the instructions of pottery making films. We can learn how to join two objects together e.g. a handle to a mug. A little effort mixed with personal approach to the piece of art can create some outstanding pieces of pottery. In pottery making films we learn how to mold the clay, create balance with the clay ball and use the art of fingers in shaping the desired object. These films help us to create the concrete shape of pottery by teaching us how to heat the objects to make the finished product. After the heating process, painting and decoration of the ceramics with various colors and materials is another art that tells us about the imagination of the person and his approach towards pottery. All of this can be learned through films.   About the Author Victor Epand is an expert consultant for pottery, antiques, and figurines. When shopping for pottery, antiques and figurines, we recommend only the best online stores for pottery, films, antiques , and figurines   Books Suggestions For Pottery Makers   by Victor Epand   Pottery making has been an art practiced for thousands of years. Throughout history, we have seen numerous pottery artifacts, and many are on display in museums. Today, pottery making has evolved into a profitable business. In the USA, pottery making is a booming industry, and many people earn their livelihood by practicing this art. Finally, pottery making is also a hobby for many people. Such has been its widespread popularity, that many books have been written on the finer nuances of this art. Some of these books are listed below. "Glazes: Materials, Recipes and Techniques" is written by Anderson Turner on pottery. This book is basically a compendium of articles by many artists and craftsmen who have mastered the art of pottery making. This book consists of articles, which explain the technique and the materials used in making pottery. This book also explains about modern pottery making which is a combination of trial and error discoveries that have been collected from scientists and engineers. Sumi Von Dassow writes "Barrel, Pit and Saggar firing". This is a monthly handbook on pit firing and techniques used in the process. There are many illustrations in the book, including approaches to barrel, pit and saggar firing. Included in the book are the work techniques used in making wheel thrown and coil-built pots. Many innovative firing techniques are also discussed. Anderson Turner also writes "Creative Ideas for Clay Artists". This book covers articles about creative artists and their inspiring work. It also contains pottery, sculpture and finishing techniques. If anyone wants to find new designs, new inspiration or renewed creativity this is the best book. This is a must read for all artists working with clay. Darl E. Baird writes "The Extruder Book". This book contains more than 450 photographs and drawings. These drawings or photos show the indispensability of extruder. It also demonstrates the ways and means of improving the art of pottery making. Bill Jones writes "Advanced Raku Techniques". This is a monthly-published book containing information regarding ceramics and pottery. It deals with Raku and covers a wide range of techniques, materials and equipment. In "Pottery Making Techniques" Anderson Turner illustrates some of the pottery making techniques, tips and projects of wheel throwing. In this book the techniques are written in step-by-step format and are therefore very easy to understand. Barry Hall writes "From Mud to Music". This is the most exciting book ever written on ceramic musical instruments. This book contains over 500 color photographs. It illustrates clay musical instruments through the ages from ancient times to modern age with detailed descriptions of how they work and how to make them. The book also comes with a CD that features the works of 100 artists from around the world. These are just some of the important books that are useful for artists involved in pottery making.   About the Author Victor Epand is an expert consultant for pottery, antiques, and figurines. When shopping for pottery, antiques and figurines, we recommend only the best online stores for pottery making, antiques , and figurines.

Materials and Techniques Used In Pottery   by Victor Epand  

Pottery is the oldest art of making clay utensils. It is basically clay (cement-like earth) which is modeled, dried and then fired into a vessel. Pottery may then be decorated with paint and glaze applied to it. There are certain materials used in making pottery. Clay is one of the most important materials used in making pottery and the clay used must be soft and malleable. Again clay is formed when rock decomposes into flat plates and water is trapped between these microscopic plates. Clay consists of 40% aluminum oxide, 14% water and 46% silicon oxide.

There are different types of clay and they can be grouped as primary clay and secondary clay. Primary clay is not mixed with other forms of sediment and it is not transported by water or glacier. Potter's clay is the most commonly used clay in creation of potteries. The secondary clay is mixed up with sediments and is lighter and finer than the previous one. Clay is sometimes given additives.

In the early stages of history, the main machine in making pottery was a potter's wheel. A potter's wheel was a wheel with a connecting wire which was tied to a pedal. The wheel spun as soon as the pedal was pushed and the potter shaped the pot with his hand when the clay was put in the center of the wheel. Clay was the main ingredient. It was made from mud or other kinds of dirt. The design was made using rocks, knives and twigs. Then the clay is placed in a kiln which is a type of oven used for heating the clay until it becomes solid. Glaze and/or paint adds a finishing touch to the pot.

However it must always be kept in mind that pottery is rarely made from raw clay. Clay is almost always mixed with other materials.

A variety of materials are used today in making pottery .The two most widely used materials in pottery are-

1. Ceramics

2. Porcelain.

Porcelain clay is made from white stone by crushing it and it is purified with water by mixing it until it becomes smooth and soft. This porcelain clay is also known as china clay or terracotta. There are different natural raw materials used in making traditional ceramics. The chemical used in the composition should be carefully measured so that no defects occur. The main motive of the chemical is to remove impurities or contamination. There are basically six types of ceramic raw materials - silica sand, clay, feldspar, calcium and magnesium carbonates, sodium and calcium borates and zirconium silicate. In a sample of ceramics the chemical cauterization is done by X-ray fluorescence, potentiometer, coulometer and atomic absorption spectrometry. There are again different ceramics with their own unique compositions used for making electrical goods as well.

These are some of the materials used in making pottery and ceramics. Today lots of research is being carried out for development in the field of pottery making and ceramics. This research aims at making better quality pottery by including different chemical substances and other enhancements.

About the Author

Victor Epand is an expert consultant for pottery, antiques, and figurines. When shopping for pottery, antiques and figurines, we recommend only the best online stores: http://www.potterysell.com , http://www.selltheantiques.com , and http://www.sellfigurines.com .

The History of Korean Pottery   by Victor Epand  

The Koreans have used potteries from 7000 to 8000 years ago. Since ancient times they used to make pottery by firing clay at a heat of 1300 degree Celsius. They produced unique, original and beautiful pottery. They traded extensively with China and adopted manufacturing skills of Celadon.

Korean pottery is healthy and alive due to its good natural disposition. The Korean potters believed in nature and sought to be a part of it. So they lived in deep recesses of mountains to give a natural touch to their wares and used simple colors with liberal techniques for molding the clay prior to making the pottery.

Korean pottery can be studied in terms of three empires. These three empires which present the foundation of Korean ceramic history also reflect the culture of pottery during this era. These three kingdoms are - Silla, Goguryeo and Joseon. The Korean potters produced coarse household goods as well as highly sophisticated statues of imperial figures, guardians, horses, escorts of the dead in mausoleum of kings, as well as nobility.

1. Korean pottery in the Silla era (668 to 935) - the pottery was plain in color, design and silhouette at the time of the unified Silla era. Celadon was the main produce. Gradually in the 14th century Bakeja porcelain wares developed which had vibrant varnish. These were made up of highly refined clay. Bakeja wares were fixed with feldspar and were very cautiously fired in very huge and fresh kilns. Bakeja wares flourished tremendously until the Joseon dynasty came to power.

2. Korean pottery in the Goguryeo era (918 to 1392) - during this epoch some of the best small scale works of ceramics were accomplished in Korea. In this age the potters made foliate designs, key fret, geometric shapes, elliptical panels, stylized fishes and insects, and they started using incised designs from this era. The glazes used, were different shades of Celadon. For stoneware and storage goods they used black and brown glazes.

3. Korean pottery in Joseon dynasty (1392 to 1910) - it can be called the golden era of Korean pottery. The Korean ceramics developed to a great extent and pottery was produced in a large commercial scale for export. The quality of the pottery also improved considerably. They followed the Chinese Ming Dynasty in evolving their improved range of pottery and they are similar in certain aspects to the Chinese wares. Storage pottery, celadon, white porcelain were alike and only with minimal variations either in glazes, designs or weight. Ming influence was also felt in the blue and white matter by using cobalt blue glazes.

After the fall of the Ming dynasty many Chinese potters migrated to Korea and brought colorful and vibrant pottery of special forms which was discarded by the Korean potters who preferred to make simple and less bedecked wares.

Korea exported most of its potteries to Japan and principally from the Busan area. The climbing kilns were exported to a considerable extent.

There were two ways of export- through deal and intended immigration of potters or by the means of invasion and pottery theft.

About the Author

Victor Epand is an expert consultant for pottery, antiques, and figurines. When shopping for pottery, antiques and figurines, we recommend only the best online stores for Korean pottery, Antiques , and Figurines.