William Staite Murray

Fülszöveg

William Staite Murray celebrates the achievement of a neglected potter of the pre-War period. Published to accompany the major exhibition of Murray's work at Cleveland Gallery and the Victoria and Albert Museum, the book is written by art historian Malcolm Haslam and illustrated with the eloquent photographs of David Cripps. Twenty of Murray's pots are shown in colour and a further 46 pots by him and his pupils are shown in black and white, a major visual record of his work and influence.
William Staite Murray was held in as high esteem as Leach and Cardew between the wars; his stoneware was exhibited at group shows alongside the paintings of Ben Nicholson, Winifred Nicholson and Christopher Wood, and the sculpture of Barbara Hepworth and Henry Moore. However, when he left England in 1939, never to pot again before his death in 1962, his réputation was eclipsed.
Murray's earliest pottery was "faience" decorated in abstract style in collaboration with Cuthbert Hamilton, one of... Tovább

Fülszöveg

William Staite Murray celebrates the achievement of a neglected potter of the pre-War period. Published to accompany the major exhibition of Murray's work at Cleveland Gallery and the Victoria and Albert Museum, the book is written by art historian Malcolm Haslam and illustrated with the eloquent photographs of David Cripps. Twenty of Murray's pots are shown in colour and a further 46 pots by him and his pupils are shown in black and white, a major visual record of his work and influence.
William Staite Murray was held in as high esteem as Leach and Cardew between the wars; his stoneware was exhibited at group shows alongside the paintings of Ben Nicholson, Winifred Nicholson and Christopher Wood, and the sculpture of Barbara Hepworth and Henry Moore. However, when he left England in 1939, never to pot again before his death in 1962, his réputation was eclipsed.
Murray's earliest pottery was "faience" decorated in abstract style in collaboration with Cuthbert Hamilton, one of the leading Vorticist painters. Between 1920 and 1923 he started making high-fired stoneware vases and bowls using remarkable glaze effects. Subsequently he began producing pots brush-decorated with designs which are closely related to the art of his friends Cedric Morris and Ben Nicholson. His contact with contemporary avant-garde artists induced Murray to move towards an emphasis on form and abstract décoration. The other major influence on his life and work was his involvement with Buddhismi "Potting", he wrote, "is practical theology", and his pupils at the Royal College of Art recali his emphasis on "feeling judgement". The book includes a personal tribute by one such pupil, Henry Hammond, and there are illustrations and critiques of the work of his leading pupils - Sam Haile, Heber Mathews, Reginald Marlow, R.J. Washington and Henry Hammond.
As the Foreword states, this book will stand as the definitive mono-graph of its subject and will restore Murray to his rightful position in the history of studio pottery. Vissza