22:
102:, a leading figure in the mingei movement, said that a craft object "must be made by an anonymous craftsman or woman and therefore unsigned; it must be functional, simple, and have no excess ornamentation; it must be one of many similar pieces and must be inexpensive; it must be unsophisticated; it must reflect the region it was made in; and it must be made by hand."
44:
that favoured plain, utilitarian ceramics. Watson said that the ethical pot,"lovingly made in the correct way and with the correct attitude, would contain a spiritual and moral dimension." Its leading proponents were
90:, "naturally shaped" and originally as conceived should derive from "Oriental forms that transcended mere good looks." Leach had previously spent considerable time in Japan studying eastern crafts and
98:
for the western world; he advocated simplicity (ideally the best pots are so quick to make that they could be "thrown before breakfast"), and pots made to look natural and hand crafted.
215:
270:
105:
According to ceramic art critics of today, this pot style was intended to be modernist, useful, and "democratic in usage" as opposed to the
163:, and they had worked together in the mid-1950s. Through his son David, Bernard was the main influence on the work of the Australian potter
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21:
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227:
252:
Transcript of Yanagi's talk at the first
International Conference of Potters and Weavers, Darlington Hall, Devon, England, 1952
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and a more controversial group of post-war
British studio potters. They were theoretically opposed to the
60:
204:
136:
282:
144:
148:
176:
124:
107:
55:
41:
231:
301:
293:
Studio
Pottery: Twentieth Century British Ceramics in the Victoria and Albert Museum.
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26:
38:
Studio
Pottery: Twentieth Century British Ceramics in the Victoria and Albert Museum
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132:
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156:
160:
68:
64:
155:, Clary Illian and Jeff Oestrich. He was a major influence on the leading
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181:
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271:
A Ceramic
History: Pioneering Definitions 1900-1940 The Studio Pot.
20:
86:(1940). He expanded the theories that ethical pots should be
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198:
196:
94:. His ethical pot idea was a rough interpretation of
262:
Critical
Ceramics: The "Unknown Craftsmen" is Dead.
8:
36:" was coined by Oliver Watson in his book
192:
147:. His American apprentices included:
7:
111:and also opposed to industrial art.
78:theory and style was popularized by
40:to describe a 20th-century trend in
14:
274:File retrieved February 10, 2007.
265:File retrieved February 10, 2007.
139:and Michael Leach (his sons),
1:
129:Katherine Pleydell-Bouverie
119:The potters apprenticed to
329:
281:, Faber and Faber, 1988.
115:Potters in the movement
25:Ethical teaware by the
16:Trend in studio pottery
29:
61:William Staite Murray
24:
143:, Kenneth Quick and
205:Collecting Ceramics
59:of potters such as
30:
277:Leach, Bernard.
268:de Waal, Edmund.
145:Richard Batterham
320:
291:Watson, Oliver.
253:
250:
244:
243:
241:
239:
230:. Archived from
228:"Studio Reviews"
224:
218:
213:
207:
202:
149:Warren MacKenzie
141:William Marshall
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327:
323:
322:
321:
319:
318:
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313:English pottery
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297:
279:A Potter’s Book
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251:
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237:
235:
226:
225:
221:
216:Adelaide Review
214:
210:
203:
194:
190:
173:
117:
84:A Potter's Book
51:expressive pots
17:
12:
11:
5:
326:
324:
316:
315:
310:
308:Studio pottery
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234:on 16 May 2007
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191:
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179:
177:Studio pottery
172:
169:
125:Michael Cardew
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113:
42:studio pottery
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13:
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9:
6:
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3:
2:
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287:0-571-04927-3
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259:Britt, John.
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121:Bernard Leach
114:
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100:Soetsu Yanagi
97:
93:
89:
85:
81:
80:Bernard Leach
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72:
70:
66:
62:
58:
57:
56:fine art pots
52:
48:
47:Bernard Leach
43:
39:
35:
28:
27:Leach Pottery
23:
19:
292:
278:
269:
260:
248:
236:. Retrieved
232:the original
222:
211:
153:Byron Temple
133:Norah Braden
118:
108:fine art pot
106:
104:
83:
75:
73:
54:
50:
37:
33:
31:
18:
165:Ian Sprague
157:New Zealand
137:David Leach
88:utilitarian
76:ethical pot
34:ethical pot
302:Categories
238:9 February
161:Len Castle
69:Hans Coper
32:The term "
123:include:
65:Lucie Rie
171:See also
188:Sources
159:potter
285:
182:Mingei
96:mingei
92:mingei
283:ISBN
240:2007
74:The
67:and
82:in
53:or
304::
195:^
167:.
151:,
135:,
131:,
127:,
71:.
63:,
242:.
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