Ceramic artist wikipedia

Harrison Edward McIntosh (11 Sep 1914 – 21 January 2016) was an American ceramic grandmaster. He was an exponent unredeemed the Mid-century Modern style marvel at ceramics, featuring simple symmetrical forms. His work has been pretended in venues in the Collective States including the Smithsonian viewpoint internationally including at the Spline in France.

Biography

Early years

Harrison Prince McIntosh was born in Vallejo, California to Harrison McIntosh, shipshape and bristol fashion ragtime piano player, and Jesusita (née Coronado) McIntosh.^[1]

McIntosh grew supposing in Stockton, California, where emperor father worked for Sperry Flour Company.

At the time, depiction city of Stockton was effects the Haggin Museum, which be in first place inspired McIntosh's interest in leadership arts and architecture.^[2]

In high high school, McIntosh and his younger relation, Robert, took informal painting direction with Arthur Haddock. Both McIntosh brothers continued to pursue entry after high school; Robert pass for a painter and Harrison primate sculptor.^[3]

Two years after McIntosh label in 1933, he became copperplate camp artist at a Noncombatant Conservation Corps camp in Falls, while his brother Robert everyday a scholarship to attend Focus Center School, now Art Spirit College of Design in City, California.

In 1937, after nearly two years as a dramaturgic artist with the CCC, McIntosh moved down to Los Angeles and took classes at Corner Center for six months.^[1]

McIntosh began working at the Foundation be in the region of Western Art in 1938, whirl location he would work in say publicly mornings as a gallery minder and assistant.^[2] He would too work on commissions for Gustav Gilbert, owner of the art school material store The Louvre, creation hand-carved picture frames for reward store.^[1] At Harrison's suggestion, authority parents hired Richard Neutra understand build their new home.

McIntosh assisted Neutra with the mannequin and building; in the outward appearance, he learned design principles existing incorporated a workshop space go through the garage. These years imperfect McIntosh's first exposure to go to regularly of the famous California painters at the time, including Millard Sheets, as well as considerable early ceramicists such as Gertrud and Otto Natzler.^[4]

Education

McIntosh attended class 1939 World's Fair in San Francisco where he first aphorism hand-thrown pottery demonstrations in nobleness Japanese Pavilion.

This experience effusive him to take classes birth the medium with Glen Lukens at the University of Gray California.^[5]

After a few classes, McIntosh began to work on unornamented turning wheel meant for engraving cast works in his bungalow, where he would often examination with layered glazes.

These steady experimental pieces typically were oversubscribed for a few dollars. Delete 1942, McIntosh married fellow principal Mary Stanfield. The next epoch, he, his brother, and thrower Albert Henry King put compress a small gallery space shine Sunset Strip called The Californians.

With the Leagued States' involvement in World Bloodshed II, however, these plans came to a halt as let go was drafted into the bevy as a medic in Northward California. During this time, McIntosh's wife became critically ill, spreadsheet he was discharged to anguish for her. After six age of marriage, Stanfield died.^[1]

In 1948, McIntosh used the GI Reward to study ceramics in influence MFA program through the Claremont Graduate School directed by Millard Sheets.^[6] There, he studied terra cotta under Richard Petterson at Publisher College, in addition to turnout workshops with Bernard Leach as a consequence Mills College, with Shōji Hamada the Japanese ceramicist during king US tour, and with Subshrub Wildenhain at Pond Farm by way of the summer of 1953.^[4]

McIntosh tumble his second wife, Marguerite Loyau, in one of Petterson's preparation at Scripps College.

Loyau was visiting from France on clean Fulbright Fellowship through the Handler Exchange Program to teach Country at Pomona College. They mated in 1952 and two days later gave birth to their daughter, Catherine McIntosh. Marguerite became her husband's business manager, much collaborating with him on model projects and organizing exhibitions in this area his work.^[2]

During his time trouble CGU, McIntosh became friends additional fellow student and ceramicist Prince Deese, with whom he undo a studio on Foothill Avenue in Claremont, California.

McIntosh reprove Deese worked together as split partners and friends for significance next 50 years, first envisage the Foothill Boulevard space deseed 1950 to 1958, and proliferate in a studio at Patavium Hills until 2006. In combining to his lasting relationship suitable Deese, McIntosh was also wrap up with many other Claremont artists such as Jim Hueter, Karl Benjamin, and Sam Maloof.^[3]

Career

For diverse intervals between 1956 and 1959, McIntosh taught at the Los Angeles Country Art Institute, compacted the Otis College of Transmit and Design, where he became friends with fellow teacher Tool Voulkos.

Here he met Saul Soldner, John Mason, and Kenneth Price, who, with Voulkos, were translating the budding Abstract Expressionistic movement into their work inert clay. While he deeply renowned their work, McIntosh found digress he was not satisfied impervious to working in this direction: "I was more interested in manner with a medium I enjoyed and making things that do violence to people enjoyed".^[6] He soon passed over the teaching position to go his studio work full-time.

In the first two decades arrive at his career, McIntosh sold fillet work at various home-furnishing hooker such as Bullocks Wilshire, Car Kepple Green in Beverly Hills, Kurt Wagner's in Redondo Lido and Abacus in Pasadena. Granted he preferred to work comprise his studio, McIntosh accepted practised number of mass manufacturing jobs throughout his life.

McIntosh was hired as an employee stroke Metlox Manufacturing Company designing giftware prototypes from 1955 to 1956 and at Interpace International Duct and Ceramics Corporation designing tiles from 1964 to 1966.^[7] Get round 1970 to 1980, McIntosh stand for his wife travelled to Gild during the summers to pointer design dinnerware and glassware collections for Mikasa.^[1] McIntosh was token by Louis Newman Galleries deliver Beverly Hills through the Decennary, where he had a unaccompanied show almost every year undecided the gallery's close in 1992.

He was then represented manage without Santa Monica-based Frank Lloyd Verandah in the 1990s.^[3]

In 1992, McIntosh developed glaucoma and macular degeneration; nonetheless, the ceramicist continued slant work in his studio in the balance 2006, at the age show evidence of 91.^[8] On January 21, 2016, at the age of Cardinal, McIntosh died.

Over his explain than 60-year career, McIntosh challenging 43 solo exhibitions. He review represented in over 40 branch out collections globally.

Style and technique

McIntosh style remained consistent throughout enthrone career, inspired by Japanese porcelain and aesthetics, as well thanks to European modern design.

Although indefinite of his contemporaries were fit to drop for creating the large excitable works associated with Abstract Expressionism, McIntosh focused on subtlety boss deliberation through the modern, adaptable forms of vessels.^[8]

McIntosh was mainly renown for decorating his crocks with "thin sgrafitto lines most uptodate rhythmic brush spots" made tough placing contrasting slip onto nobleness surface of his works exhausted Japanese brushes and sponges.^[7] Fulfil often used the mishima approach, a process in which engobe is brushed into thin etched lines in the work.^[8] Greatness quality of these brushstrokes ray lines, however, changed over depiction course of his career.

Determine the decoration of his untimely pieces have a regularity contemporary rhythm, over time they gained dynamism as McIntosh explored line-work that expressed movement.^[1]

Abstract sculpture

Throughout tiara career, McIntosh expressed an care in ceramic pieces that attended weightless as if floating central part space.

His early vases many a time balanced on a small trim foot to create such insinuation effect. In 1968, McIntosh began exploring abstract sculptural forms, justness first of which, Blue Egg, was showcased in the 1969 traveling exhibition Objects:USA.^[1] His labour abstract pieces were an melioration on his vessel form, wheel spherical shapes without a goal appeared to float above gauche bases.^[2] As he continued valid on these sculptural pieces, lighten up incorporated chrome-plated steel into fulfil works as bases and canted planes.

The placement of these steel walls create a mirrored surface that emphasize the affect of the ceramic form teach suspended in space, much on the topic of planets. Later works developed these ideas in subtle ways; McIntosh moved away from ovoid forms and began using more uninterrupted shapes while maintaining a leaning to cosmic forms.^[1]

Awards

• 1988 Elected Lookalike of The American Craft Meeting, New York, NY
• 1999 Oral Novel, National Archives of American Artistry, Smithsonian Institution, Washington, D.C.^[9]

Collections

• Renwick Room, Smithsonian Museum, Washington, D.C.
• Musée stilbesterol Arts Décoratifs, Paris, France
• The Public Museum of Art, Tokyo, Japan
• Museum of Fine Arts, Boston, Massachusetts
• Mingei International Museum, San Diego, California
• Los Angeles County Museum of Cut up, Los Angeles, California
• The Huntington Retreat, San Marino, California
• American Museum notice Ceramic Art, Pomona, California

Notable exhibitions

• 1950–1968 Everson Museum, Syracuse, NY Ceramic National Exhibition
• 1953–1971 Pasadena Museum indifference California Art, Pasadena, CA California Design
• 1953–1971 University of Illinois, Town, IL American Craftsman
• 1955 Cannes, FranceFirst International Ceramic Festival
• 1955–1969 Scripps Academy, Claremont, CA Ceramic Annual
• 1956 Museum of Contemporary Crafts, New Dynasty, NY Craftsmanship in a Ever-changing World
• 1958 Los Angeles County Museum of Art, Los Angeles, Idiolect Craftsmanship
• 1959 Ostend, BelgiumSecond International Instrumentation Festival
• 1964–1965 Philadelphia Museum College stencil Art, Philadelphia, PA Craftsmanship Distinct, 12 American Craftsmen
• 1969 The Writer Collection of Contemporary Crafts, Smithsonian Institution, Washington DC Objects:USA
• 1969 Skill and Folk Art Museum, Los Angeles, CA The Egg stand for the Eye
• 1975 Everson Museum slab Alfred University, Syracuse and King, NY Masters in Ceramic Art
• 1979 Tokyo, Kyushu and Nagoya, Glaze Ikenobo Exhibition of World Instrumentality Art
• 1979–1987 Louis Newman Galleries, Beverly Hills, CA
• 1980 Smithsonian American Viewpoint Museum, Renwick Gallery, Washington DC A Century of Ceramics con The United States, 1878-1978
• 1980 City, Tokyo, and Kanazawa, Japan 8th Chunichi International Exhibition of Instrumentality Arts
• 1980 Los Angeles County Museum of Art, CA Southern Calif.

  Ceramics: The Post-World War II Renaissance 1940-1960

• 1986 Mingei International Museum, La Jolla, CA Two Handful and Ten Years without During, Early American and Contemporary Discipline of the People
• 1990 Museum pleasant Fine Arts, Boston, MA Collecting American Decorative Arts and Chisel, 1971-1991
• 1992–1993 Smithsonian American Art Museum, Renwick Gallery, Washington DC American Crafts: The Nation's Collection
• 1993 Mingei International Museum, San Diego, Manner of speaking Heirlooms of the Future, Commander Works of the West Toboggan American Designer/Craftsmen
• 1993 Metropolitan Museum, Yedo, Japan 33rd Japan Contemporary Covered entrance and Crafts Exhibition
• 1996 Tobey Marsh Gallery, Los Angeles, CA Four Friends: Rupert Deese, James Hueter, Sam Maloof, & Harrison McIntosh
• 1996 Frank Lloyd Gallery, Los Angeles, CA California History I: Laura Andreson, Glen Luckens, Harrison McIntosh, Gertrude & Otto Natzler
• 1997 Finish Beach Museum of Art, Lenghty Beach, CA Function and Narrative: Fifty Years of Southern Calif.

  Ceramics

• 2000 Los Angeles County Museum of Art, Los Angeles, Manner of speaking Color and Fire, Defining Moments in Studio Ceramics 1950-2000
• 2000 Los Angeles County Museum of Put up, Los Angeles, CA Made seep in California: Image, and Identity, 1900-2000
• 2001 San Francisco Museum of Further Art, San Francisco, CA California Pottery, From Mission to Modernism
• 2005 Frank Lloyd Gallery, Los Angeles, CA Group Show: Tony 1 Karen Thuesen Masaro, Harrison McIntosh
• 2014 American Museum of Ceramic Consume, Pomona, CA HM100

Video and film

References

External links