1 / 40

Hans Coper

Hans Coper. 1920–1981.

bree
Télécharger la présentation

Hans Coper

An Image/Link below is provided (as is) to download presentation Download Policy: Content on the Website is provided to you AS IS for your information and personal use and may not be sold / licensed / shared on other websites without getting consent from its author. Content is provided to you AS IS for your information and personal use only. Download presentation by click this link. While downloading, if for some reason you are not able to download a presentation, the publisher may have deleted the file from their server. During download, if you can't get a presentation, the file might be deleted by the publisher.

E N D

Presentation Transcript

  1. Hans Coper 1920–1981

  2. Hans Coper (1920–1981), was an influential British studio potter. His work is often coupled with that of Lucie Rie due to their close association, even though their best known work differs dramatically, with Rie's being more functional and traditional, while Coper's was much more abstract and assuredly non-functional. • Born in Chemnitz, Germany, Hans Coper fled to Britain in 1939. He was interned as an enemy alien, and held in Canada for two years; on return to Britain in 1942, he served as a conscientious objector in the Non-Combatant Corps. • In 1946, with no previous experience in ceramics, he began working as an assistant in the studio of Lucie Rie. It is from this time you will find tea sets and cups and saucers made by both Rie and Coper. By the time he left in 1958 to establish his own studio at Digswell House in Hertfordshire, he was already well known as a potter in his own right, experimenting with much more abstract forms that were at the time considered very ahead of their time. Because of the success of his work, he went on to became a leading figure in the 20th century studio pottery movement. Throughout the 1960s he taught pottery at the Camberwell School of Art and the Royal College of Art. He died in Frome, Somerset in 1981 of amyotrophic lateral sclerosis. • Coper would characteristically throw his work on the potter's wheel, then alter and assemble pieces by hand to achieve the finished form. Thus, although made on the wheel, his work has a sculptural quality and is non-functional. The surfaces of his pots tend to be roughly textured and colored with oxides, especially manganese oxide. His distinctive pots take on recognizable "forms" he termed Spade, Bud, Cup, Egg, Flower and Arrow. • Coper's work was widely exhibited and collected even in his lifetime. Today, it is found in the collections of major museums around the world, including the Metropolitan Museum of Art, the Victoria and Albert Museum, the Sainsbury Collection, as well as in private collections worldwide.

  3. Saturn form’1965Hans CoperStonewareh. 24.0 cm

  4. Hans Coper • TitleFrome/Somerset Mediumceramics Size6.3 in • Year1981

  5. Notice Stamp in Base of foot.

  6. HANS COPEREarly ‘Hourglass’ form, c. 1962Stoneware, thrown and assembled. Delicate texturing beneath layers of vitreous slip and manganese glaze.  28 cm. (11 in.) high  • ESTIMATE £5,000-7,000  

  7. "The wheel imposes its economy, dictates limits, provides momentum and continuity. Concentrating on continuous variations of simple themes I become part of the process. I am learning to operate a sensitive instrument which may be resonant to my experience of existence now in this fantastic century." Hans Coper

  8. Enlarge • Hans Coper (1920 - 1981) • Craigievar Castle • circa 1966 - mid 1970s • A large vase with spherical base and flattened cylindrical neck. Brown and cream glazes. Part of the original ceramic collection of Lady Sempill, the castle's last resident, which also includes works by Lucy Rie and Bernard Leach • 50.2 cm

  9. No 38: Globular vase, 1955 • This example bears cut decoration and dates from 1955. It is made of light-coloured stoneware and partly covered in manganese pigment inside and out; the exterior is cut with vertical sgraffito lines through which the body clay appears. The lower half of the interior is coverd with a transparent glaze.

  10. Footed globular vase, c.1953 (P.74.102) • This footed pot is somewhat primitive in appearance. The stoneware body is cut through with short toothed or grooved decoration and covered with white glaze inside and out; the exterior is also brushed with manganese brown pigment in a wide spiral and, producing a pattern of contrasting colours and textures. The foot's exterior is also grooved and brushed with matt brown pigment. In the early 1950s, when this pot was made, Hans Coper shared Lucie Rie's Albion Mews workshop in London and they worked in the same materials, producing very different pots.

  11. It's a small piece with a large history to be living with, stamped with both LR and HC seals (made by Coper) from Albion Mews Pottery 1940's. Beautiful manganese glaze, and subtle variation in wall thickness left from the throwing process.

  12. Coper - “My concern is with extracting essence rather than with experiment and exploration. The wheel imposes its economy, dictates limits, provides momentum and continuity.”

  13. Common Traits • Modern Geometric Forms • European ideals- rejected any reference to traditional craft pottery or oriental ceramics • Combinations of Different Thrown Parts • Altered Shapes • Textured Surfaces • Manganese Oxide, Matte Black Glaze, and Off-White Stoneware • Tall Cylindrical Bases • Initials Stamped in Foot

More Related