1-3 of 3 results  for:

  • Ceramics and Pottery x
  • Installation Art, Mixed-Media, and Assemblage x
Clear all

Article

Romanian, 20th century, female.

Active in Argentina from 1940 and in France from 1961; naturalised in 1981 in France.

Born 27 November 1923, in Bucharest.

Painter, engraver, ceramicist, collage artist. Figures, landscapes. Designs for stained glass.

Neo-Constructivism, Symbolism.

Simona Ertan took classes in drawing, painting and linoleum engraving in Bucharest from 1934 to 1940. At the end of 1940 she left with her family for Argentina and settled in Buenos Aires. There, while continuing to paint, she took classes in aesthetics and pottery. In 1950, her encounter with Picasso's ...

Article

French, 20th century, male.

Born 1882, in Lamballe; died 22 February 1958, in Paris.

Painter (including gouache/mixed media), watercolourist, potter, engraver, draughtsman, illustrator, designer. Genre scenes, animals, landscapes. Murals, designs for tapestries, designs for stained glass, designs for glazed earthenware.

Méheut studied at the École des Beaux-Arts in Rennes from 1898 and subsequently enrolled at the École Nationale des Arts Décoratifs in Paris and followed the courses of Eugène Grasset at the École Normale d'Enseignement du Dessin. In 1914, he set off on a world trip which enabled him to paint in Hawaii and in Japan, but which he had to abandon following the call for general mobilisation for World War I. During the war, he fought on the front in Artois and in Argonne and drew the daily life of his comrades, published as ...

Article

Kimberley Chandler

English ceramic artist, researcher, and curator. Twomey studied ceramics at Edinburgh College of Art (1991–4) before going on to do an MA in Ceramics and Glass at the Royal College of Art, London (1994–6). In 2011 she became an AHRC Research Fellow at the University of Westminster, London. Twomey is a leading figure in the applied arts; along with ceramists such as Edmund de Waal and Keith Harrison, she is an advocate for craft as commensurable in significance to the wider visual arts. Her practice can be understood as ‘post-studio ceramics’, as her work engages with clay, yet often at a critical distance. Twomey’s work negotiates the realms of performance, serial production, and transience, and often involves site-specific installations. She is especially concerned with the affective relations that bind people and things, and how objects can enable a dialogue with the viewer (‘it is about an articulated use of the constructs that surround clay materials’; see ...