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South African studio pottery of the later Twentieth century and its Anglo-Oriental epithet

South African studio pottery of the later twentieth century has consistently been described as ‘Anglo-Oriental’, because it was perceived to adhere to the standard forms of utilitarian wares in plain or subdued colours and decorations, as promoted by the Anglo-Oriental tradition of studio pottery. This dissertation investigates the validity of such an epithet, based on evidence that the pioneer South African studio potters and their successors were exposed to broader pottery influences, and that the oeuvres which they developed reflect what they borrowed, adapted and re-interpreted from such influences. The studio pottery careers and
influences of the pioneers Esias Bosch, Hyme Rabinowitz and Bryan Haden are discussed, and the oeuvres of the second generation of studio potters are also investigated. Attention is given to both the ethics and aesthetics of their studio pottery practices. The dissertation further explores whether the era’s studio potters contributed towards the creation of a distinctive South African pottery identity. / Art History, Visual Arts and Musicology / M.A. (Art History)

Identiferoai:union.ndltd.org:netd.ac.za/oai:union.ndltd.org:unisa/oai:uir.unisa.ac.za:10500/22167
Date11 1900
CreatorsWatt, Ronald
ContributorsHaute, Bernadette van
Source SetsSouth African National ETD Portal
LanguageEnglish
Detected LanguageEnglish
TypeDissertation
Format1 online resource (xi, 134 leaves) : illustrations (mostly color)

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