英国陶瓷艺术家Waistel Cooper出生百年个人展览
2022-02-19

英国陶瓷艺术家Waistel Cooperch(1921-2003)出生一百周年展览正伦敦和爱丁堡的艺术协会举行

Centenary of British potter of Waistel Cooper: 1921-2003 is on view at The Fine Art Society, Edinburgh and London

 

 

去年,是出生于在苏格兰西海岸的艾尔 (Ayr)英国陶瓷艺术家Waistel Cooper出生一百周年,美术协会 (The Fine Art Society) 在爱丁堡和伦敦同时举办一系列展览来庆祝他的成就首次展览将于 2022 年 1 月 13 日开幕。 同著名的陶艺家 Hans Coper 和 Lucie Rie 一起,Waistel 是引领陶瓷发展的中坚力量,引发了一场革命:维多利亚时代的精心装饰的陶器被粗糙的、有纹理的、雕塑的作品和纯粹的形式所取代。 虽然他在苏格兰学习艺术,但他在英格兰南部的萨默塞特郡和康沃尔郡度过了大部分职业生涯,之后他在冰岛度过了四年,在那里建立了自己的陶艺家身份。

 

Last year marked the centenary of British potter Waistel Cooper’s birth in Ayr on the west coast of Scotland and The Fine Art Society is celebrating his work with a series of concurrent exhibitions in Edinburgh and London with the first one opening on the 13th January 2022. Along with the notable potters Hans Coper and Lucie Rie, Waistel was a major force in the evolution of ceramics, instigating what would become a revolution: elaborately decorated Victorian pots were eschewed in favour of rough, textured, sculptural pieces and pure forms. Although he studied art in Scotland, he spent most of his career in the South of England, in Somerset and Cornwall, after spending four years in Iceland where he established himself as a potter.

 

2021年,美术协会(The Fine Art Society)有机会获得Waistel的一个大型唯一的收藏的陶瓷展品,其中有100多件作品,可以追溯到20世纪50年代后期。这些照片是由爱丁堡一位资源丰富的年轻女性收集的,她在1956年偶然遇到了这位艺术家,当时Waistel拜访了她的“chippy”,并邀请她一起参加他的爱丁堡艺术节展览。她成了Waistel陶瓷的收藏家终身朋友,她的女儿也很了解这位陶罐匠,继续为她的收藏添彩。现在,通过对这位艺术家作品的独特概述,是时候重新考虑Waistel在英国艺术家万神殿中的地位了。

 

In 2021, The Fine Art Society had the opportunity to acquire a large single owner collection of Waistel’ ceramics, with over one hundred pieces dating from the 1950s through to his final years. They were amassed by a resourceful young woman based in Edinburgh, who by chance had met the artist in 1956, when he visited her ‘chippy’, and invited her along to his Edinburgh Festival exhibition. She became a life-long friend and collector of Waistel’s pots, and her daughter, who also knew the potter well, continued to add to the collection. Now, with this unique overview of the artist’s output, it is time to reconsider Waistel’s place in the pantheon of great British artists.

 

 

 

在他早年的时候,Waistel就读于埃尔学院,这是一所拥有强大艺术系的传统学校,在那里他继续就读于阿尔布罗思的医院菲尔德艺术学院,在那里他学习了两年。在阿布罗斯,Cooper有机会与当时许多崭露头角的年轻艺术家一起学习。他与罗伯特·科尔克霍恩(Robert Colquhoun)和罗伯特·麦克布赖德(Robert MacBryde)成为好朋友,这两人在战后因反体制行为而声名狼藉。20世纪30年代,Cooper也开始意识到当代英国雕塑的重要新发展,比如亨利·摩尔和芭芭拉·海普沃斯的仿新形态作品。

 

In his early years, Waistel attended the Ayr Academy, a traditional school with a strong art department, and from there he went on to attend the Hospitalfield College of Art in Arbroath, where he stayed for two years. While at Arbroath, Cooper had the opportunity to study alongside many up-and-coming young artists of the day. He became good friends with Robert Colquhoun and Robert MacBryde, who would achieve a certain notoriety after the war for their anti-establishment behaviour. The 1930s was also the time when Cooper was becoming aware of the important new developments in contemporary British sculpture, such as the organic work of Henry Moore and Barbara Hepworth.

 

1939 年,他获得了爱丁堡艺术学院的奖学金,尽管他的学业很快就被战争切断了 1941 年,他从军队退役,并于 1943 年在爱丁堡继续学习,并于 1945 年首次尝试陶器。他搬到伦敦,当时与冰岛艺术史学家 Björn Theordor Björnsson 合住一所房子。 到 1946 年,他搬到了雷克雅未克,在那里他获得了一个教学职位。 他与冰岛艺术家 Gesture Thorgrimsson 一起建造了一座窑并研究粘土,制作了用彩色纸片装饰的陶罐。 他们的陶器将被称为“Laugarnesleir”,其形式和色彩的美学价值受到印加、阿兹特克和玛雅陶器的启发,并融合了欧洲抽象艺术的元素。

 

In 1939 he was awarded a scholarship to Edinburgh College of Art, although his studies were soon interrupted by the war. In 1941 he was invalided out of the Army, and in 1943 he resumed his studies in Edinburgh, where he first experimented with pottery in 1945. He relocated to London where he shared a house with the Icelandic art historian Björn Theordor Björnsson. By 1946, he moved to Reykjavik where he was offered a teaching position. Together with the Icelandic artist Gesture Thorgrimsson he built a kiln and prospected for clay, making earthenware pots decorated with coloured slips. Their pottery would become known as ‘Laugarnesleir’, its aesthetic values of form and colour inspired by Inca, Aztec and Mayan pottery, fused with elements of European abstract art.

 

1950 年,他回到英国,Primavera 画廊的老板亨利·罗斯柴尔德(Henry Rothschild)开始收藏韦斯特尔的作品。 其中一些作品,1954 年的阿姆斯特丹市立博物馆举办的英国当代陶瓷工作室首次集体展览中展出:“Engelse Keramiek”。

 

He returned to the UK in 1950, and Henry Rothschild, the owner of Primavera – an influential gallery – began to stock Waistel’s work. Some of these were featured in the first exhibition of contemporary British studio ceramics en masse: ‘Engelse Keramiek’, at the Stedelijk Museum, Amsterdam, in 1954.

 

1955年,他在春华举办了一次个展,并通过百货公司、利伯蒂百货公司、布罗姆利邓恩百货公司和希尔百货公司取得了进一步的成功。1959年,他达到了更高的高度,他参加了由工业设计委员会和史密森尼博物馆组织的英国艺术家工匠展览,在那里,他的陶器与Barbara Hepworth, Henry Moore, John Piper, Sir Jacob Epstein, Ben Nicholson, Elizabeth Frink and Graham Sutherland作品一起展出。这时,他住在波尔洛克的一间小屋里,与世隔绝,四周树林环绕,交通不便。在这里,维斯特尔受到植物群和动物群的启发,将真菌和其他形式的东西引入他的陶器。

 

In 1955 he held a solo exhibition at Primavera and further success came via the Department Stores, Liberty’s, Dunn’s of Bromley, and Heal’s. He reached even greater heights in 1959, with his inclusion in the British Artist Craftsmen exhibition organised by the Council of Industrial Design and the Smithsonian, where his pottery was shown alongside works by Barbara Hepworth, Henry Moore, John Piper, Sir Jacob Epstein, Ben Nicholson, Elizabeth Frink and Graham Sutherland. At this time, he was living in Porlock, in a lodge isolated and surrounded by woodland, not easily accessed by vehicle. Here Waistel, inspired by flora and fauna, introduced fungi and other forms to his pottery.

 

20世纪60年代是他最成功的时期。他的陶器蕴含一种清晰而独特的声音;粗糙的表面纹理,质朴的有机色调,有棱纹、图案或内饰有釉面切割。当他在康沃尔的彭赞斯生活和工作时,他的后期作品变得更加抽象。他的质朴的森林色调与天蓝色的室内釉面被转换成粗糙的白色和灰色纹理,他创作了大量仿自然形态的紧密连锁形式的抽象雕塑。

 

The 1960s were his most successful period. His pottery had a clear and distinctive voice; a rough surface texture, earthy organic tones, ribbed, patterned or incised with glazed interiors. His later pieces when he was living and working in Penzance, Cornwall, became even more abstract. His earthy woodland tones were exchanged for rough white and grey textures with azure blue interior glazes, and he produced monumental carved abstract sculptures of organic interlocking forms.