White Gums and Thumbnail-Illustrated Listing of All Tralian Studio Ceramics ’
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duce s th e exhibition . Cochrane, paintings, using watercolour and painting , revealin g in-dept h under- formerly of the Powerhouse Muse- pencil, employ broad strokes which standing and use of the behaviour um in Sydney , ha s prepare dacom- ar e almos t completel y non-repre- of ceramic materials. prehensiv e hardbac k catalogu e that sen tational impressions. Th e handlin gofth e larg e bowl illuminates the artworks, the artists Merric Boyd has been held in high Angel and Ramox (1948) achieves a and their families. This contains regard by Australian curators and feelin gofdept hofpain t rarel y seen relevant history, extensive references ceramic historians and has often in ceramics . Th e “ramox ” of the to further reading, a complete been said to be ‘the father of Aus- exhibition title (White Gums and thumbnail-illustrated listing of all tralian studio ceramics ’. Given this Ramoxes) refers to Arthur Boyd’s the works in the exhibition and a nationa l statu sitseem s od d that practic eofconjoinin g image s to timeline of events for the Boyds, as (admittedly after a brief search) I produce a composite such as the well as many larger images of the hav e foun dnoattempt stoplac e him combination of ram and ox, said to works. in an international context other be a symbol of bestial sex. From its opening at the Drill Hall than to refer to his limited wartime Arthu r Boyd’ s painting sinthi s exhi- Gallery, Canberra in August, 2009 travels to England. One appropri- bition were chosen for their focus the exhibition will tour six states ate international comparison would on ceramic sassubjec t matter. I and territories . Full details of the be with the ceramic work of the found it interesting to compare the itinerary are posted on the website: American George Ohr, the “mad method sofapplyin g layer sofcolour www. bundanon.com.au potte rofBiloxi ” wh o worke d earlier in th e painting s an dinhi s ceramic This exhibition raises many ques- tha n Boyd , between 188 8 an d 1910. works . He moves oil paint around tion s abou t Merri c Boyd’ s ceramics. By strange coincidence Ohr’s pot- as a potter might move a thick slip Merric Boyd, ‘Jug with Trees’, 1942, ht 15.8 cm Arthur Boyd , ‘Ange l an d Ramox’ , 1948 , plate , diam .45cm Variou s present-da y ceramist s who tery burned down in 1894 as did – although oil paint stays where it have seen the show or are aware of MB ’s i n 1926. Ohr manipulate d clay wa s put , wherea s th e sli p woul d flow MB ceramics, have expressed the into unconventional vessel forms, an d eve n ou t more . Thi s technique WHITE GUMS AND RAMOXES opinio n tha t th e AB work s stan d but managed to avoid any sense of is see n in St Franci s wit h Potter Ceramics by Merric and Arthur Boyd from the Bundanon Trust Collection the test of time better than those of the awkwardness so evident in MB Arthur Boyd, ‘Man with Fallen Fowers and Dog’, c. 1966, oil on can- MB , which now appear awkward ceramics . Th e mos t ap t comparison vas , 108.8 x 113 cm. This painting includes recurring symbols of Merric’s HIT E Gum s an d ramoxes and naive both in the basic vessel is wit h Artu s va n Briggle ,ofwhom, boots, a shaking epileptic figure, Peter the family dog and the ramox is a tourin g sho w curate d by White gums and ramoxes takes its title from two forms and the applied modelling. parallelin g Boyd’ s descriptio nasthe Grace Cochrane, sourced W characteristic motifs in the work of Merric Boyd His figurative work, using children father of Australian studio pottery, fro m th e collectio nofth e Bundanon and friends as source, is far more it has been said that his pottery in Trust and focused on the ceramics (1888-1959) and Arthur Boyd (1920-1999). Merric was preoccupied with interpreting his local assured. Colorado Springs was foundational of Merric Boyd and his son Arthur to America n ar t pottery . Grace Boyd. It includes sculpture, paint- environment, including the white trunks of gum-trees, The colours of MB ceramics show a limite d palett eofcobal t blues, Cochrane points out that Merric ings and drawings related to their while Arthur’s ‘ramox’ is typical of his interest in Boyd was influenced by Art Nou- potter y activities. Late r work s from hybrid, allegorical figures and beasts. Although the copper greens and iron yellows and browns. He mixed slips and glazes veau; Artus van Briggle is credited th e AM B (Arthu r Merri c Boyd ) Pot- ceramic works of father and son are very different, with ‘having a significant impact tery include collaborative ceramics using the limited range of ceramic many of the same attitudes and approaches to art colorants available to him, compared on the Art Nouveau movement in by artist s suc hasJoh n Perceval influenced both, and link their separate ceramic the US ’ (Wikipedia). and Neil Douglas. The exhibition to those used in later ceramics in pursuits. Merric’s pottery and drawings often draw on The AMB (Arthur Merric Boyd) allow s evaluatio nofth e relativ e art - the exhibition. his family and their environment, while Arthur’s Pottery was set up in 1944. Com- isti c contribution softh e Boyds – MB ’s focus on gum trees and what pared with the pottery of Merric Arthur and Merric – and their cot- ceramics, prints and paintings, consistently refer to might be seen now as Australiana Boyd, the AMB Pottery wares have erie, family and friends to the field the influence of his father. wa s topical , perhap s eve n typical , as a more conventional ceramic char- of ceramics. (From introduction to exhibition and catalogue.) Australian s searche d fo ranidentity acte rofform , an d ‘aroun d th e for m’ An accompanyin g shor t movi e intro - distinct from their colonial status in the early 1900s . This genre can decoration. There is also a greater also be placed in the earlier Euro- colour range . Reds, pale turquoise pean convention of using flora in blue, purple and various shades potter y decoration , initiall y inspired of green confirm access to a wide by Asian imports and adopted by rang eofcommercia l colours .Ipar- most UK and European ceramic ticularly enjoyed the delicacy of the industries ; although MB ’s interpre- Nei l Dougla s Bow l wit h wildflowers . tation is clearly idiosyncratic. Cochran e note s tha t th e AM B pot- ter y wa s se tupbyit s collaborator s Presumably his jugs were intended …‘In order to make a living and fo r use , bu t the y woul d function Arthur Boyd, ‘30 Pieces of Silver’, c . 1950, glazed earthenware tile Arthur Boyd in Bendigo, 1941 finance their wider art interests …’ poorly . The handles had a gap too and s o conventiona l pottery make s Holdin gaButterfly , Ma n wit h Fallen small to fit a hand through com- commercia l sens e being saleable Flowers and Dog and my favourite fortably, and pots with a spout such to a wide r market. Eve nso(Coch- AB painting Potter Sketching . as hi s Jug , Horse and Cart of 1947 ran e quote s fro m Pete r Herbst): An unforesee n effec t thi s exhibition hav e th e bas eofth e spou t place d so ‘We avoided “good taste” like the had on me was becoming aware of lo w tha t wit hitsittin g stil l an y liq- plague ’. Ironically , thi s suggest s that the difficulty of separating the art- uid contained would pour out until anyon e admirin g th e wor k mus t by wor k fro m th e legen dofth e Boyds. the vessel was half empty . Clearly definition be lacking in good taste! A considerable volume of literature aesthetic expression was considered on an artist leads to preconceptions more important than function. On large flat dish forms and espe- cially on large tiles, Arthur Boyd’s which can alter when faced with The MB drawings display the same painterly approach comes to the a body of artistic evidence such as almos t naiv e styl e–seemingl ya for e an d thes e object s hav e great this exhibition, and that is one of quic k scribble d sketch . Hi s drawings charisma . Th e larg e tiles , especially its main value s–to see for yourself . move more towards realism after 30 Piece sofSilver , mak e us e of I commend it to anyone interested MB in ol d ag e stoppe d workin g with vivid colours and a thick transpar- in ceramics, particularly early Aus - clay and focussed on drawing. His ent glaze giving a different quality tralian ceramics, or anyone inter- Merri c Boyd , ‘Figure of Arthu r Boyd to oil painting . In the large bowls, este dinth e rol eofth e Boyd sinAus - age d three years’ , 1923 , hand-formed Susannah and especially Aboriginal tralian art, as a source for personal re-evaluation. earthenware, ht 15.2 cm Groom , the glaze flowing from the Owen Rye ri m durin g firin g meld s int o the Merri c Boy datOpe n Countr y pot Owe n Ry e make s woodfire d ceramics , and tery, Murrumbeena, Victoria, 1914.