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The Robert A. Ellison Collection of French Ceramics (Ca. 1880-1910) Special Exhibition, February 4, 2014—March 15, 2015*, Gallery 521

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The Robert A. Ellison Collection of French Ceramics (Ca. 1880-1910) Special Exhibition, February 4, 2014—March 15, 2015*, Gallery 521 Making Pottery Art: The Robert A. Ellison Collection of French Ceramics (ca. 1880-1910) Special Exhibition, February 4, 2014—March 15, 2015*, Gallery 521 Organized by Elizabeth Sullivan, research associate, with the support of Jeffrey Munger, curator, department of European Sculpture and Decorative Arts French Art Pottery Determined that pottery vessels should be regarded as true works of art avant-garde ceramicists in France in the last decades of the nineteenth century transformed their craft into an intellectual and emotional endeavor. The pioneers of this revival were Jean Carries, Ernest Chaplet, Theodore Deck, and Auguste Delaherche. These revolutionary artist-potters embraced artisanal traditions while pursuing lost techniques through exhaustive experimentation. Reacting to what they viewed as an excessive and improper use of ornament, they celebrated the simplicity and sincerity of their medium, following the tenets of the Art Nouveau style taking place in Europe. Based on the principles of the British Arts and Crafts movement, Art Nouveau artists sought to reform the decorative arts by emphasizing uniqueness and a return to craftsmanship. Artist-potters found inspiration in Asian ceramics, particularly Japanese stoneware (a hard, dense type of pottery), which was shown in 1878 at the Exposition Universelle in Paris, as well as in the forms, glazes, and techniques of Chinese porcelain and pottery. They also looked to European traditions such as the rustic salt-glazed stoneware of the sixteenth and seventeenth centuries and Gothic sculpture and architecture. In the process they created works of ceramic art that were entirely modern and new. The Robert A. Ellison Jr. Collection of European Art Pottery Robert Ellison has been collecting pottery since the 1960s. Mr. Ellison has sought the highest-quality examples—typically on a monumental scale—by the greatest artist-potters of the late nineteenth and early twentieth centuries to tell the narrative of the art pottery movement in Europe, especially France. In 2009 Mr. Ellison's collection of American art pottery, consisting of more than three hundred works, was presented as a promised gift to The American Wing. In June of last year the Metropolitan Museum acquired seventy-six examples of European art pottery from the Robert A. Ellison Jr. collection, fifty-four of which were generously donated. These Continental and British ceramics, dating from 1867 to the 1930s, were acquired jointly by the departments of European Sculpture and Decorative Arts and Modern and Contemporary Art. The arrival of the Ellison collection of European pottery represents another ceramics milestone in the Museum's history. This exhibition highlights French ceramics from the collection made at the turn of the twentieth century. Comparative works, including Asian ceramics, are featured to illustrate sources of inspiration. *extended; original close date August 18, 2014 Exhibition Checklist Vase with four green handles Auguste Delaherche (French, 1857-1940) French (Paris), ca. 1889 Stoneware Robert A. Ellison Jr. Collection, Purchase, Acquisitions Fund; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and 2011 Benefit Fund, 2013 (2013.487) Delaherche's experiments with Asian-inspired glazes and firing techniques enabled him to produce a range of colors and effects. The drip effect may look accidental, but it was the result of planning and skill. Delaherche was a perfectionist who abandoned any technique with results that could not be predicted or reproduced. He believed that anything achieved entirely by chance, no matter how beautiful, was not true art. Vase with peacock feathers Auguste Delaherche (French, 1857-1940) French (Paris), ca. 1889 Stoneware Robert A. Ellison Jr. Collection, Purchase, Acquisitions Fund; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and 2011 Benefit Fund, 2013 (2013.483) Although Delaherche would later denounce the use of ornament, he frequently used decorative motifs with feathers or floral patterns early in his career. Favored for their iridescence and exoticism, peacock feathers were a popular Art Nouveau motif, appearing on Tiffany glass and other decorative arts. Two examples of this vase were shown in Delaherche's display at the Exposition Universelle in Paris in 1889, where he won a gold medal. Low vase with handles Auguste Delaherche (French, 1857-1940) French (Armentières), ca. 1900 Stoneware Gift of Robert A. Ellison Jr., 2013 (2013.245.1) In 1894 Delaherche left Paris for Armentières, near his native Beauvais in northern France, where he focused on simple robust forms and specialized in monochrome glazes. This pot is typical of his later work, in which he abandoned nearly all ornament, explaining, "It only hides the form." Tall vase Auguste Delaherche (French, 1857-1940) French (Paris), ca. 1893-94 Stoneware Robert A. Ellison Jr. Collection, Purchase, Acquisitions Fund; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and 2011 Benefit Fund, 2013 (2013.485) Delaherche elongated the shape of a traditional vase and added subtle yellow and purple streaks to the saturated red glaze based on Chinese oxblood (sang de boeuf). Such artistic nuances made him a favorite of critics and connoisseurs. One writer explained, "To possess in one's collection one of Delaherche's Grès Flambés is to proclaim one-self one of the cognoscenti of modern ceramic art." This vase is one of only twelve examples of this model, recorded in Delaherche's sketchbook on May 3,1893. Standing cup with cover Sèvres Porcelain Manufactory (French, 1740-present) French (Sèvres), 1879 Hard-paste porcelain Purchase, Friends of European Sculpture and Decorative Arts Gifts, 1990 (1990.238a, b) At the end of the nineteenth century, convinced that ornament should be appropriate to form and material, advocates of modernism criticized revivalist pottery as uninspired and pretentious. Imitation and love of display were cited as roadblocks to progress in the potter's art. Made in a Renaissance-revival style, this cup was an official presentation piece for the winner of first prize at the Exposition Universelle of 1878. Of the disdained French national manufactory at Sèvres, one critic wrote, "The colors are insipid and often vulgar; the decoration rarely quits the beaten track of the usual Sèvres flower and figure subjects. Sèvres is lingering in the traditions of [the past]. It remains deaf to the fame of living and modern art." Vase des bin el I es Hector Guimard (French, 1867-1942) Sevres Manufactory (French, 1740-p resent) French (Sèvres), 1903 Stoneware Robert A. Ellison Jr. Collection, Purchase, 2011 Benefit Fund, 2013 (2013.502) This vase is an extraordinary feat of Art Nouveau ceramics by the French architect Hector Guimard, who designed the iconic Paris Metro entrances. Monumental in scale, the vase des binelies has an architectural presence and a strong organic form, and its curvilinear handles are evocative of the ornate cast-iron elements of Guimard's buildings. The specialized crystalline glaze, developed at the end of the nineteenth century, features iridescent crystal particles that create a sparkling effect. Only five examples of this model were made. Sculptural bowl Clément Massier (French, ca. 1845-1917) James Vibert (Swiss, 1872-1942) French (Golfe Juan), 1900 Stoneware Robert A. Ellison Jr. Collection, Purchase, 2011 Benefit Fund, 2013 (2013.503) Massier specialized in pottery with a metallic iridescent glaze inspired by medieval Spanish lusterware. This bowl is the product of his collaboration with the Swiss Symbolist sculptor Vibert. The iridescent effect of Massier's luster glaze works in harmony with the sculptural imagery, creating an otherworldly sea-like environment for Vibert's water nymphs. Vase with face Pierre-Adrien Dalpayrat (French, 1844-1910) Alphonse Voisin-Delacroix (Swiss, 1857-1893) French (Bourg-la-Reine), 1892-93 Stoneware Robert A. Ellison Jr. Collection, Purchase, Acquisitions Fund; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and 2011 Benefit Fund, 2013 (2013.481) Emerging from the globular body of this vase is the face of a sleeping woman. Dalpayrat collaborated with the sculptor Voisin-Delacroix on a number of pieces, mainly small models. This large-scale vase is one of their most ambitious works. Voisin-Delacroix was associated with the Symbolist movement, and this piece—with the hidden sleeping face- relates to Symbolist themes associated with dreaming. Dalpayrat's streaky glaze in white, blue, yellow, and copper- red adds to the dreamlike effect. Bowl with panthers Pierre-Adrien Dalpayrat (French, 1844-1910) French (Bourg-la-Reine), 1894-95 Stoneware Robert A. Ellison Jr. Collection, Purchase, Acquisitions Fund; Louis V. Bell, Harris Brisbane Dick, Fletcher, and Rogers Funds and Joseph Pulitzer Bequest; and 2011 Benefit Fund, 2013 (2013.482) This bowl reveals two key traits of Dalpayrat's work: sculptural vigor and experimental glazes. The panthers appear to climb around the bowl, poised and ready to pounce, and the glaze is an example of the famous "Dalpayrat red," a distinctive copper-red glaze mottled with streaks of blue, green, and yellow. Square Vase Ernest Chaplet (French, 1835-1909) French (Choisy-le-Roi), ca. 1889 Porcelain Robert A. Ellison Jr. Collection, Purchase, The Isaacson- Draper Foundation Gift, 2013 (2013.477) Chaplet became well known for his Chinese-inspired forms and colored glazes. In the 1880s he learned how to make the desirable but technically difficult oxblood (sang de boeuf) glaze, for which he won the gold medal at the 1889 Exposition Universelle in Paris. Vase in the shape of a winter melon China, Qing dynasty (1644-1911), mid-19th century Porcelain with splashed copper-red glaze (Jingdezhen ware) H. O. Havemeyer Collection, Bequest of Mrs. H. O. Havemeyer, 1929 (29.100.323) The copper-red glaze and simple shape of this Qing-dynasty vase would have appealed to Ernest Chaplet who in 1887 moved to Choisy-le-Roi to devote himself to the production of Chinese-inspired porcelains. Vase Ernest Chaplet (French, 1835-1909) French (Choisy-le-Roi), ca.
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