Crosseover designers

Does anyone think that when IDing pots ,the likenesses are unacanny, IE Kruetz , cartstens, roth, etc ,surely workers must have moved from place to place with their talents , same as anywhere else Jefferson in England Rigon in Italy , and so on thus influencing the designs -- glazes of the day ed

Yes, I'm sure people moved around but also, like today, at every Design/Product Development meeting there would be a good selection of competitors products sitting in the middle of the table. Obviously, innovation would have to come from somewhere and it would be the companies that had invested in a strong design team who would lead the way.

I know what you are saying ,but most of the shapes/forms of the items for example the two you have shown ,D+B polar decor vase , louis hudson wheel vase, etc have been done since roman times , , some brilliant exceptions granted , Schaeffenacker , peter voulkos etc ,
I was thinking more in terms of the glaze colours and they way they were applied which in effect make vases unique Ed

big ed wrote:Does anyone think that when IDing pots ,the likenesses are unacanny, IE Kruetz , cartstens, roth, etc ,surely workers must have moved from place to place with their talents , same as anywhere else Jefferson in England Rigon in Italy , and so on thus influencing the designs -- glazes of the day ed

I have studied Poole pottery for three years now and have found many of their designs in Scandinavian pottery.

Yes, I see what you mean the technicians rather than the designers....I wonder where they were buying their glazes, were some companies developing their own? Did demand from the German ceramics industry push forward the chemistry or new developments in the chemistry create the industry..chicken/egg...fascinating..someone should write a book about it..........

Take Clarice Cliff for example, given a warehouse of blank pottery and asked to design on it , not very popular at the time ,but the fact is some of the designs were not even hers , factory girls were adding their own to pieces at the time , so no individuality there , same at troika , colour in the blanks , they had so many people coming and going who knows who did what, my point about the glazes was that it can show great talent as and when it's applied ,,waistel cooper throwing in burnt bracken to achieve that look is an example Ed

O.k, to take that off at a slight tangent....do you reckon that there is a discernable difference in british studio of the 50's 60's 70's with its philosophical roots in Arts and Craft revival ( Morris ,Ruskin...) and German ceramics of the same period with its roots in Bauhaus modernism..the former with the emphasis on artist/craftsman the latter on artist/industrial process. Does one look back the other forward?...are they art , craft or just product....is there room for individual expression in one and not the other??
Interesting to hear your thoughts

Ooh.. tangents ,makes me think of school ,always touching but never crossing ,arts and crafts ,no matter how philosophical , always seem to be lumped together as well , however I don't think art /flair can be learned as such ,crafts certainly can , I am not sure about a huge difference between the british studio, 60'70's and the german styles of that period , I hope there is , as for your last question , I think there is room for individual expression in everything , that's why this forum is here , cheers Ed :con2: