Student drawings by Eileen Nesbit.
Kenneth Clark’s Practical Pottery and Ceramics, published in 1964, was one of the first modern manuals for pottery students. It was based on the ceramics course at the Central School of Arts and Crafts, in Southampton Row, where Clark had taught for several years, and it was one of a trio of books available in the decades after the war, along with Bernard Leach’s A Potter’s Book (1940) and Dora Billington’s The Technique of Pottery (1962). Billington led the course at the Central and taught there for over thirty years, and her book was also based on its syllabus.
Student exercises by Gillian Lowndes.
For some reason, Clark’s book has been overlooked and is not mentioned in books on studio pottery, including two recent scholarly studies, Jeffrey Jones’s Studio Pottery in Britain 1900 – 2005 and Things of Beauty Growing: British Studio Pottery, edited by Glenn Adamson, Martina Droth and Simon Olding.
Practical Pottery and Ceramics was written when the Anglo-Oriental orthodoxy of Bernard Leach was at its height and it represented the opposite pole of studio pottery, centred on Southampton Row. It gives a valuable insight into the very different approach being followed there by the head of department, Gilbert Harding Green, and his team – Clark, Gordon Baldwin, William Newland, Ian Auld, Ruth Duckworth and Richard Bateson.
Student work from the Central School of Art and Crafts.
Clark acknowledged the “sound tradition” that had been established by Leach and his followers, for whom truth to materials was of prime importance, but he looked forward to that tradition being extended to meet the needs and conditions of the present. He welcomed the influence of Picasso (whose foray into pottery Leach had dismissed out of hand):
During this period of change Picasso with his daring, invention, colour-sense and imagination, shattered and shocked the traditional potters with his experiments in ceramics. While his approach was obviously more that of the painter, he added fresh life and a new direction to ceramics, and from his activities stemmed many schools of thought and expression which flowed in the ‘fifties. Ceramists found that their values needed drastic revision, while at the same time they endeavoured to retain an openness of mind an integrity in the use of their materials.
As well as recording the techniques, methods and exercises being taught at the Central in the sxities, the book is invaluable for its illustrations of work by contemporary students, graduates and teachers – Eileen Nesbit (“a student”), Alan Caiger-Smith, Ann Wynn Reeves, Gillian Lowndes, Robin Welch, Ruth Duckworth, Gordon Baldwin, William Newland, James Tower, Nicholas Vergette, Kenneth Clark himself and several less well-known students who are, nevertheless, fully credited.
Ceramic sculpture by Ruth Duckworth and Gordon Baldwin, teachers at the Central.
A personal footnote. My A-level art teacher, Connie Passfield, bought the book when it came out and lent it to me. It was my first practical introduction to pottery. I left school that year and forgot to give it back. That’s the copy these illustrations are from.