stylistic:style_transfer
Studio pottery in Britain

Studio pottery is made by artists working alone or in small groups, producing unique items or short runs, typically with all stages of manufacture carried out by one individual. It is represented by potters all over the world but has strong roots in Britain, with potters such as Bernard Leach, William Staite Murray, Dora Billington, Lucie Rie and Hans Coper. Bernard Leach (1887–1979) established a style of pottery influenced by Far-Eastern and medieval English forms. After briefly experimenting with earthenware, he turned to stoneware fired to high temperatures in large oil- or wood-burning kilns. This style dominated British studio pottery in the mid-20th-century. The Austrian refugee Lucie Rie (1902–1995) has been regarded as essentially a modernist who experimented with new glaze effects on often brightly coloured bowls and bottles. Hans Coper (1920–1981) produced non-functional, sculptural and unglazed pieces. After the Second World War, studio pottery in Britain was encouraged by the wartime ban on decorating manufactured pottery and the modernist spirit of the Festival of Britain. The simple, functional designs chimed in with the modernist ethos. Several potteries were formed in response to this fifties boom, and this style of studio pottery remained popular into the nineteen-seventies. Elizabeth Fritsch (1940-) took up ceramics working under Hans Coper at the Royal College of Art (1968–1971). Fritsch was one of a group of outstanding ceramicists who emerged from the Royal College of Art at that time. Fritschs' ceramic vessels broke away from traditional methods and she developed a hand built flattened coil technique in stoneware smoothed and refined into accurately profiled forms. They are then hand painted with dry matt slips, in colours unusual for ceramics.