Blue and White Tea Bowl ca 1975-1985 Stoneware; ht. 3.75, dia. 6 in. Unsigned The career of Green is now being revisited by collectors of mid-century modern ceramics. These works show he was a fearless colorist and able to create a unique synthesis of Sung and Abstract Expressionism. He studied painting at the University of Pennsylvania in 1936 and the Art Students League in New York from 1936 to 1940. He first came to the attention of the ceramics world in 1958 when he won the Holmquist Award from the Copper-Union Museum (now the Cooper-Hewitt Museum) in New York. Writing in 1983 for a catalog of an exhibition of his work at the New Jersey State Museum in Trenton he states, "Critics most often use the word painterly to describe my ceramics, which is understandable. I was a painter before I was a potter. As a painter, I was attracted to clay for the beauty and variety of the glazes. I never intended to abandon painting, only to apply it to a new medium. Yet, once exposed to the responsiveness of clay and the excitement of a glaze kiln, I never went back. That was thirty years ago. Glazes have fascinated me more so than form. My ceramic forms are developed to provide the ground for glazes: unencumbered and stripped of anything that might intrude on the painting." Condition: Minor chips to the lip, glaze pops and fissures to glaze on the interior of the bowl.
Blue and White Tea Bowl ca 1975-1985 Stoneware; ht. 3.75, dia. 6 in. Unsigned The career of Green is now being revisited by collectors of mid-century modern ceramics. These works show he was a fearless colorist and able to create a unique synthesis of Sung and Abstract Expressionism. He studied painting at the University of Pennsylvania in 1936 and the Art Students League in New York from 1936 to 1940. He first came to the attention of the ceramics world in 1958 when he won the Holmquist Award from the Copper-Union Museum (now the Cooper-Hewitt Museum) in New York. Writing in 1983 for a catalog of an exhibition of his work at the New Jersey State Museum in Trenton he states, "Critics most often use the word painterly to describe my ceramics, which is understandable. I was a painter before I was a potter. As a painter, I was attracted to clay for the beauty and variety of the glazes. I never intended to abandon painting, only to apply it to a new medium. Yet, once exposed to the responsiveness of clay and the excitement of a glaze kiln, I never went back. That was thirty years ago. Glazes have fascinated me more so than form. My ceramic forms are developed to provide the ground for glazes: unencumbered and stripped of anything that might intrude on the painting." Condition: Minor chips to the lip, glaze pops and fissures to glaze on the interior of the bowl.
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