Open Book Publishers
4. 1910–12: Approaching a Crossroads
- Jonathan Mallinson (author)
Chapter of: William Moorcroft, Potter: Individuality by Design(pp. 71–92)
Export Metadata
- ONIX 3.1
- ONIX 3.0
- ONIX 2.1
- CSV
- JSON
- OCLC KBART
- BibTeX
- CrossRef DOI depositCannot generate record: This work does not have any ISBNs
- MARC 21 RecordCannot generate record: MARC records are not available for chapters
- MARC 21 MarkupCannot generate record: MARC records are not available for chapters
- MARC 21 XMLCannot generate record: MARC records are not available for chapters
| Title | 4. 1910–12: Approaching a Crossroads |
|---|---|
| Contributor | Jonathan Mallinson (author) |
| DOI | https://doi.org/10.11647/obp.0349.04 |
| Landing page | https://www.openbookpublishers.com/books/10.11647/obp.0349/chapters/10.11647/obp.0349.04 |
| License | https://creativecommons.org/licenses/by-nc/4.0/ |
| Copyright | Jonathan Mallinson |
| Publisher | Open Book Publishers |
| Published on | 2023-08-31 |
| Long abstract | The accession of George V marked the dawn of a new age, and immediate high-profile interest in the pottery industry from Queen Mary. These years saw the launch of some of Moorcroft’s most ambitious designs, displaying a new palette of rich colours and particularly sophisticated decoration. A highly regarded exhibit at the Brussels International Exhibition of 1910 consolidated his international reputation, and brought renewed prestige (and increasing trade success) for Macintyre’s. His popularity continued to grow in North America, even as the UK’s pottery exports were in steady decline. Diary entries reveal Moorcroft’s tireless promotion of his work in both artistic and commercial circles; this was a highly unusual combination of roles. Contemporary reviews continued to identify Moorcroft as an individual artist (as opposed to an industrial designer). This is all the more significant as the future of ceramic art was increasingly associated with the work of individual potters rather than that of industrial studios. But against this background of artistic and commercial success, the tensions with Watkin continued to grow; surviving documents suggest that this was not simply a clash of priorities, but a more personal antagonism. As Moorcroft’s reputation grew and his working conditions deteriorated, separation from Macintyre’s was becoming inevitable. |
| Page range | pp. 71–92 |
| Print length | 22 pages |
| Language | English (Original) |
Contributors
Jonathan Mallinson
(author)Emeritus Professor of French at University of Oxford
Jonathan Mallinson is Emeritus Professor of Early Modern French Literature and Fellow of Trinity College, Oxford. He has written extensively on prose fiction, comedy and satire of the seventeenth and eighteenth centuries, and has edited works by Molière, Voltaire and Graffigny. His interest in British art pottery and its reception dates back many years.