Exhibitions Philadelphia. A Purer Taste of Forms and Ornaments: Josiah Wedgwood and the Antique. The Philadelphia Museum of Art. The Curated Object

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JOANNE MOLINA, EIC
I'm interested in exploring how aesthetic theory and design/art criticism offer vocabularies for thinking about objects, architecture and space. As Senior Arts + Culture Editor at Interiors magazine, I worked with internationally renown artists, designers, fashion designers, chefs, and freelance writers to collaborate on essays about travel, cuisine, and the arts. I did my graduate work in continental philosophy and aesthetics and taught at DePaul University. I am a former co-editor with Mark Wallace of the language and post-language poetry journal, SITUATION and edited the chapbook series, Propjet.
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Natalie Fasano is NYC-based freelance writer. Natalie focuses on in-depth interviews with artists and believes strongly in the highly intellectual and stimulating social sphere fostered by the international artistic community and its patrons. nfasano3@gmail.com
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JOANN GRECO, SENIOR EDITOR
JoAnn has been writing on art and design for twenty years and she is editor of THECITYTRAVELER . As a former contributing editor to Art & Antiques, she covered topics as diverse as artists books, Hokusai prints, and Emilie Galle vases. In addition to covering crafts, jewelry, collectibles, interior design, and architecture for Conde Nast Portfolio, Metropolis, Interiors, Philadelphia Home and Garden, American Style, Romantic Homes, Seven Arts and Kyoto Journal, her articles on travel, business and lifestyle subjects have appeared everywhere from National Geographic Traveler to Washington Post, from Woman's Day to A&E Monthly. Joann@Joanngreco.com JOANNGRECO.COM

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Krater vase, c. 1790. Made by the Wedgwood factory, Etruria, England, 1759 – present. Stoneware with encaustic decoration, 36 x 20 3/8 x 17 ¾ inches. Gift of Charlotte and David E. Zeitlin in honor of Susan Z. Baer, 1992.

Oil Lamp, c. 1790. Stoneware (basalt ware) with encaustic decoration. Made at the Wedgwood factory, Etruria, England, 1759–present. On loan from the Rubin Collection

Vase, c. 1790 Stoneware (basalt ware) with encaustic decoration Made at the Wedgwood factory, Etruria, England, 1759–present, On loan from the Rubin Collection

Vase and Cover, c. 1805, Stoneware (basalt ware) with encaustic decoration, Made at the Wedgwood factory, Etruria, England, 1759–present, On loan from the Rubin Collection

Vase, c. 1805, Stoneware (basalt ware) with encaustic decoration, Made at the Wedgwood factory, Etruria, England, 1759–present, On loan from the Rubin Collection

Pastille Burner, c. 1815, Stoneware (basalt ware) with encaustic decoration, Made at the Wedgwood factory, Etruria, England, 1759–present, Philadelphia Museum of Art: Gift of Mr. and Mrs. Meyer P. Potamkin

A Purer Taste of Forms and Ornaments: Josiah Wedgwood and the Antique

October 24, 2009 - March 14, 2010

The basalt ware pieces on display here — richly hued in blacks, russets and browns — might not be what made Wedgwood a household name. For that, of course, we must thank the potter's distinctive blue matte vessels and dinner plates with their signature encaustic white figures. These 20 or so pieces instead look to the neoclassical for inspiration and as such are the right choice for an exhibit that celebrates the 250th anniversary of Josiah Wedgwood's factory, the Ivy House Works in Burslem, England.

The factory's early years coincided with the discovery of the ancient buried cities of Pompeii and Herculaneum, and Wedgwood embraced not only the motifs (wheat shafts, lutes) of that time, but the forms such as oil burners and urns. The "Krater" vase, even though designed at the end of Wedgwood's life, pays homage to the red-figure vase painting of the ancient Greeks and Romans. One of the earliest manufacturers to embrace this style, Josiah was instrumental in establishing a taste for it that quickly found favor among the European aristocracy.

For more information, please visit:The Philadelphia Museum of Art

Posted by JoAnn Greco

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