Ceramics
Christopher Dresser, "Pair of Vases," manufactured by Minton, c. 1872-80, earthenware, The Metropolitan Museum of Art, USA.
Aesthetic Ceramics
The late-19th century saw a dynamic and experimental period of ceramics production. This was encouraged by artists and designers, such as James McNeill Whistler and Dante Gabriel Rossetti, who regarded ceramics as integral to the creation of the artistic home.
Both Minton and Doulton, giants of the ceramics industry, established art pottery departments to meet the growing fashion for 'art' wares, and smaller ventures, such as that of William De Morgan (1839-1917), produced some of the most distinctive works of the period.
Motifism
By the 1870s so many historic styles in ceramics production had been revived that designers could adopt an eclecticism that was as liberating as it was overwhelming. What evolved was a 'motifism' that allowed mass producers to create objects using popular Aesthetic images, such as peacocks, owls, fans, and sunflowers. It also enabled designers to take inspiration from different sources and create pieces that appeared fresh and daring.
William De Morgan, "Dish," c. 1888-98, earthenware with lead glaze, V&A Museum, England.
James Hadley, "Teapot," 1882, glazed and enameled Parian ware, Art Institute of Chicago, USA.
Expressionism
Aesthetic ceramic style also has a sense of humor. Christopher Dresser's designs for Minton used a 'semi-humorous' tone, while Doulton championed personal creativity and experimentation. The intention of much ceramic work was clearly to make people smile and, together with its affordable and practical nature, was the perfect means of expressing personality in the home.
"The man who can form a bowl or a vase well is an artist, and so is the man who can make a beautiful chair or table. These are truths; but the converse of these facts is also true; for if a man be not an artist he cannot form an elegant bowl, nor make a beautiful chair."
Christopher Dresser, Principles of Victorian Decorative Design, 1873