Cathrine II Empress of Russia
In May 1759, 260 years ago this month, 29-year old Josiah Wedgwood founded his own pottery works.
Born in a family of potters in Burslem, Staffordshire, young Josiah was struck by smallpox and the resulting damage to his leg (which would eventually be amputated) left him unable to operate a potter’s wheel.
He turned his attention to design and experimentation with new clays and glazes, improving on known techniques and creating new styles and ceramics bodies, including the now iconic jasperware, which Wedgwood perfected around 1775. In both pursuits, women, including Cathrine II the Empress of Russia, played a critical role as patrons, artists and factory workers.
To read more visit: Artists, Workers and Tastemakers: Wedgwood and Women – a guest post by Sophie Guiny – All Things Georgian
In 1905, Tunstall Urban District Council produced a Year Book which gave details of the major buildings and places of interest in Tunstall including the Victoria Institute.
The edited account of the history of the Victoria Institute posted below is taken is taken from the Year Book.
THE VICTORIA INSTITUTE
“This building, the foundation stones of which were laid on the 16th May 1889, was erected by public subscription in commemoration of Her Majesty’s Jubilee and comprises a School of Science, Art and Technology and a Public Library…
“On the 24th October 1895, the foundation stone of an extension to the Institute was laid.
“The extension, which included a Museum, a Cookery School and Pottery Decorating Studios, was being erected by the Urban District Council with the help of a grant of £700 from Staffordshire County Council.”
Marshall Colman writes:
“The art and industry movement of the thirties wanted to integrate artists into industry, improve the standard of consumer goods, democratise art and improve public taste. There was a strong interest in education, and Frank Pick, who was one of the leading figures of the Council for Art and Industry, used his influence to nudge the Royal College of Arts towards the teaching of industrial design and hastened the resignation of William Rothenstein as principal.
“I said earlier that this movement for design reform and education reform was able to push forward on all fronts like this – on the industrial front, persuading manufacturers that their products needed to be better designed, and on the consumer front, dissuading shoppers from buying badly-designed objects – because of its belief in objective standards of beauty and the spiritual potential of good design…”
To read the full post visit TOWARDS A STANDARD ‹ MARSHALL COLMAN ‹ Reader — WordPress.com