Syracuse University Art Galleries

Transcription

1

2 64

3 Maija Grotell's work has always spoken for itself without need for support by explanation or critique. Her status as artist makes further praise superfluous. Yet work, status and statistics leave a silence in any tribute to Maija Grotell that can, perhaps, only be filled by the voices of her students who have best known the strength and sensitivity of her person. Some of those who have worked under her direction (now mature artists themselves) have written of her teaching and of her influence: "At first there was a beam, a way into a creative life and a standard of excellence. Later there was an awareness that there had been such great care for the singular rhythms of each person. With a sense now after ten years of the human density needed to build, to go on some more, and then to share, my gratitude for knowing her grows. I always feel the tender power of her life." "She had great understanding of human situations and faith in one's ability to experience, to gain insight, to grow. Maija provided an environment for intrinsic responsibility of such spiritual depth that realization of its significance continues to increase as time passes." "Maija's influence on my life and work came through her ability to create an atmosphere for productive thought - rather than specific instruction... I gained the freedom of spirit to seek answers for myself." "Her presence still exists in my studio. It is as if another person is present who knows exactly what I am about. I always have the feeling that I must try harder " "I came to study ceramics and was challenged to search for a richer meaning to life. The dynamic vitality of Maij a Grotell constantly challenges one's principles, one's aesthetic development, one's ideas and ideals./i "The realization and the acceptance of the rare wordless words in Maija/s teaching and being had a strong impact which created the formless form - a true form... it is impossible for me to describe her devotion and contribution to the field of ceramics." "... her ethical sense with regard to ceramics has been a model for us./i "Maija's dedication to her concept of an artist and potter and her intensive concentration in her work and in her teaching were apparent to all of us. When I realized, after some ten years, that I did not have that same intensity of purpose in clay, I turned to glass - a direction in which I now find some part her commitment." "To me one of her greatest gifts as a teacher is her extraordinary sensitivity to the individual student as a separate creative personality. She managed to draw from each whatever capabilities he may possess within himself. II "Those who know Maija know the special way in which she communicates her genius. Her influences are like nature - awe inspiring." "She was always very humble and retiring but her work was monumental and inspiring." The sponsoring museums, Cranbrook in particular, are taking special pleasure in arranging this exhibition honoring Maija as she leaves formal teaching. W.M.

4 BIOGRAPHICAL DATA Born - Helsingfors, Finland. Graduated from the Central School of Industrial Art /I Ateneum", Helsingfors, Finland. Came to the United States, October, Instructor at Inwood Pottery Studios, New York City, Union Settlement, New York City, Henry Street Craft School, New York City, Instructor and research assistant, Rutgers University, School of Ceramic Engineering, Head of the Department of Ceramics, Cranbrook Academy of Art, AWARDS The International Exposition Barcelona: Diploma di Colaborador, American Ceramic Society Exposition, Cleveland: Certificate of Excellence, Paris International Exposition: Silver Medal, International Exposition, Cannes: Diplome D'Honneur, The Society of Arts and Crafts, Boston, Massachusetts: Honorable Mention, 1935; Elected Master Craftsman, The National Ceramic Exhibition, Syracuse Museum of Fine Arts: Second Prize, 1936; Honorable Mention, 1933, 1934, 1941; Encyclopedia Britannica Prize and Special Commendation for Group, 1946; G. R. Croker and Company Prize, The Wichita Art Association: First Prize, 1947; Purchase Prize, 1951; Honorable Mention, The Michigan Artist Craftsman Exhibition: The Lillian Henkel Hass Prize, 1949; The Material and Design Prize, 1950; Mr. and Mrs. Harry L. Winston Prize, 1951; The Founders Society Prize, 1953; The Mr. and Mrs. Lawrence A. Fleischman Purchase Prize, The Michigan Academy of Science, Arts and Letters: Award of Merit of the First Class in the Art of Ceramics, 1949, 1950, 1951, The Charles Fergus Binns Medat Alfred University, Cranbrook Founders Medal, Cranbrook Academy of Art Faculty Medal, Executed commissions for General Motors Technical Center and The Cranbrook Foundation; Ceramic Research for Professor Eliel Saarinen; participator in invitational exhibitions. WORKS ACQUIRED BY THE FOLLOWING MUSEUMS FOR THEIR PERMANENT COLLECTIONS Metropolitan Museum of Art, New York, New York Detroit Institute of Arts, Detroit, Michigan Art Institute of Chicago, Chicago, Illinois Everson Museum of Art, Syracuse, New York Cleveland Museum of Art, Cleveland, Ohio Toledo Museum of Art, Toledo, Ohio Walker Art Center, Minneapolis, Minnesota Springfield Art Museum, Springfield, Missouri University Gallery, Minneapolis, Minnesota Museum of Art, University of Michigan Art Department of the University of Michigan Art Galleries, University of Nebraska A--rt Galleries, University of Wisconsin Children's Museum, Detroit, Michigan Wichita Art Association Gallery Galleries - Cranbrook Academy of Art Central Michigan College of Education Ball State Teachers' College The National Gallery, Smithsonian Institution Syracuse University Museum of Contemporary Crafts... 5 SERVED AS A MEMBER OF JURY FOR AWARDS Columbus Art League, Scholastic Awards Detroit, 1945, Michigan Artist Craftsman Exhibition, Haeger Award, National Ceramic Exhibition, Wichita Art Association, Art Association of Indianapolis, Wisconsin State Fair, Craftsmen's Fair, Annual Exhibition of the Toledo Area Artists, Ohio State Fair, Art Exhibition, Sixth Annual Exhibition of Northwest Ceramics, Midwest Designer-Craftsmen Exhibition, South Bend Art Association, The Windsor Art Association, Ontario, Canada, The Ninth Annual Ohio Ceramic and Sculpture Show, 1957.

5

6 47

7

8 24 Tan and white glazes superimposed on brown glaze 1 Green with yellow design 5 1 /zx Il/2X (MCC) 25 Copper red reduced glaze inside - tan and white glazes over brown 2 Black sand in porcelain 7x5 outside 6x31/ Copper red reduction glaze 26 Tan and grey glazes superimposed on brown glaze 5%x21/ /2x61/ Gun metal with blue-green glaze spots 27 Tan and grey glazes superimposed on brown glaze 141/2X (CAA) 4%X71/ (CAA) 5 Gun metal with blue-green glaze spots 28 Tan and grey glazes superimposed on brown glaze 16x x101/ (CAA) 6 Albany slip over unglazed clay 29 Copper red reduced glaze inside - tan and white glazes over brown 8x211/z (CAA) 91/zX61/z outside 7 Ash glaze - Michigan sand 1949 (CAA) 13x51/z Superimposed glaze in tan, grey-green, and brown 8 Copper red reduction glaze 101/zx12% 1949 (EVERSON) 4xl% Grey glaze with tan speckles 9 Michigan clay glaze 12x (SYR) 5 1 Jg31/ Grey-green underglaze with brown speckles 10 Michigan clay glaze 111/zx13 1 / (SYR) 41/4 x (CAA) ":I~~ Tan and white glazes over brown glaze 11 Copper red reduction glaze 101/2 x101/ /zx51/ Spotted glaze - red interior 12 Copper red reduced and white glazes with fish design 6x3% 1950 (MCC) 91/4x71/ (CAA) 35 Grey and white 13 Blue grey glaze with unglazed platinum design 121/2x (OIA) 14x (CAA) 36 Orange and tan glazes over brown glaze 14 Reduced copper glaze 14x x (CAA) 37 Tan glaze superimposed on brown glaze 15 Crackle glaze with spot design 8x x8 ]943 (CAA) 38 Tan glaze superimposed on rust brown glaze with orange design 16 Ash glaze 15xl1/z 1950 (CAA) 161/2x5 3 / Brown glazes superimposed on Albany slip 17 Tan wood ash glaze inside -- blue grey outside 111/4x11/ (CAA) 71/2x51/ Black, white, and orange glazes 18 Ash glaze 13xl11/ (CAA) 20x (CAA) 41 Blue inside - variegated brown ash glaze outside 19 Raised white slip design"- opalescent glaze 121/4xl1% /2X (CAA) 42 Iron brown with white overlay glaze, orange design 20 Copper red reduced glaze inside - brown outside 9x /2X41/ Spotted glaze 21 Copper red reduced glaze inside - brown with tan overlay outside 7%x (MCC) 7x41/ Porcelain 22 Tan and grey glazes superimposed on brown glaze 12%x (OIA) 51/2x8% White glaze over iron brown glaze 23 Tan and grey glazes superimposed on brown glaze 13x (CAA) 91/2x51/

9 46 12x /2X51fz 48 14x xl3/ x71/ x143/4 14x9 53 llx91/ x141/ /2x191/ /zx fzx2 3/ /Zx1 1/z 7 1/4X21/z 12x %x x2% 64 12x1% Blue-green glaze inlaid in brown 1955 (CAA) Glaze design with red rim 1955 (MCC) Blue-green glaze on brown background Blue-green glaze on brown background (CAA) Blue-green glaze on brown background Mat turquoise inside - brown outside 1956 (SYR) Grey glaze inlaid in tan glaze 1956 Tan glaze pattern over brown 1956 Light tan with red brown design 1956 (SYR) White glaze inlaid in turquoise 6%x11/2 57 Inlaid white glaze in iron brown glaze 8%x White glaze inlaid in turquoise 1960 (CAA) White glaze inlaid in turquoise 1960 (CAA) Reduced copper glaze (magenta) 1960 (CAA) Reduced copper glaze (purple) 1960 (CAA) Purple glaze 1962 (MCC) Blue glaze inlaid and superimposed on brown 1963 Glazes superimposed on Albany slip 1963 (CAA) Blue glaze superimposed on brown 1963 (CAA) Blue-green glaze with white and orange design 1965 From the collections of: CAA - Galleries - Cranbrook Academy of Art, Bloomfield Hills, Michigan DIA - Detroit Institute of Arts, Detroit, M i c h i g a n ' EVERSON - Everson Museum of Art, Syracuse, New York MCC - Museum of Contemporary Crafts, New York, New York SYR - Syracuse University, Syracuse, New York

10