From the earth comes clay with neither form nor life. When shaped by the hands of an artist potter and exposed to the heat and fire of the kiln this lump of clay can assume form, become a true work of art and thing of beauty.

Art pottery had been an integral part of the Arts and Crafts Era home where everyday objects could be considered art and many companies flourished during this time by producing individually decorated ceramic items. Because of the changes in public tastes and the cost of producing these wares the American Art Pottery Movement was coming to an end during the first decades of the 20th century. The commercially produced pottery from the 1920's on should be considered industrial artware.

This was a tough time for the ceramic artist in America when the art community called studio pottery craft and therefore inferior. This strikes me as strange when the world was calling industrial machine age creations art. This was not the case in Europe where the the potters art was accepted and even revered.

Had it not been for a small group of ceramic art teachers and some college programs the modern Studio Pottery Movement as we know it may not exist. Two of the major programs were at Ohio State where Arthur Baggs was named director of the Ceramic Art program in 1928 and the University of Southern California where Glen Lukens was 'doing his thing' by encouraging form and surface treatment. The foundation of the Modern Studio Pottery movement in America was being established by training the next generation of artist teachers. There were other contributors but that is not for here.

The contributions made by some of the European artists who came to this country must not be overlooked. In my opinion Marguerite Wildenhein and Maija Grotell lead the way as artist teachers but the body of work produced by Gertrude and Otto Natzler must be considered. Their classical forms with 'out of this world' glazes are as relevant today as when they were produced.

An area often overlooked is the contribution made by the Folk potters of the southeast where generation after generation of potters were continuing the traditions of the art.

The above is less than a brief sketch of the origins of the modern Studio pottery movement in America.