A young woman in a red coat faces into the wind. Her arms are crossed over her torso, which is pointed at the viewer, and in one of her hands are white strands. Yellow and green paint mark her face, neck, and hand.
Inscribed LC: Workman Signed LR: Elizabeth Olds.1939 Stamped LL: Federal Art Project NYC WPA Addt'l markings: inscribed LRC: 11 Original NY FAP label in file, date in blue: OCT 9 1939 Stamped in black: OCT 16 1939
Ceramic vessel with short neck, rounded shoulder, flared lip and wide mouth covered in iridescent gray-green glaze
The first quarter of this century saw the rise of a number of art potteries in the United States, a facet of the international Arts and Crafts Movement. Founded in Detroit in 1907 by Mary Chase Stratton (employing her married name of Perry at a later date) and Horace James Calkins, the Pewabic Pottery concentrated on hand-built vessels whose shapes were largely derived from traditional Asian ceramics. Under Marry Chase Stratton’s artistic direction, these refined forms were combined with a rich variety of iridescent glazes that became the Pottery’s hallmark.
Most of the works in the Museum of Art’s Pewabic collection come from Margaret Watson Parker, a Detroit-area collector and associate of Charles Lang Freer. Mrs. Parker’s bequest to the University of Michigan included numerous Pewabic works selected personally for her by Mary Chase Stratton for their quality and beauty. Several additional pieces of Pewabic ware came to the University from the collection of H.O. Havemeyer.
Plaque in the form of a snarling lion's face holding a double-edged "severn star" (here only three of the seven stars are depicted as large dots connected by lines) sword in its mouth and ornamented with a red octagon containing the characters for "daqi" surrounded by eight trigrams on its forehead.
This plaque would be mounted above a door to protect a house against malign influences. Each motif exerts a strong influence against evil: the lion is the fearsome king of beasts; the "seven stars" represent the Great Dipper, one of the most powerful asterisms in Daoist heaven; the "seven-star" sword is used in Daoist exorcisms to expe demons; "daqi" is the "Supreme Ultimate" of Daoist beliefs and in conjunction with the eight trigrams (combinations of broken and unbroken lines) is common in good omen designs.
Suite of 12 watercolor sketches, each with a single calligraphic figure painted in the center of the page, typically in 2-3 colors, ranging from super saturated to a very light wash; landscape orientation with holes at top.
Although most of Tuttle’s prolific artistic output since he began his career in the 1960s has taken the form of three-dimensional objects, he commonly refers to his work as drawing rather than sculpture, emphasizing the diminutive scale and idea-based nature of his practice. He subverts the conventions of modernist sculptural practice (defined by grand heroic gestures, monumental scale, and the ‘macho’ materials of steel, marble, and bronze) and instead creates small, eccentrically playful objects in decidedly humble, even ‘pathetic’ materials such as paper, rope, string, cloth, wire, twigs, cardboard, bubble wrap, nails, Styrofoam, and plywood. Influences on his work include calligraphy (he has a strong interest in the intrinsic power of line), poetry, and language. (http://www.pbs.org/art21/artists/tuttle/index.html, accessed 1 Feb 2010)