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Rear dust jacket notes: "The Bauhaus, the most famous art school in history, began in Germany in 1919. Among its studio areas was ceramic art or pottery, where one of the first students was a smart, young French-born woman named Marguerite Friedlander (1896-1985), now known by her married name of Marguerite Wildenhain. In time, she was designated a Master Potter, married Bauhaus potter Franz Wildenhain, designed award-winning porcelain pieces, and, after her dismissal as a teacher for being Jewish, left Holland in advance of its invasion by the Nazis. She immigrated to the US, where she joined an artists' community called Pond Farm in the hills above the redwood trees in northern California. For much of her remaining life, she ran her own pottery school, taught hundreds of gifted students, and secured her reputation as one of the century's most influential teachers, craftspersons and artists. More than ten years in the making, this monumental anthology is astonishing in its richness. It was painstakingly brought about through the selfless contributions of dozens of international scholars, artists (many of whom were Marguerite Wildenhain's students), schools, museums and other institutions. Conceived of and compiled by Dean and Geraldine Schwarz (founders of South Bear School), this is a vivid, compelling account -- both heartrending and amusing -- not only of the life and work of an extraordinary artist and teacher, but also of the historical roots of the European concept of Handwerk; the role of pottery at the early Bauhaus; the establishment of Pond Farm by the Herr family; and the continuing, prospering legacy of the Bauhaus pottery tradition in such diverse places as (in Germany) Dornburg and Halle, and (in the US) Decorah, iowa (South Bear), Fairbanks, Alaska (North Bear) and Spring Green, Wisconsin (Adamah). This is a phenomenal archive of hundreds of Bauhaus-related images, both historic and contemporary, interwoven with essays..."

Steeped in modernist ceramic aesthetics, Frans Wildenhain studied under Gerhard Marcks and Max Krehan at the Bauhaus pottery workshop in Dornburg, Germany. There, Wildenhain met another potter, Marguerite Friedlaender, his future wife. Following World War II, Wildenhain emigrated to the U.S. Earning prizes for his art at the 1939 International Exposition in Paris and the 1958 Brussels World's Fair, Wildenhain also received a Guggenheim Fellowship in 1958, became a Fellow of the American Crafts Council and his work is in the collections of the Smithsonian Institution, Everson Museum and the Art Institute of Chicago.This book features archival images as well as more than 150 rich, color photographs of the ceramics exhibited in 2012 at the Rochester Institute of Technology, NY. Six chapters offer contributions to scholarship on the artist, mid-century studio pottery and modern design, monetizing and commercial acceptance of mid-century handcrafted art at an innovative artists' cooperative, university education at the School for American Craftsmen, and an interview with collector Robert Johnson who donated his Wildenhain collection to RIT. The book is an essential document of the exhibition and an excellent reference for those interested in ceramics, crafts, mid-century design and art entrepreneurship.

This is the first book on the American sculptor and ceramist Mary Tuthill Lindheim (1912- 2004) who, with contemporaries Edith Heath, Peter Voulkos, Marguerite Wildenhain, and others, awakened the art world and public to the exciting potential of clay as a fine art medium. A student of Alexander Archipenko, Isamu Noguchi, and Jose de Creeft, Lindheim entered ceramics in 1946 as a fully formed sculptor. A year into her new career, she was exhibiting with the best potters of her generation. A leader in three influential artists organizations the Association of San Francisco Potters, San Francisco Women Artists, and Designer-Craftsmen of California Lindheim worked to foster dialogue among museums, critics, and artists and to break down what she saw as artificial and destructive distinctions between art and craft. During her most prolific period in ceramics, 1947-1969, she was featured prominently in national publications and exhibited in most of the important ceramics and studio craft shows of the period. Her work is in the collections of numerous museums, including Arizona State University Art Museum, the Bolinas Museum, Crocker Art Museum, Mills College Art Museum, Nora Eccles Harrison Museum of Art (Utah State University), and the Oakland Museum of California, among others.

This is the first book on the American sculptor and ceramist Mary Tuthill Lindheim (1912- 2004) who, with contemporaries Edith Heath, Peter Voulkos, Marguerite Wildenhain, and others, awakened the art world and public to the exciting potential of clay as a fine art medium. A student of Alexander Archipenko, Isamu Noguchi, and Jose de Creeft, Lindheim entered ceramics in 1946 as a fully formed sculptor. A year into her new career, she was exhibiting with the best potters of her generation. A leader in three influential artists organizations the Association of San Francisco Potters, San Francisco Women Artists, and Designer-Craftsmen of California Lindheim worked to foster dialogue among museums, critics, and artists and to break down what she saw as artificial and destructive distinctions between art and craft. During her most prolific period in ceramics, 1947-1969, she was featured prominently in national publications and exhibited in most of the important ceramics and studio craft shows of the period. Her work is in the collections of numerous museums, including Arizona State University Art Museum, the Bolinas Museum, Crocker Art Museum, Mills College Art Museum, Nora Eccles Harrison Museum of Art (Utah State University), and the Oakland Museum of California, among others.

Rear dust jacket notes: "The Bauhaus, the most famous art school in history, began in Germany in 1919. Among its studio areas was ceramic art or pottery, where one of the first students was a smart, young French-born woman named Marguerite Friedlander (1896-1985), now known by her married name of Marguerite Wildenhain. In time, she was designated a Master Potter, married Bauhaus potter Franz Wildenhain, designed award-winning porcelain pieces, and, after her dismissal as a teacher for being Jewish, left Holland in advance of its invasion by the Nazis. She immigrated to the US, where she joined an artists' community called Pond Farm in the hills above the redwood trees in northern California. For much of her remaining life, she ran her own pottery school, taught hundreds of gifted students, and secured her reputation as one of the century's most influential teachers, craftspersons and artists. More than ten years in the making, this monumental anthology is astonishing in its richness. It was painstakingly brought about through the selfless contributions of dozens of international scholars, artists (many of whom were Marguerite Wildenhain's students), schools, museums and other institutions. Conceived of and compiled by Dean and Geraldine Schwarz (founders of South Bear School), this is a vivid, compelling account -- both heartrending and amusing -- not only of the life and work of an extraordinary artist and teacher, but also of the historical roots of the European concept of Handwerk; the role of pottery at the early Bauhaus; the establishment of Pond Farm by the Herr family; and the continuing, prospering legacy of the Bauhaus pottery tradition in such diverse places as (in Germany) Dornburg and Halle, and (in the US) Decorah, iowa (South Bear), Fairbanks, Alaska (North Bear) and Spring Green, Wisconsin (Adamah). This is a phenomenal archive of hundreds of Bauhaus-related images, both historic and contemporary, interwoven with essays..."