The production of Newcomb Pottery spans several decorative styles. Early Newcomb objects reveal the influence of art nouveau decoration, featuring delicate, lilting vegetal and curvilinear designs. Later Newcomb designs took a more abstract, experimental approach. A huge portion of Newcomb Pottery produced at the height of the Newcomb enterprise, however, adapts an arts and crafts aesthetic. These designs featured bold colors with defined outlines of symmetrical and repeating motifs crafted from nature, but simplified to be more dynamic and striking. They are some of the most desired and collected of Newcomb objects–including by LSU MOA–and the most representative of a distinguishable Newcomb style.
IMAGE: Ada Lonnegan (American, 1874–1954), Moth Plate, c. 1896–97, high glaze on white clay, Gift of the Friends of LSU Museum of Art, LSUMOA 93.8.
IMAGE: Mary Given Sheerer (American, 1865–1954), Chamberstick, 1903, high glaze on buff clay, Gift of the Friends of LSU Museum of Art, LSUMOA 88.10.
The arts and crafts movement was prevalent mainly in Britain and the U.S., and was derived in opposition to the industrialization of Britain. Feeling that the “craftsman” was being replaced by the machine, leaving objects without human connection, design philosophers like John Ruskin and William Morris developed the arts and crafts philosophy. Under their somewhat utopian ideas, objects should be useful and affordable, but also beautiful and reflect the personal touch of a craftsperson. These objects would uplift the maker and the owner.
Through the adaptation of this philosophy, the aesthetic style of the arts and crafts movement emerged, particularly in architecture and the decorative arts. Much work following arts and crafts ideals was inspired by nature, including the core of William Morris’ designs. Natural subjects seemed appropriate, as the direct opposite of industrial life. For Newcomb artists, this meant designing from the New Orleans landscape, and many of the forms adapted to Newcomb designs feature plants native to Louisiana.
IMAGE: Henrietta Davidson Bailey (American, 1874–1950), Double-handled Loquat Vase, 1921, matte glaze on buff clay, Gift of Dr. A. Brooks Cronan, Jr. and Diana Cronan, LSUMOA 91.7.18.
IMAGE: Margaret Sterling Lea (American, 1838–1941), Joseph Fortune Meyer (American, 1848–1931), potter, Stylized Magnolia Vase, 1907, high glaze on buff clay, Gift of the Friends of LSU Museum of Art, LSUMOA 86.18.2.
With the popularity of Newcomb designs in Louisiana and throughout the U.S., much scholarship exists on the history of the enterprise, which includes identification of specific plants on many objects. While gathering research for an upcoming gallery guide, LSUMOA staff compared the adaptation of plants in Louisiana by Newcomb artists to the actual plants in their natural habitat.
Newcomb In Real Life Scavenger Hunt:
Look for these plants in your yard or on our next walk–you will be surprised how many Newcomb subjects are even weeds and wildflowers!
IMAGE: Mary Pearl Davis (American, 1882–1956), Pickerel Weed Mug, c. 1895–1902, high glaze on white clay, Gift of Dr. A. Brooks Cronan and Diana Cronan, LSUMOA 88.20.1.
FIND: This plant grows wild near bodies of water and flowers with an upward burst of lilac purple, similar to a lavender plant.
IMAGE: Marie Dehoa Leblanc (American, 1874–1954), St. Tammany Parish Pine Vase, 1909, high glaze on buff clay, Gift of Mrs. R. Gordon Kean, Jr. in memory of her husband, through the Friends of LSU Museum of Art, LSUMOA 93.1.
FIND: This vase depicts the particular variety of pine found in St. Tammany parish: the loblolly.
IMAGE: Irene Borden Keep (American, 1876–1954), Mary Walcott Richardson (American, active 1901–1902), Joseph Fortune Meyer (American, 1848–1931), potter, Iris Vase, 1904, high glaze on buff clay, Gift of the Friends of LSU Museum of Art, LSUMOA 84.14.
FIND: Several varieties of iris are native to Louisiana. They are popularly cultivated in Louisiana gardens as decorative or cut flowers, but also frequently grow wild in damp areas.
IMAGE: Anna Frances Simpson (American, 1880–1930), Black-eyed Susan Candlestick, 1920, matte glaze on buff clay, Gift of the Friends of LSU Museum of Art, LSUMOA 84.48.1.
FIND: The black-eyed susan is another popular choice for gardens that also grows wild during warm summer months. Spot these in fields and along roadways.
IMAGE: Sarah Agnes Estelle Irvine (American, 1887–1970), Moon and Moss Vase, 1920, matte glaze on buff clay, Gift of Katherine W. Watts in memory of her husband, A. Burl Watts, LSUMOA 83.18.
FIND: The moon and moss scene is probably the most notable and desired Newcomb design. While its softer, less defined style marks Newcomb’s divergence from the arts and crafts style, the influence of Louisiana nature still remains. Moss-draped live oaks are a signature scene of southern Louisiana.
Written by LSU MOA Curatorial Assistant, Olivia Johnson