POL CHAMBOST(1906-1983) - Lot 23

POL CHAMBOST(1906-1983) 1046 commonly known as Nervure, the model designed around [1954] and presented at the IXth and XVth Salons des Ateliers d'Art. Free-form vase. Glazed ceramic proof; black on the outside, yellow on the inside. Marked Poterie Pol CHAMBOST - 1060 - Made in France under the base. Height: 30cm Exhibition: Les Trente Glorieuses - Collection Pascal Marziano1950-1980. Un timbré de céramique -Musée de la Poterie Méditerranéenne, Saint-Quentin-la-Poterie, from April 5 to October 25, 2020. Our work exhibited at this event. Related exhibitions and works: - IXe Salon des Ateliers d'Art - September 1954. Identical models, with color variations, exhibited at this event. - XVth Salon des Ateliers d'Art - September 1957. Identical model exhibited at this event. Bibliography: - Philippe Chambost - Pol Chambost. Sculpteur-Céramiste, 1906-1983 - Somogy Éditions d'Art, Paris, 2006. Identical models and color variants reproduced or shown in period photographs reproduced on pages 81, 96 and 146; model drawing reproduced on page 68. - Pol Chambost, céramiste-designer: de la petite série à la pièce unique, cinquante ans de création - Catalogue of the exhibition held at the Musée de la Poterie Méditerranéenne, Saint-Quentin-la-Poterie (April 8 - September 29, 2018), Éditions Les livres de l'îlot, Neuvic, 2018. Identical models, with color variations, reproduced on page 4 and on the cover. - Les Trente Glorieuses - Collection Pascal Marziano - Catalogue of the exhibition held at the Musée de la Poterie Méditerranéenne, Saint-Quentin-la-Poterie (April 5 - October 25, 2020), Éditions Musée de la Poterie Méditerranéenne, Saint-Quentin-la-Poterie, 2020. Our work reproduced on page 16. Born to a sculptor father and a painter mother, Pol Chambost was naturally drawn to artistic training at the École Bernard-Palissy - later the École des Arts appliqués in Paris - where he studied sculpture. After a period working with his father and training at the École des Arts Décoratifs, he soon became interested in working with clay - a complex, plastic, living material. A self-taught potter, but armed with his knowledge as a sculptor, he approaches the material with a marked attention to volume. His works feature sinuous, organic forms with undulating, flowing contours that evoke elements of the natural world. Their contours are defined by soft, curving lines, sometimes folded or turned in on themselves. Color is also at the heart of his plastic research. Chambost is interested in contrast; his great predilection for matt black is very often associated with the use of bright colors in an almost systematic interior/exterior opposition. Vases, bowls, bottles, dishes, plates: from the early 1950s onwards, Chambost's production included numerous models and series, which he designed and had made in his workshop. His taste for contrasting colors remained unchanged, and his shapes evolved under the prism of other influences. First, Bernard Palissy (circa 1510-1598 or 1590), then ceramists of the 17th and 18th centuries, whose rustic figulines he appreciated - glazed pottery featuring animal figures, fruits or plants in relief. He then created trompe-l'œil pieces, mainly for the table, with naturalistic decoration - some in collaboration with Colette Guéden (1905-2000) for Primavera (Atelier d'Art du Printemps) exhibitions. From the early 1960s, he worked mainly with monochrome earthenware in luminous colors - blue, turquoise, orange, yellow, green - and turned his attention to more classical, traditional forms. The Médicis vase is one such example. Through his subtle use of shapes and colors, Pol Chambost not only explored a wide variety of visual languages, but also forged his own distinctive artistic identity. The quality of his ceramic creations enabled him to take part in numerous exhibitions, art events and fairs - including the Salon des Ateliers d'Art, which he helped to found and in which he participated on many occasions. He received major decorative commissions, and met and collaborated with the most important designers of his time. His ability to bring tradition and modernity together in a new pottery production established him as one of the great names in French ceramics in the 1950s.