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윌리엄 머레이의 작품과 배경 연구

A Study on Works and Activities of William Murray

한국도자학연구 v.16 no.1 , 2019년, pp.129 - 142  

Long-held traditional values and production process of potteries for practical use came to a dramatic shift during the early 20th Century. First of all, in Britain where the machine industry was highly developed, the roles of skilled pottery makers became limited, a change that further accelerated after the first World War. A movement denying and challenging conservative codes of conduct, morals and living styles became prevalent throughout the society, after the long-held trends of Victorian lifestyle. An experimental and confusing challenge that sprouted from such a background attempted to mirror a new spirit of the times, escaping from the traditional techniques of pottery making. During this era, there was an artist who viewed pottery making as an act of art consisting of separate expressions and not something limited to utility and original values, through active exchange with artists of various genres. William Murray started to apply the new attempts of modernistic sculpture and painting to his working process. He also applied an individual concept to works of pottery by himself, even before Bernard Leach came back from Japan and settled in Britain. The two lived the same era and formed competition with one another in many aspects. As the production process and output of pottery became recognized as individual objects of new creation just like the arts and not merely something belonging to routine daily tasks of skilled workers in mass-producing facilities, the roles of Murray and Leach were both important. However, the two had significant differences in defining the nature of craft – whether it should aim for beauty based on its original objective of utility or it can be expanded to individual creation of the arts. This paper attempts to study through the work process and background of Murray’s time, who exhibited an experimental attitude by expanding the expressive range of pottery art. Also, based on this, it explains the reason why Murray’s viewpoint became the roots of the typical characteristic of modern British pottery.

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