Untitled document

Pol Chambost - sculptor, ceramist - 1906-1983
Somogy 2006 / 49 € - 320.95 Fr. / 207 pages
ISBN: 2-85056-993-3
SIZE: 22.5 cm x 27.0 cm

The author of the report: Beatrice Brengues trained as an art historian, she is interested in decorative arts of the twentieth century and continuing research on the sculptor Joachim Costa. She works alongside an auctioneer at Drouot.

Sculptor renewing forms, colorist gifted experimenter talented, outstanding technician, end nester trends, a prominent leader of the profession through his union, bold entrepreneur ... A man can he succeed? It certainly admire the speech held by a son, Philip Chambost Originally this book, starting in the footsteps of his father, Pol, he explains that he really rather little known. Supported by analysis of historians of art ceramics specialists, it weaves the web of her life from family archives and not only gives a full picture of a ceramic artist, but also the history of taste 50s


Surprising as that term Pol Chambost now known to the gaiety of his creations, since his career began as a sculptor funeral. Forméau early 20s at the School of Applied Arts, he follows the footsteps of his father, also a sculptor in marble family Ivry-sur-Seine. It looks from the 30s to ceramics, first as an alternative to stone funerary art, and produced his first pieces to form 1936 to establish a true ceramic workshop. Once past the experimental stage, and acquired great technical, Pol Chambost equips with modern equipment and begin production of FCIS. In his text, which includes the work of Chambost in a broader history of Decorative Arts, Anne Lajoix reminds us that its contribution is the opening up of practice, involving design and execution, a process that goes from the single-piece series.


One secret of his success is that he has surrounded himself with talented people like Peter Roulot Paul Pouchol, Georges Jouve, Louise Edmee Chevallier, Luc Lanel, and many others. Understandably, a man of network to make, just after the war, responsibilities in the House of Unions ceramic art and the Salon des Ateliers d'Art, where he exhibited annually. This allows it to find new markets, such as department stores including brand and directed by Colette Primavera Gueden on Spring. An article by Karine Lacquemant traces this artistic relationship, one stimulating the fantasies of the other in a new logic of mass consumption in mind collection. It assumes full line of items of tableware to meet the good (or bad) taste bourgeois clients of department stores, like those of modern bourgeois uncle, the famous film where the scenery is Tati filled with vases Pottery Ivry, as if there were an aesthetic identity, highlighted by Emilie Bonaventure.


Photos taken from magazines vintage deco, or archive shows, studio shots today, there are many in this book and the sign of an effort iconography. The eye focuses on these iconic pieces often very photogenic. These innovative pieces that could be enough to keep their shape single explicit function. Vases, pitchers sketch free form, organic, undulating and very opaque matte glaze enhances the effects of curves. Vermilion, canary yellow, green spinach contrasted with a black face or white, the palette is also free, mostly gay, furiously 50!

Do we face it: what we need behind the beautiful presentation of these ceramics is to know what parts collectible. From the vast production of Pol Chambost, had only a fragmented knowledge through publications such as the recent reference book Staudenmeyer Pierre (French Ceramics of the '50s, Norma, 2001) but also through catalogs that are often the best tools for land clearing in this discipline. Beyond a collection of signatures reproduced in photo, is the extraordinary heterogeneity of its production that we discover. It then raises some anonymity on smart objects unearthed but also startled when she saw the award as an unsigned piece that was to drag on for months on the shelves of a jug of neighborhood leaving convince a poor plastic under its non-existent value. Here, then objects that will revive the sun of this publication!

Beatrice Brengues

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