Mado Jolain ceramist: Home side, garden side.
Snoeck/Roubaix La Piscine/André Diligent Museum of Art and Industry.| N° d'inventaire | 31020 |
| Format | 19 x 25 |
| Détails | 96 p., numerous color illustrations and photographs, paperback. |
| Publication | Gent, 2024 |
| Etat | Nine |
| ISBN | 9789461619174 |
In the ceramics landscape of the 1950s, the work of Mado Jolain (1921-2019) seduced with its modernity and the formal interplay she multiplied. The ceramist very early on showed a preference for simple, architectural volumes, crafted in such a way that the subtle articulation of light and shadow could flourish. In the early 1940s, Mado Jolain began studying ceramics at the École des Arts Décoratifs in Paris and at the same time attended the drawing and sculpture workshops at the Grande Chaumière. Her production reflected the taste of the time for popular imagery: ridge spikes and stylized roosters rubbed shoulders with religious scenes, ensembles regularly exhibited at the Salon de l'imagerie and the Salon des artistes décoratifs. Success was assured. Colette Gueden, the high priestess of Primavera, called upon her talent, which was soon relayed by Parisian galleries and decorators like Samardiras and Merceron. In 1955, the prestigious La Demeure gallery, which participated in the renaissance of contemporary tapestry, exhibited her work. The true nature of her work was revealed. The development of the construction of the object interested her more than the decoration, which would henceforth tend towards abstraction. Her always utilitarian forms remained original. At the end of the 1950s, Mado Jolain settled with her family on the banks of the Marne, in Champigny, and began a new creative phase that enriched the plant world. These were initially planters and planters coated with a monochrome yellow or anise green enamel, then gears and flowers. The shapes become more refined and stronger, the streaks and perforations become the only decorations articulated around the solids and voids to catch the light.
In the ceramics landscape of the 1950s, the work of Mado Jolain (1921-2019) seduced with its modernity and the formal interplay she multiplied. The ceramist very early on showed a preference for simple, architectural volumes, crafted in such a way that the subtle articulation of light and shadow could flourish. In the early 1940s, Mado Jolain began studying ceramics at the École des Arts Décoratifs in Paris and at the same time attended the drawing and sculpture workshops at the Grande Chaumière. Her production reflected the taste of the time for popular imagery: ridge spikes and stylized roosters rubbed shoulders with religious scenes, ensembles regularly exhibited at the Salon de l'imagerie and the Salon des artistes décoratifs. Success was assured. Colette Gueden, the high priestess of Primavera, called upon her talent, which was soon relayed by Parisian galleries and decorators like Samardiras and Merceron. In 1955, the prestigious La Demeure gallery, which participated in the renaissance of contemporary tapestry, exhibited her work. The true nature of her work was revealed. The development of the construction of the object interested her more than the decoration, which would henceforth tend towards abstraction. Her always utilitarian forms remained original. At the end of the 1950s, Mado Jolain settled with her family on the banks of the Marne, in Champigny, and began a new creative phase that enriched the plant world. These were initially planters and planters coated with a monochrome yellow or anise green enamel, then gears and flowers. The shapes become more refined and stronger, the streaks and perforations become the only decorations articulated around the solids and voids to catch the light.