Skip to main contentBiographyGeorge Ohr (1857-1919) began his career in ceramics as an apprentice to Joseph Meyer, a potter of utilitarian ware who was later distinguished by his contributions to the Newcomb Pottery as chief potter. As early as 1884, Ohr proclaimed his goal to make "no two [pieces] alike" in an era when potteries hoped to achieve a recognizable style of clay-handling, coloration, and motif in order to establish a niche in a competitive market. Ohr's imagination in handling clay led him to twist, crinkle, indent, fold, ruffle, conjoin and apply all manner of ribbon handles in his attempts to re-form the vessel and shift the focus of interest from the simple classical silhouettes copied from ancient Chinese potters to non-representational elements incorporated into the structure of the pot. His sources were contemporary and varied coming from a wide range of geographic locations, from England (Christopher Dresser's designs for Linthorpe Pottery, which were shown at the New Orleans Exhibition in 1884-85) to rural Pennsylvania and the Midwest (traditional utilitarian potter's fair novelties and off-hand work). The majority of his work never entered the marketplace for two reasons: 1) it was considered eccentric and the work of a "mad man" by most reviewers; and 2) it was highly valued by the creator, who was reluctant to sell any of his "mud babies." Most of his work was packed up about 1915 and remained unsold until the early 1970s when it was rediscovered and appreciated anew.
The work of George Ohr stands alone in an era of American ceramics when symmetry of form and painted decoration held sway in the marketplace. An extraordinarily accomplished technician, Ohr threw vessels with extremely thin walls. A master potter, he created symmetrical forms with great finesse but then did everything to destroy the sense of symmetry (against the tyranny of the wheel). His work is also described as whimsical, vibrant and energetic. He sought ways to manipulate the clay and surprise the viewer.
George E. Ohr
1857 - 1919
The work of George Ohr stands alone in an era of American ceramics when symmetry of form and painted decoration held sway in the marketplace. An extraordinarily accomplished technician, Ohr threw vessels with extremely thin walls. A master potter, he created symmetrical forms with great finesse but then did everything to destroy the sense of symmetry (against the tyranny of the wheel). His work is also described as whimsical, vibrant and energetic. He sought ways to manipulate the clay and surprise the viewer.
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