Marguerite Wildenhain (1896-1985) was a German-born ceramic artist who settled in the United States after World War II. She was known for her unique style of wheel-thrown pottery and her teachings at Pond Farm, an art school she founded in California. Her work was inspired by her love of nature and her belief in the spiritual power of art.
Exploring the Creative Vision of Marguerite Wildenhain: A Ceramic Artist’s Journey
Known for her distinctive approach to wheel-thrown pottery and her contributions to the American studio pottery scene, Marguerite Wildenhain (1896-1985) was a pioneering ceramic artist.
German-born Wildenhain received his art education at the Bauhaus school in the 1920s under the guidance of well-known creatives like Paul Klee and Wassily Kandinsky. Her experience at the Bauhaus had an impact on her artistic philosophy, which placed a strong emphasis on craftsmanship, simplicity, and the relationship between art and nature.
In order to avoid the rise of the Nazi government in Germany in the 1930s, Wildenhain emigrated to the United States. She started teaching there at the University of Iowa’s School of Fine Arts, where she created her distinctive wheel-thrown pottery that stressed clay’s organic shapes and textures.
Wildenhain established Pond Farm, a summer art school in California, in the 1940s. There, she continued to refine her method of working with clay and passed along to subsequent generations of students her artistic ideology. Her lessons stressed the value of unique expression, improvisation, and a strong bond with nature.
Throughout her lifetime, Wildenhain’s pottery was widely displayed and collected, and her writings and lessons continue to have an effect on the studio pottery community today. Her legacy is honored by museums and galleries all over the globe, and her creations continue to serve as an example for both professional and amateur ceramic artists.
Wildenhain’s Pond Farm
Marguerite Wildenhain, a ceramicist, established Pond Farm, a summer art program in Guerneville, California, in 1949. The school, which was created to offer artists a natural and rustic setting in which to explore their creativity and advance their skills, was named after the small pond on the property.
As a pottery and sculpture center, Pond Farm was founded by Wildenhain, and over time it developed into a haven for scholars, creatives, and art enthusiasts from all over the globe. The school provided a variety of courses, from intensive workshops to one-year apprenticeships, all of which aimed to help students advance their technical knowledge and foster their unique expression.
At Pond Farm, Wildenhain stressed the value of getting in touch with the outdoors and the environment, which she thought were essential to the development of creativity. She also pushed her pupils to discover the potential of their chosen medium and to create their own distinctive styles.
With teachers and students living and working together in a close-knit community, Pond Farm has earned a reputation for its distinctive blend of creativity and community. The way that Wildenhain approached art and education has continued to inspire artists and educators all over the globe. Many of her students went on to become well-known ceramic artists in their own right.
Pond Farm is currently cared for by the nonprofit The Wildenhain Arts Foundation, which also provides workshops and other programming in honor of Wildenhain.
How Did Pond Farm Collection Contribute To Preserving Her Legacy?
Through a number of exhibitions, talks, and other instructional initiatives, The Pond Farm Collection has been instrumental in preserving Marguerite Wildenhain’s legacy.
The Luther College Fine Arts Collection received the Pond Farm Collection in 1996, enabling ongoing investigation, analysis, and exhibition of Wildenhain’s work. Numerous shows have featured the collection, such as “Marguerite Wildenhain and the Bauhaus” at the Bauhaus-Archiv Museum in Berlin in 2003 and “Marguerite Wildenhain: Educator, Potter, Artist” at the Museum of International Folk Art in Santa Fe, New Mexico in 2011.
A number of lectures and academic papers have also been written about the Pond Farm Collection, such as “Marguerite Wildenhain: The Significance of Pond Farm,” which was given at the American Ceramic Circle Symposium in 2003.
The Pond Farm Collection has made it possible for scholars, curators, and the general public to view Wildenhain’s work, ensuring that her contributions to the field of ceramic art are recognized and valued for a long time to come. As a result of Wildenhain’s distinctive aesthetic and artistic vision, it has also acted as a source of inspiration for modern artists.
What Are The Different Styles Of Pottery That Wildenhain Is Known For?
Marguerite Wildenhain was a well-known ceramic artist who produced a wide range of pottery that demonstrated her adaptability and originality. Her work, which reflected her distinctive approach to pottery, varied from delicate flower pots to bolder pieces with geometric designs.
Her use of the wheel to produce vessels with thin walls and delicate forms was one of Wildenhain’s defining characteristics. Her works frequently integrated organic, flowing designs inspired by natural elements, like the contours of leaves or the texture of rocks. In order to produce distinctive finishes that complemented her forms, she also worked with glazes and firing methods, using wood and other natural materials.
Wildenhain produced bolder, more sculptural pieces that included geometric shapes and abstract patterns in addition to her delicate forms. In contrast to her more organic forms, her work in this manner frequently featured strong lines and angles. These pieces, which demonstrated her technical prowess and creative vision, were frequently bigger and more intricate than her vessels.
Wildenhain stayed steadfast in her belief that art ought to be approachable and pertinent to daily life throughout her career. Her work shows her belief that pottery had a practical purpose as many of her pieces are made for daily use. Her emphasis on functionality and aesthetics, along with her technical expertise and creative vision, made her a significant character in the ceramics industry.
What Are The Different Techniques That Wildenhain Uses To Create Her Pottery?
Wheel-throwing, glazing, and firing were just a few of the methods Marguerite Wildenhain used to make her pottery. Every step of the pottery-making process showed her mechanical expertise and attention to detail.
Wheel-throwing, a way of making pottery on a potter’s wheel, was one of the crucial methods employed by Wildenhain. She was adept at using the wheel to mold and perfect her forms as she fashioned vessels with thin walls and delicate shapes.
In addition to her glazing methods, Wildenhain was renowned for her use of sand and other organic materials to produce distinctive finishes. In order to accomplish the desired results, she frequently tried out various glazes and firing methods, employing multiple firings and various temperatures.
Shino glaze, one of Wildenhain’s trademark glazes, produced a matte finish with a warm, reddish-orange color. She also employed a number of other glazes, such as tenmoku, which produced a rich, dark finish, and celadon, which produced a green or blue finish.
Wildenhain experimented with firing methods in addition to glazing methods, such as wood-firing, which required heating the kiln with wood rather than gas or electricity. With variations in color and texture that mirrored the flames and ash from the firing process, wood-firing gave the pottery a distinctive finish.
Overall, each step of the pottery-making process displayed Wildenhain’s technical expertise and artistic vision. Her exploration of various methods and materials contributed to the development of her distinctive aesthetic and made her a significant figure in the pottery community.
What Pieces Are Included In The Luther College Fine Arts Collection?
The Luther College Fine Arts Collection is made up of a wide variety of works, including decorative arts, prints, photos, sculptures, paintings, and prints. With more than 1,500 items, the collection primarily consists of American art and global relics.
The collection features some noteworthy pieces by modern artists like Kiki Smith and Vik Muniz as well as American painters like George Inness, Childe Hassam, and Robert Henri. Along with a variety of decorative arts, such as pottery, textiles, and furniture, the collection also contains works by European artists like Marc Chagall and Salvador Dali.
The Luther College Fine Arts Collection also houses temporary exhibitions that highlight the work of modern artists and probe topics related to the humanities and the arts, in addition to the permanent collection. The collection offers chances for study, education, and public engagement, making it a valuable resource for students, faculty, and the larger community.
How Did Wildenhain’s Time At The School Of Fine And Applied Arts Influence Her Later Work?
Her artistic vision and technical proficiency as a ceramic artist were greatly influenced by Marguerite Wildenhain’s experience at the School of Fine and Applied Arts in Germany.
Wildenhain was exposed to a broad variety of techniques and styles while she was a student at the school and trained under some of the top figures in the ceramics industry. She was especially influenced by the Bauhaus movement, which placed a strong emphasis on the harmony of art, craft, and design as well as the value of useful objects in daily living.
Training at the school pushed Wildenhain to explore with various forms and finishes while emphasizing technical mastery. She received instruction in wheel-throwing, glazing, and firing methods, and she was urged to create a distinctive aesthetic that fused conventional methods with cutting-edge design.
During her time at the school, Wildenhain also developed a passion for learning and a belief in the value of imparting knowledge and skills to upcoming generations of artists. She eventually used this dedication to education to found Pond Farm, a summer art school in California where she mentored and taught countless artists.
Her experience at the School of Fine and Applied Arts profoundly influenced Wildenhain’s later work, influencing her creative perspective, technical proficiency, and dedication to education. Her distinctive ceramics approach and style are a reflection of her training as well as the larger creative and cultural environment in which she was working.
What Design Elements Were Incorporated Into Wildenhain’s Tea Set Designs?
A variety of design elements were incorporated into Marguerite Wildenhain’s tea set designs to represent her distinctive artistic vision and technical proficiency as a ceramic artist.
With clean lines and an emphasis on utility, Wildenhain’s tea sets were renowned for their simplicity, elegance, and focus on design. Her works frequently combined modernist design principles with traditional pottery elements, such as the use of strong geometric shapes and contrasting textures, as well as natural materials and straightforward forms.
Rich, earthy glazes, delicate handles, and distinctive spouts were just a few of the ornamental elements that were used in Wildenhain’s tea sets. She frequently incorporated distinctive design elements, such as lids that double as cups or intricate details that became apparent only upon closer examination, to create a sense of movement and visual interest.
In my opinion, Wildenhain’s tea set designs mirrored her distinctive ceramics style and method, fusing conventional methods with contemporary design ideas to produce useful objects that were both lovely and practical. Due to her impact on the ceramics industry and the enduring appeal of her work, her tea sets are still sought after by collectors and ceramic enthusiasts today.
How Did Wildenhain Run A Successful Pottery Studio Despite Financial Adversity?
Despite confronting financial hardship, Marguerite Wildenhain managed a prosperous pottery studio thanks to her commitment to her craft, her dedication to education, and her capacity for change.
Through her devotion to her art, Wildenhain was able to overcome financial hardship in one of the most important ways. Her work was highly prized by collectors and fans because of her technical expertise and creative vision. She became known as one of the top ceramic artists of her period thanks to her dedication to quality and her willingness to try out novel techniques and materials.
Wildenhain’s dedication to schooling was a key element in her success. She established Pond Farm, a summer art academy in California, where she mentored and instructed countless artists over the years. This helped to establish her as a prominent figure in the ceramics industry with a wide network of contacts and supporters in addition to providing a source of income.
Finally, Wildenhain was able to adjust to shifting conditions and discover fresh chances for development and success. For instance, she was able to find a teaching position at the University of Rochester after being forced to abandon Pond Farm due to financial issues, where she continued to teach and produce pottery.
I think that a combination of factors, including Wildenhain’s commitment to her craft, her commitment to education, and her capacity to adjust to changing circumstances, contributed to her success as a ceramic artist and studio owner. Her tale is proof of the tenacity and inventiveness of artists in the face of difficulty.
In What Ways Is She An Important Figure In North American Women Artists History?
For a number of reasons, Marguerite Wildenhain is significant in the annals of North American women artists.
First and foremost, Wildenhain was a trailblazing female potter who made a big contribution to the growth of ceramics in North America. Her distinctive aesthetic and method of working in pottery contributed to her rise to prominence in the industry and had a profound impact on subsequent generations of artists.
A passionate instructor, Wildenhain devoted her life to guiding and instructing young artists. She established Pond Farm, a California summer painting program where she mentored and inspired a number of artists who went on to become well-known individuals in their own right. She inspired many young artists to seek careers in the field and contributed to the development of ceramics as a respected and valued art form in North America.
Last but not least, Wildenhain served as a powerful ambassador for women in the arts and a representation of the strength of imagination and fortitude. She faced many difficulties because she was a woman working in a male-dominated profession, but she never wavered in her dedication to her art, continuing to create stunning and cutting-edge works all the way to the end of her life. Her tale serves as motivation for female artists everywhere and exemplifies the power of art to dismantle barriers and change people’s lives.
I contend that Marguerite Wildenhain is a significant person in the history of North American women artists because of her contributions to the ceramics industry and her dedication to the arts and education. Her legacy also inspires and influences artists all over the world to this day.
How Does Wildenhain’s Ceramic Art Reflect American Mid-Century Studio Ceramics Trends?
Several mid-century American studio ceramics styles can be seen in Marguerite Wildenhain’s ceramic artwork.
First and foremost, a major motif of mid-century studio ceramics was Wildenhain’s emphasis on handcrafted items that were both beautiful and functional. Wildenhain’s focus on the handmade was in line with the zeitgeist at a time when many artists were moving away from industrialized mass production and toward more individualized, artisanal approaches to creating things.
The mid-century design aesthetics, which preferred minimalism and understated grace, were also reflected in Wildenhain’s use of straightforward forms and clean lines. Her work frequently had plain textures that showed off the clay’s inherent beauty and her deft handling of the medium.
The experimentation and playfulness that were characteristic of mid-century studio ceramics were also present in Wildenhain’s work. She incorporated contrasting textures and materials to give her pieces depth and complexity, as well as a feeling of movement and visual appeal, through the use of asymmetry, irregular shapes, and unexpected details.
Last but not least, Wildenhain’s artwork exhibited the growing fascination with folk art and traditional crafts that characterized American art and design in the middle of the 20th century. Her works frequently incorporated modernist design principles while drawing from traditional pottery methods and forms to produce a singular and recognizable style.
My understanding of ceramics leads me to believe that Marguerite Wildenhain’s work embodies many of the major themes and trends of mid-century American studio ceramics, including a focus on the handmade, minimalism, experimentation, and playfulness. Her legacy continues to influence and inspire ceramic artists today.
Which Works By Her Can Be Seen At The Museum Of Arts And Design Today?
There is a sizable exhibit of Marguerite Wildenhain’s works at the Museum of Arts and Design in New York City. The following are a few of the items from her collection that are on display at the museum:
The “Two-Spouted Pot” is a 1960s-era stoneware pot manufactured by Wildenhain. It has two spouts and an unglazed surface to highlight the clay’s inherent attractiveness.
“Teapot” – This is a 1960s-era Wildenhain ceramic teapot. It has a handle and a spout, and its form is straightforward and practical.
Marguerite Wildenhain produced the stoneware dish known as “Two-Spouted Pot” in the 1960s. The pot is unique and recognizable because, as its name implies, it has two spouts, one on each side.
The pot’s exterior is unglazed, letting the inherent beauty of the clay show through. The pot has a feeling of depth and character thanks to the clay’s rough and irregular texture as well as its minor color and tone variations.
Clean lines and a subtle curve that draws the eye from one spout to the other characterize the pot’s basic yet elegant shape. Small and unobtrusive handles contribute to the general feeling of harmony and balance.
The play on the concept of utility in “Two-Spouted Pot” is one of its most intriguing aspects. The presence of two spouts adds an element of ambiguity and playfulness to the pot, which is obviously intended to contain and pour liquid. The piece has an element of surprise and delight because it’s not instantly obvious which spout is meant to be used or whether both can be used at once.
I believe that “Two-Spouted Pot” is a stunning and distinctive illustration of Marguerite Wildenhain’s talent as a pottery artist. It is a timeless and enduring piece of art due to the way that it combines texture and simplicity, form, and function.
Vase with Two Handles
Stoneware vase named “Vase with Two Handles” created by Wildenhain in the 1950s. It has a straightforward, elegant form and two handles.
Marguerite Wildenhain produced a stoneware dish in the 1950s called “Vase with Two Handles.” It is a straightforward yet sophisticated work that displays Wildenhain’s talent as a ceramic artist.
The vase is tall and thin, with a flared rim that gives the object a feeling of openness and lightness. Since the surface is unglazed, the clay’s original structure and color can be seen through. The vase has a feeling of depth and character thanks to the clay’s rough and irregular texture as well as its minor color and tone variations.
One of the vase’s most recognizable elements are its two handles. They are discreet and small, but they give the piece a harmony and balance element. They also give the vase a feeling of functionality by making it simple to pick up and move.
The way “Vase with Two Handles” plays with the concept of simplicity is one of its most intriguing aspects. The vase is a work of art in and of itself, even though it is obviously intended to hold and show flowers or other decorative items. Clean lines, gentle curves, and the natural clay texture all combine to produce a feeling of harmony and balance that is both attractive and practical.
Tall Bowl with Handles
This stoneware dish, called “Tall Bowl with Handles,” was created by Wildenhain in the 1950s. It is tall, elegant, and has two arms.
Marguerite Wildenhain produced a ceramic bowl in the 1960s called “Tall Bowl with Handles.” The bowl is tall and thin, as its name implies, and has two tiny handles that give it a sense of balance and functionality.
Because the bowl’s surface is unglazed, the clay’s authentic grain and color can be seen. The bowl has a feeling of depth and character thanks to the clay’s rough and irregular texture as well as its minor color and tone variations.
Despite being discreet and small, the handles give the piece a harmony and balance element. They are placed on the opposite sides of the bowl, which gives the composition a feeling of stability and symmetry.
The way that “Tall Bowl with Handles” plays with the concepts of shape and function is one of its most intriguing aspects. The bowl is a piece of art in and of itself, even though it is obviously intended to hold and showcase decorative items. Clean lines, gentle curves, and the natural clay texture all combine to produce a feeling of harmony and balance that is both attractive and practical.
“Tall Bowl with Handles” is, in my view, a lovely and distinctive illustration of Marguerite Wildenhain’s talent as a ceramic artist. It is a timeless and enduring piece of art due to the way that it combines texture and simplicity, form, and function.
The collection of Marguerite Wildenhain’s artwork at the Museum of Arts and Design is a testament to her talent and ingenuity as a ceramic artist and exemplifies the pieces’ enduring beauty and contemporary significance.
Conclusion And Summary
Potter Marguerite Wildenhain, a prominent character in the ceramics community, was renowned for her technical mastery, creative vision, and commitment to education. Her contributions to the discipline assisted in reformulating pottery’s position in modern art and design.
The artist known for her delicate forms, striking designs, and distinctive finishes was recognized as a master of her trade. Pushing the limits of conventional pottery, she worked with various glazes, firing methods, and materials to develop a unique aesthetic that was both aesthetically pleasing and useful.
Along with her technical proficiency, Wildenhain was a skilled teacher who founded Pond Farm, a summer art school in California, where she mentored and instructed a number of generations of artists. Her educational philosophy stressed the value of acquiring technical skills while also promoting the freedom of the individual and creativity.
Her work is honored in museums and galleries all over the globe, and Wildenhain’s legacy continues to inspire ceramic artists there as well. She became one of the most important and influential potters of the 20th century thanks to her contributions to the field of ceramics, which helped to redefine the place of pottery in modern art and design.
Marguerite Wildenhain Was A Highly Accomplished Ceramic Artist
Marguerite Wildenhain was a highly accomplished ceramic artist known for her distinctive style and innovative techniques. Her career was highlighted by the creation of the iconic Halle tea set and numerous other works that showcased her mastery of semi-matte ceramics. She was part of the artistic community of Kunstler unter sich and had many artist colleagues, including sculptor Frans Wildenhain, Bauhaus mentor Max Krehan, sculptor Gerhard Marcks, metals artist Victor Ries, and architect Walter Gropius. Wildenhain’s life and thoughts were documented in the book “Potter’s Life and Thoughts,” which was published after her death. The artist was also featured in the publication “Die Topferin Marguerite Friedlaender,” which discussed her work and legacy. Wildenhain’s work is held in numerous collections, including the Smithsonian American Art Museum. Gordon Herr was one of her students and helped to preserve her legacy through his own work and advocacy.
Marguerite Wildenhain’s life and career were intertwined with her connections to prominent figures in the arts world, including architect Walter Gropius and architect Gordon Herr. Herr was one of Wildenhain’s students, and he went on to become a steward of her legacy, working with nonprofit Stewards of the Coast and Redwoods to preserve her beloved historic properties and teaching workshops. Wildenhain was also influenced by the jug motif and small jug motif, which are recurring themes in her work. She created numerous decorative relief tiles and was renowned for her work with Weimar Bauhaus and the American Bauhaus movement. Wildenhain’s lengthy and prodigious sixty-year career was shaped by her experiences as a non-Jewish German citizen with a German father. Her influential books, including “Crafts Master” and “Form Master,” showcased her expertise and helped to cement her status as a respected figure in the ceramics world. Wildenhain taught summer workshops at California College of Arts and Crafts and other venues, leaving a lasting impact on generations of artists.
Marguerite Wildenhain’s career as a ceramic artist also included teaching posts at institutions such as Staatliche Porzellan-Manufaktur and Konigliche Porzellan-Manufaktur, as well as teaching porcelain ware at the Royal Berlin Academy of Art. Despite Hitler’s rise to power, Wildenhain remained active in the arts community and was a member of the Berliner Sezession and the Royal Berlin Porcelain Factory. Many of Wildenhain’s former students went on to become prominent artists in their own right. Her former studio at Pond Farm was designated a National Historic Landmark and is listed on the National Register of Historic Places, and it is currently managed by the nonprofit Stewards of the Coast and Redwoods, which is dedicated to preserving America’s historic and archaeological resources. Her work can be found in the collections of institutions such as the Los Angeles County Museum of Art, and she exhibited her work in numerous regional and national exhibitions. Wildenhain collaborated with textile artist Trude Guermonprez on the Burg-Giebichenstein dinner service, which was recognized by the American Craftsmen’s Council for its innovative design.
In conclusion, Marguerite Wildenhain’s prodigious sixty-year career left a lasting impact on the world of ceramics. Her time at the Bauhaus, particularly under the guidance of Max Krehan, greatly influenced her innovative methods and her work on the Halle tea set. Wildenhain’s time at Pond Farm helped her establish her signature style of semi-matte ceramics and decorative relief tiles. The Pond Farm Collection continues to preserve her legacy through various exhibitions and lectures. Wildenhain’s works can be found in numerous collections, including the Smithsonian American Art Museum and the Los Angeles County Museum of Art. Her influence also extended to other artists, including textile artist Trude Guermonprez. She was known for her innovative methods and artistic careers. Her work, including the Halle tea set and the Burg-Giebichenstein dinner service, can be seen in regional and national exhibitions, including at the Smithsonian American Art Museum and the Los Angeles County Museum of Art. She also taught workshops and had many students, including the first students at her Pond Farm studio in Sonoma County (as a Sonoma County potter). Wildenhain’s legacy is preserved by organizations such as the Stewards of the Coast and Redwoods and the National Trust for Historic Preservation. Her influence can be seen in the work of many contemporary potters and artists across various disciplines who have studied her techniques and methods. Her numerous awards and recognition, including being designated as a National Treasure, are a testament to her immense impact in the world of art. Despite financial adversity, Wildenhain’s dedication to creating beautiful objects and utilitarian vessels helped establish her as a notable figure in American Women Artists history.
Veroffentlichungen des Kunstdienstes Nr – Veroffentlichungen des Kunstdienstes Nr, a publishing series created by the German government in the 1920s and 1930s with the goal of promoting conventional crafts and design, included Marguerite Wildenhain as a contributor. She submitted an article to one of the series’ issues where she talked about the function of ceramics in contemporary life and how it relates to the broader category of applied arts. Her interest in the nexus of art, craft, and design was evident in this magazine, which played a significant role in her early professional development.
Geraldine Schwarz, Dean and Geraldine Schwarz – Marguerite Wildenhain’s lifelong friend and assistant was Geraldine Schwarz. Schwarz worked closely with Wildenhain at Pond Farm and assisted in preserving her memory after her passing. She is married to Dean Schwarz. The Marguerite Wildenhain Archive at Luther College in Decorah, Iowa, was founded with assistance from the Schwardz family, who played a significant role in maintaining Wildenhain’s output and archives. Marguerite Wildenhain and the Bauhaus: An Eyewitness Anthology, which details Wildenhain’s legacy at Pond Farm and her lessons, was also written by the couple.
Armstrong Redwoods State Natural Reserve – The Armstrong Redwoods State Natural Reserve and Marguerite Wildenhain are connected by her founding of the Pond Farm Artist Colony in neighboring Guerneville, California. The colony was located on a lovely 20-acre plot of land with a creek and a redwood forest. When Wildenhain and her husband Frans bought the property in 1949, it soon turned into a center for artists looking to pick her brain about cutting-edge methods and techniques.
Centering Bauhaus Clay – Marguerite Wildenhain was a key figure in the establishment and success of the program called “Centering Bauhaus Clay: The Legacy of Marguerite Wildenhain.” The program was initiated by Dean Schwarz, who had studied with Wildenhain at Pond Farm in the 1950s
Renwick Gallery – Marguerite Wildenhain’s work has been featured in exhibitions at the Renwick Gallery, which is a branch of the Smithsonian American Art Museum in Washington, D.C. The Renwick Gallery is dedicated to showcasing contemporary American craft and decorative arts, and it has featured several exhibitions of Wildenhain’s work.
Charles Crodel – Both Charles Crodel and Marguerite Wildenhain taught at the Burg Giebichenstein University of Art and Design in Halle, Germany. The school’s painting, drawing, and composing instructors included painter and printmaker Crodel, who was also close friends with Wildenhain. Together, they worked on a number of projects, including a set of murals for Paris’s Gare de l’Est train terminal. Additionally, Wildenhain created pottery for the printmaking studio that Crodel had at Burg Giebichenstein.
Jane Herr and Gordon Herr – The Stewards of the Coast and Redwoods, a nonprofit organization devoted to the protection and promotion of the natural and cultural resources of the Russian River region in California, was founded in large part thanks to Jane Herr and her husband Gordon Herr. They also contributed to the Pond Farm property’s protection, which led to its designation as a National Historic Landmark. As a docent at the Pond Farm property, Jane Herr gave walks of the area and informed guests about Wildenhain’s life and career.
Het Kruikje – A Dutch ceramics publication called Het Kruikje published pieces on both modern and historic ceramics as well as interviews with ceramic artists. In 1956, Marguerite Wildenhain was interviewed for a Het Kruikje article in which she described her ceramics practice and methods. Throughout her tenure, she was also highlighted in various foreign publications, which aided in promoting her work outside of North America.
“Marguerite Wildenhain and the Bauhaus: An Eyewitness Anthology” edited by Dean Schwarz (2010)
Marguerite Wildenhain and the Bauhaus: An Eyewitness Anthology by Dean Schwarz, Marguerite Wildenhain, Geraldine Schwarz 2007