MADO JOLAIN (1921-2019) - FORMERJACQUELINE POTIGNON COLLECTI - Lot 60

MADO JOLAIN (1921-2019) - FORMERJACQUELINE POTIGNON COLLECTION Garden series, also known as Plein air Cylindrical vase on heel; the wall has large circular perforations. Green glazed ceramic proof. Circa 1960. Height: 18.5cm - Diameter: 21cm Very slight enamel breaks around the base. Provenance: Former Former Jacqueline Potignon Collection. Bibliography and related works: - Meubles et décors - N° 740 of March 1960. Variants reproduced in this publication (without pagination) in an article devoted to Mado Jolain's Poteries de plein air by G. Unsac. - Patrick Favardin - Mado Jolain, céramiste de la lumière - Catalogue of the exhibition held at Galerie à Rebours, Paris (April 4 - 20, 2000), Éditions Galerie à Rebours, Paris, 2000. Copies of the same series reproduced on page 18. Fascinated by the world of art since childhood, Mado Jolain trained at the École des Arts Décoratifs and attended the workshops of the Académie de la Grande Chaumière during the Occupation years. Her first creations - ceramic accessories for couture stores - gave way to more structured works following the opening of her studio in 1948, where she worked with her husband, the painter René Legrand (1923-1996). Her early style, marked by the influence of Georges Jouve (1910-1964), rapidly evolved towards a dual aesthetic: on the one hand, utilitarian pieces, for which she favored thick, brightly-colored but dark enamels; on the other, highly decorative artist's creations, both figurative and abstract, on which broad flat tints of color were superimposed on a first layer of white enamel. Jolain's research then shifted towards an exploration that, thanks to several layers of enamel, emphasizes form, to the detriment of decoration, which would gradually disappear. From the 1960s onwards, her production evolved towards outdoor ceramics, which she produced in a new palette (green, red, orange) combined with simple - but never banal - structures in dialogue with natural elements. Mado Jolain retired in 1965, after exploring a final production of more monumental pieces.