MADO JOLAIN (1921-2019) - Lot 61

MADO JOLAIN (1921-2019) Brazier, series Jardin dite aussi Plein air, version with small perforations, 1959 Vase in the shape of a truncated cone on a heel; the wall has circular perforations. Green glazed ceramic proof. Circa 1960. Height: 20cm - Diameter: 24cm Exhibition: Mado Jolain (1921-2019) Ceramist. Côté Maison. Côté jardin - La Piscine, Musée d'art et d'industrie André Diligent, Roubaix, from June 22, 2024 to January 12, 2025. Our work exhibited at this event. Bibliography: - La Revue de la céramique et du verre - Nº 258 of September-October 2024. Our work reproduced on page 78 in the article Mado Jolain- Entre maison et jardin, by Élisabeth Vedrenne. - Harper's Bazar Intérieurs - N° 1, October 2024. Our work reproduced on page 53 in the article L'empreinte discrète de Mado Jolain, by M. Farman. - Karine Lacquemant - Mado Jolain (1921-2019) Ceramist. Côté Maison. Côté jardin - Catalogue of the exhibition organized at La Piscine - Musée d'art et d'industrie André Diligent, Roubaix (June 22, 2024 - January 12, 2025), Éditions Snoeck, Gand, 2024. Our work reproduced on page 83. 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.