DescriptionViktor Schreckengost (American, 1906-2008)
Hewn and glazed ceramic
16-1/4 x 15-1/2 x 7-1/2 inches (41.3 x 39.4 x 19.1 cm)
Incised signature to underside: VIKTOR SCHRECKENGOST
Cleveland Museum of Art, Cleveland, Ohio, "31st May Show," May 3 - June 12, 1949;
Syracuse Museum of Fine Arts, Syracuse, New York, "14th Ceramic National Exhibition," 1949;
Associated American Artists Galleries, New York, New York, January 2 - 22, 1950;
Carnegie Museum of Art, Pittsburgh, Pennsylvania, February 3 - March 4, 1950;
J. B. Speed Art Museum, Louisville, Kentucky, March 15 - April 5, 1950;
Museum of Fine Arts, Houston, Texas, April 19 - May 10, 1950:
Dallas Museum of Fine Arts, Dallas, Texas, May 22 - June 11, 1950;
Fine Arts Gallery of San Diego, San Diego, California, June 23 - July 16, 1950;
Los Angeles County Museum of Art, Los Angeles, California, July 26 - August 16, 1950;
San Francisco Museum of Art, San Francisco, California, August 31 - September 24, 1950;
Des Moines Art Center, Des Moines, Iowa, October 7 - 29, 1950;
Minneapolis Institute of Arts, Minneapolis, Minnesota, November 10 - 26, 1950;
Akron Art Institute, Akron, Ohio, December 9, 1950 - January 1951;
Jane L. Hanson, Inc., Cleveland, Ohio, "Opening Exhibition," June 1951;
Boston Society of Arts and Crafts, Cleveland Institute of Art, Boston, Massachusetts, April 8 - 24, 1953;
Cleveland Museum of Art, Cleveland, Ohio, "Viktor Schreckengost and 20th-Century Design," November 1, 2000 - February 4, 2001.
H. Adams,Viktor Schreckengost and 20th-Century Design, Cleveland Museum of Art, Cleveland, Ohio, 2000, p. 63 illustrated (dated as "about 1950").
H. Adams,Viktor Schreckengost: American Da Vinci, Tide-Mark Press LTD, Windsor, Connecticut, 2006, pg. 43 illustrated.
According to the artist's technical notes on this vase, Cellular is described as "Unique: Hewn Clay. Squared dough-nut shape with enclosed hole through from front to back. CLAY: George Fetzer red sculpture clay. ENGOBE: B-b [Blackbird] over entire surface. GLAZE: Raw crackle toned with yellow underglaze, brown u-g [underglaze], burnt umber. FIRE: Cone 04."
Schreckengost directly mixed the glaze into the clay while creating Cellular. The artist explained: "When I began my experiments, all ceramic sculpture in this country was completely glazed. I wanted greater variety; so I poured water over the original clay piece to spot where the highlights would hit after firing and glazing. In this way, I found that underlying forms gain in importance when subjected to high glaze, since the glaze accents them. This has a distinct advantage, as it means you can obliterate incidental detail. When I felt that detail was important I tried self-glazing bodies, actually mixing the glaze right into the clay in order to produce a hard semi-gloss surface without the obliteration. In term, this led to variations in textural qualities of clay, and meant that forms could be simplified by suggesting detail through change in texture. Now my work is based primarily upon form and texture, and I use colored clays, except when I wipe the glaze into the clay, or put lamination of a different sort over." (Dorothy Grafly, "Viktor Schreckengost: Sculptor of Form in Space," American Artist, May 1949, pp. 50-1)
Condition report available upon request.
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