Jump to content

Matthias Ostermann: Difference between revisions

Add links
From Wikipedia, the free encyclopedia
Browse history interactively
← Previous editNext edit →
Content deleted Content added
VisualWikitext
No edit summary
Chiastico (talk | contribs)
21 edits
Addition of references to several secondary sources.
Line 12: Line 12:


== Biography ==
== Biography ==
Matthias Ostermann was born in [[Wangen im Allgäu|Wangen Im Allgäu]], Germany in 1950 and immigrated with his mother, Lila Ostermann, to Canada in 1953. Ostermann spent his formative years in Toronto, Ontario. In his late teens, noted Canadian potter Isolde Rest introduced him to the ceramic arts..<ref name=":0">{{cite web|access-date=2023-02-10|language=en-US|title=Matthias Ostermann|url=https://www.waddingtons.ca/auction/charles-bronfmans-claridge-collection-auction-part-v-decorative-arts-apr-21-2015/gallery/lot/167/|website=Waddingtons.ca}}<!-- auto-translated by Module:CS1 translator --></ref>
Matthias Ostermann was born in [[Wangen im Allgäu|Wangen Im Allgäu]], Germany in 1950 and immigrated with his mother, Lila Ostermann, to Canada in 1953. Ostermann spent his formative years in Toronto, Ontario. In his late teens, noted Canadian potter Isolde Rest introduced him to the ceramic arts.<ref name=":0">{{cite web|access-date=2023-02-10|language=en-US|title=Matthias Ostermann|url=https://www.waddingtons.ca/auction/charles-bronfmans-claridge-collection-auction-part-v-decorative-arts-apr-21-2015/gallery/lot/167/|website=Waddingtons.ca}}<!-- auto-translated by Module:CS1 translator --></ref>


He formally launched his career as a potter in 1974 and travelled extensively in search of learning and inspiration – living and working in Ireland, Germany, Italy and Australia.
He formally launched his career as a potter in 1974 and travelled extensively in search of learning and inspiration – living and working in Ireland, Germany, Italy and Australia.<ref name=":5">{{Cite book |last=Carnegy |first=Daphne |url=https://www.worldcat.org/oclc/29473138 |title=Tin-glazed earthenware : from maiolica, faience, and delftware to the contemporary |date=1993 |isbn=0-7136-3718-8 |location=London |oclc=29473138}}</ref>


In the early 1990s, inspired by its creative energy and vibrant arts community, Ostermann relocated to Montréal, Québec, where he lived and worked until his death. Ostermann died at the Royal Victoria Hospital in Montreal on April 19th, 2009, following a battle with HIV-induced lymphoma.<ref name=":1">{{cite web|access-date=2023-02-10|title=Obituary - Matthias Ostermann|url=https://www.aic-iac.org/oldsite/archive/obituary/ostermann.html|website=www.aic-iac.org}}<!-- auto-translated by Module:CS1 translator --></ref>
In the early 1990s, inspired by its creative energy and vibrant arts community, Ostermann relocated to Montréal, Québec, where he lived and worked until his death. Ostermann died at the Royal Victoria Hospital in Montreal on April 19th, 2009, following a battle with HIV-induced lymphoma.<ref name=":1">{{cite web|access-date=2023-02-10|title=Obituary - Matthias Ostermann|url=https://www.aic-iac.org/oldsite/archive/obituary/ostermann.html|website=www.aic-iac.org}}<!-- auto-translated by Module:CS1 translator --></ref>


== Artistic career ==
== Artistic career ==
As a young man, Ostermann’s desire to perfect his skills as a ceramicist led him to spend a few years as an apprentice at the [[Shanagarry]] Pottery in [[County Cork]], Ireland, where he worked to refine his understanding of earthenware production pottery.
As a young man, Ostermann’s desire to perfect his skills as a ceramicist led him to spend a few years as an apprentice at the [[Shanagarry]] Pottery in [[County Cork]], Ireland, where he worked to refine his understanding of high-fired stoneware production pottery<ref name=":6">{{Cite book |last=Scott |first=Paul |url=https://www.worldcat.org/oclc/46992231 |title=Painted clay : graphic arts and the ceramic surface |date=2001 |publisher=A & C Black |isbn=0-7136-4754-X |location=London |oclc=46992231}}</ref>.


A prolific draughtsman as well as a potter, his early illustrations in ink were featured in publications such as the New Yorker magazine and the Atlantic.
A prolific draughtsman as well as a potter, his early illustrations in ink were featured in publications such as the New Yorker magazine and the Atlantic.


From 1981 onward, Ostermann specialised in low-fired [[tin-glaze]] techniques for functional domestic wares, sculpture and architectural wall tiles. Despite an initial focus on [[earthenware]] production, he later began to explore Asian high-fire glazes.<ref name=":2">{{cite web|language=en|title=Author description - Matthias Ostermann|url=https://www.alibris.com/search/books/author/Matthias-Ostermann?aid=3773492}}<!-- auto-translated by Module:CS1 translator --></ref>
From 1981 onward, Ostermann specialised in low-fired [[tin-glaze]] techniques for functional domestic wares, sculpture and architectural wall tiles.<ref name=":5" /> Despite an initial focus on [[earthenware]] production, he later began to explore Asian high-fire glazes.<ref name=":2">{{cite web|language=en|title=Author description - Matthias Ostermann|url=https://www.alibris.com/search/books/author/Matthias-Ostermann?aid=3773492}}<!-- auto-translated by Module:CS1 translator --></ref>


Ostermann’s skills in drawing and painting led him to experiment with surface decoration, and he eventually became well-known for his [[maiolica]] and [[Sgraffito|copper sgraffito]]. This strong leaning towards painting and narrative work could be attributed to a love of stories, myths and legends, a legacy from his mother who was a professional ''raconteuse''.<ref>{{Cite book |last=Ostermann |first=Matthias |url=https://www.worldcat.org/oclc/62891728 |title=The ceramic narrative |date=2006 |publisher=A. & C. Black |isbn=0-7136-6883-0 |location=London |oclc=62891728}}</ref>
Ostermann’s skills in drawing and painting led him to experiment with surface decoration<ref name=":5" />, and he eventually became known for his [[maiolica]]<ref name=":6" /> and [[Sgraffito|copper sgraffito]]<ref>{{Cite book |url=https://www.worldcat.org/oclc/183926559 |title=500 plates & chargers : innovative expressions of function & style |date=2008 |publisher=Lark Books |others=Suzanne J. E. Tourtillott |isbn=978-1-57990-688-7 |edition=1st ed |location=New York |oclc=183926559}}</ref>. This strong leaning towards painting and narrative work could be attributed to a love of stories, myths and legends<ref>{{Cite book |url=https://www.worldcat.org/oclc/54279840 |title=500 figures in clay : ceramic artists celebrate the human form |date=2004 |publisher=Lark Books |others=Veronika Alice Gunter |isbn=1-57990-547-1 |edition=1st ed |location=New York |oclc=54279840}}</ref>, a legacy from his mother who was a professional ''raconteuse''.<ref>{{Cite book |last=Ostermann |first=Matthias |url=https://www.worldcat.org/oclc/62891728 |title=The ceramic narrative |date=2006 |publisher=A. & C. Black |isbn=0-7136-6883-0 |location=London |oclc=62891728}}</ref>


He also gained acclaim for his teaching skills, as well as his knowledge of the history and techniques associated with the [[Ceramic art|ceramic arts]]. Over the decades, Ostermann exhibited, lectured, and taught in Canada, Australia, Germany, Ireland, the Netherlands, France, Scandinavia, New Zealand, the United States and Brazil, as well as the UK.<ref name=":2" />
He also gained acclaim for his teaching skills, as well as his knowledge of the history and techniques associated with the [[Ceramic art|ceramic arts]]. Over the decades, Ostermann exhibited, lectured, and taught in Canada, Australia, Germany, Ireland, the Netherlands, France, Scandinavia, New Zealand, the United States and Brazil, as well as the UK.<ref name=":2" />


In addition to frequent magazine articles about ceramics, Ostermann wrote three books: The New Maiolica: Contemporary Approaches to Colour and Technique (1999), The Ceramic Surface (2002) and The Ceramic Narrative (2006), published by A&C Black in London and the University of Pennsylvania Press in Philadelphia.
In addition to frequent magazine articles about ceramics, Ostermann wrote three books: The New Maiolica: Contemporary Approaches to Colour and Technique (1999), The Ceramic Surface (2002) and The Ceramic Narrative (2006), published by A&C Black in London and the University of Pennsylvania Press in Philadelphia, and contributed to a number of others.<ref>{{Cite web |title=ISNI 0000000367308264 Ostermann, Matthias ( born 1951 deceased 2009-04-19 ) |url=https://isni.oclc.org/xslt/DB=1.2//CMD?ACT=SRCH&IKT=8006&TRM=ISN:0000000367308264&TERMS_OF_USE_AGREED=Y&terms_of_use_agree=send&COOKIE=U51,KENDUSER,I28,B0028++++++,SY,NISNI,D1.2,Ecde26712-5,A,H1,,3-28,,30-41,,43-59,,65-70,,74-75,R67.70.112.172,FY&COOKIE=U51,KENDUSER,I28,B0028++++++,SY,NISNI,D1.2,Ecde26712-5,A,H1,,3-28,,30-41,,43-59,,65-70,,74-75,R208.80.154.29,FY |access-date=2023-02-12 |website=isni.oclc.org}}</ref>




His final body of work, a series of multimedia pieces under the broad name of ''Boats of Passage'', dealt with his diagnosis of HIV-related lymphoma in 2008<ref name=":4">{{Cite web |title=Matthias Ostermann 1950-2009: Boats of Passage. - Free Online Library |url=https://www.thefreelibrary.com/Matthias+Ostermann+1950-2009:+Boats+of+Passage.-a0216897088 |access-date=2023-02-10 |website=www.thefreelibrary.com}}</ref>. In his artist’s statement on the works, he stated: <blockquote>“''Boats of Passage'' is not necessarily about confronting the fear of dying but rather deals with the examination of important inner changes necessitated by the coming to terms with my own mortality, my relationships and the sometimes loss of autonomy in the face of helplessness.
His final body of work, a series of multimedia pieces under the broad name of ''Boats of Passage'', dealt with his diagnosis of HIV-related lymphoma in 2008<ref name=":4">{{Cite web |title=Matthias Ostermann 1950-2009: Boats of Passage. - Free Online Library |url=https://www.thefreelibrary.com/Matthias+Ostermann+1950-2009:+Boats+of+Passage.-a0216897088 |access-date=2023-02-10 |website=www.thefreelibrary.com}}</ref>. In his artist’s statement on the works, he stated: <blockquote>“''Boats of Passage'' is not necessarily about confronting the fear of dying but rather deals with the examination of important inner changes necessitated by the coming to terms with my own mortality, my relationships and the sometimes loss of autonomy in the face of helplessness.

Revision as of 16:13, 12 February 2023

  • Comment: Artists are not all "inherently" notable just because they existed, and have to be shown to be the subject of reliable source coverage and analysis about their work: reviews by professional art critics in real newspapers, magazines, art journals or books; biographical literature about him; evidence that he won or was nominated for major art awards; and on and so forth.
    But the references here are all just primary source verification that his work exists: catalogue entries of his work in the self-published websites of galleries or collections that hold it, his own book metaverifying its own existence in a directory, profiles on the self-published websites of organizations he was directly affiliated with, and on and so forth.
    Again, we're not looking for simple verification that his work existed -- we're looking for evidence that his work has been externally validated and analyzed as significant by media sources independent of his own career, and you haven't shown any of those. Bearcat (talk) 14:46, 12 February 2023 (UTC)

Matthias Ostermann was a Canadian potter, artist and author.

Biography

Matthias Ostermann was born in Wangen Im Allgäu, Germany in 1950 and immigrated with his mother, Lila Ostermann, to Canada in 1953. Ostermann spent his formative years in Toronto, Ontario. In his late teens, noted Canadian potter Isolde Rest introduced him to the ceramic arts.[1]

He formally launched his career as a potter in 1974 and travelled extensively in search of learning and inspiration – living and working in Ireland, Germany, Italy and Australia.[2]

In the early 1990s, inspired by its creative energy and vibrant arts community, Ostermann relocated to Montréal, Québec, where he lived and worked until his death. Ostermann died at the Royal Victoria Hospital in Montreal on April 19th, 2009, following a battle with HIV-induced lymphoma.[3]

Artistic career

As a young man, Ostermann’s desire to perfect his skills as a ceramicist led him to spend a few years as an apprentice at the Shanagarry Pottery in County Cork, Ireland, where he worked to refine his understanding of high-fired stoneware production pottery[4].

A prolific draughtsman as well as a potter, his early illustrations in ink were featured in publications such as the New Yorker magazine and the Atlantic.

From 1981 onward, Ostermann specialised in low-fired tin-glaze techniques for functional domestic wares, sculpture and architectural wall tiles.[2] Despite an initial focus on earthenware production, he later began to explore Asian high-fire glazes.[5]

Ostermann’s skills in drawing and painting led him to experiment with surface decoration[2], and he eventually became known for his maiolica[4] and copper sgraffito[6]. This strong leaning towards painting and narrative work could be attributed to a love of stories, myths and legends[7], a legacy from his mother who was a professional raconteuse.[8]

He also gained acclaim for his teaching skills, as well as his knowledge of the history and techniques associated with the ceramic arts. Over the decades, Ostermann exhibited, lectured, and taught in Canada, Australia, Germany, Ireland, the Netherlands, France, Scandinavia, New Zealand, the United States and Brazil, as well as the UK.[5]

In addition to frequent magazine articles about ceramics, Ostermann wrote three books: The New Maiolica: Contemporary Approaches to Colour and Technique (1999), The Ceramic Surface (2002) and The Ceramic Narrative (2006), published by A&C Black in London and the University of Pennsylvania Press in Philadelphia, and contributed to a number of others.[9]


His final body of work, a series of multimedia pieces under the broad name of Boats of Passage, dealt with his diagnosis of HIV-related lymphoma in 2008[10]. In his artist’s statement on the works, he stated:

“Boats of Passage is not necessarily about confronting the fear of dying but rather deals with the examination of important inner changes necessitated by the coming to terms with my own mortality, my relationships and the sometimes loss of autonomy in the face of helplessness.

My use of the boat image as a metaphor is by no means novel; it has been used by past and present artists throughout history to symbolize the concept of a vessel carrying us along the river of life (to continue the metaphor) and even beyond into the afterlife […].

In this body of work I have drawn as always from my love of human figure dramas and mythological references to create both human and anthropomorphic figures that interact, are movable and seem to contemplate and question as passengers on a boat. Other figures enact their little dramas as drawings on vessels and on paper.”[10]

Ostermann's final exhibition, Boats of Passage, was held in 2008 at Prime Gallery in Toronto, Ontario.[1]

Artistic legacy

In addition to the reference works he authored, Ostermann’s work can be found in permanent collections such as those of the Musée national des beaux-arts du Québec[11], the Musée des métiers d’art du Québec, the Landesmuseum Württemberg in Germany[3], the Canadian Clay and Glass Gallery[12], the Victoria and Albert Museum[13] in London, and the Royal Ontario Museum[3] and Gardiner Museum of Ceramic Art[14] in Toronto.

In 2010, he was posthumously made an Honourary Member of the American National Council for the Education of Ceramic Arts.[1] In addition, Ostermann and his Boats of Passage were dramatized in a 2016 play by Montreal playwright and author Marcel Pomerlo, titled Matthias Ostermann ou Le dernier petit bateau.[15]

In 2023, the Canadian Clay and Glass Gallery opened an exhibit, The Decorated Surface, intended in large part as an homage to Ostermann and his work[12]

References

  1. ^ a b c "Matthias Ostermann". Waddingtons.ca. Retrieved 2023-02-10.
  2. ^ a b c Carnegy, Daphne (1993). Tin-glazed earthenware : from maiolica, faience, and delftware to the contemporary. London. ISBN 0-7136-3718-8. OCLC 29473138.{{cite book}}: CS1 maint: location missing publisher (link)
  3. ^ a b c "Obituary - Matthias Ostermann". www.aic-iac.org. Retrieved 2023-02-10.
  4. ^ a b Scott, Paul (2001). Painted clay : graphic arts and the ceramic surface. London: A & C Black. ISBN 0-7136-4754-X. OCLC 46992231.
  5. ^ a b "Author description - Matthias Ostermann".
  6. ^ 500 plates & chargers : innovative expressions of function & style. Suzanne J. E. Tourtillott (1st ed ed.). New York: Lark Books. 2008. ISBN 978-1-57990-688-7. OCLC 183926559. {{cite book}}: |edition= has extra text (help)CS1 maint: others (link)
  7. ^ 500 figures in clay : ceramic artists celebrate the human form. Veronika Alice Gunter (1st ed ed.). New York: Lark Books. 2004. ISBN 1-57990-547-1. OCLC 54279840. {{cite book}}: |edition= has extra text (help)CS1 maint: others (link)
  8. ^ Ostermann, Matthias (2006). The ceramic narrative. London: A. & C. Black. ISBN 0-7136-6883-0. OCLC 62891728.
  9. ^ "ISNI 0000000367308264 Ostermann, Matthias ( born 1951 deceased 2009-04-19 )". isni.oclc.org. Retrieved 2023-02-12.
  10. ^ a b "Matthias Ostermann 1950-2009: Boats of Passage. - Free Online Library". www.thefreelibrary.com. Retrieved 2023-02-10.
  11. ^ "Vase « Quatre Mythes grecs » - Ostermann, Matthias". Collections | MNBAQ. Retrieved 2023-02-10.
  12. ^ a b "Catalogues". The Canadian Clay and Glass Gallery. Retrieved 2023-02-10.
  13. ^ Museum, Victoria and Albert. "Taking Flight | Ostermann, Matthias | V&A Explore The Collections". Victoria and Albert Museum: Explore the Collections. Retrieved 2023-02-10.
  14. ^ "Matthias Ostermann". emuseum.gardinermuseum.com. Retrieved 2023-02-10.
  15. ^ "CEAD - Matthias Ostermann ou Le dernier petit bateau". www.cead.qc.ca. Retrieved 2023-02-10.
Retrieved from "https://en.wikipedia.org/enwiki/w/index.php?title=Matthias_Ostermann&oldid=1138956174"