Who Will Riddle Me the How and the Why

Detail of a sphinx from an Eight-Light Candelabra (c.1785) possibly by Francois Remond

Here are a couple more images from my recent trip to the Huntington. ;-)

In general, I tend to focus on the fine art, sculpture, and architecture, but the decorative arts on display are exquisite, very rich in detail. These images have a mythological theme, in a pseudo-Egyptian style.

As for the title of this post, it's a quote from Alfred Lord Tennyson's poem, "The 'How' and the 'Why'". I figured that it would be a nice nod to celebrate his birth date, August 6, 1809.

Detail of a lamia(?)from an Eight-Light Candelabra (c.1785) possibly by Francois Remond

The sphinx and lamia are quite charming, but I find it a bit twisted, even for rococo sensibilities, to put mythical female sociopaths on the furniture. ;-)

To Find a Matching Teapot

Doubled Handled Bowl (1987) by Beatrice Wood


For much of the history of western art, the "lowly" potter's craft has been overlooked, dismissed as mere decoration, as if ceramics were little more than playing with mud, expressing no "higher" aesthetic values.

American pottery of the mid-20th century challenged that ignorant and elitist frame of mind. And no place was more trendsetting and innovative than Southern California. One of the most distinctive ceramic artists was Beatrice Wood, who amazingly had learned the craft in her late 40s!!! According to the story, she was looking for a teapot to match a pair of lusterware plates, but couldn't find one. So, she decided to learn how to craft one for herself, beginning six decades of amazing luster glaze ceramic masterpieces.

Currently, the Santa Monica Museum of Art is exhibiting "Beatrice Wood: Career Woman - Drawings, Paintings, Vessels, and Objects" as part of the Pacific Standard Time event. It is a comprehensive display covering a wide selection of styles and themes that Wood had developed over the decades. Moreover, there are some really obscure works on display, such as her drawings or journals, which rarely receive viewings, providing rich insights into her creative process.

Luster Chalice with Ten Handles (1982) by Beatrice Wood

But the main draw for me were the alluring lusterware vessels. They have a dazzling faerie glamour that catches the eye, bringing to mind tales of magic and high heroics.

Domestic Designs to Adore and Delight

Horn Back Chair with Spindles and Low Curving Arms (c.1960) by Sam Maloof


When discussing the development of the Los Angeles Art scene, the avant-garde of conceptual art or the emergence of minority artists rightfully command significant attention, but there was a quieter innovation underway out in the Pomona Valley.

"The House That Sam Built" is an exhibit at the Huntington Museum featuring the creativity of the Pomona school in developing a modern sensibility to those art forms frequently classified as the "decorative" arts, such as furniture design or ceramics. This movement was led by Sam Maloof, the great furniture designer, who brought a strong aesthetic of lyric modernism to functional craftsmanship. His influence dominated Los Angeles decorative design and spread out becoming a distinctive late-20th century style.

I always get a laugh when I see the Pomona school being distinguished from the LA scenes, as if it were someplace off among the redwoods or in the remote Sierras. Sure, if you take your Southern California geography directions from Bugs Bunny and make an ill-advised turn at Rancho Cucamonga. ;-)

Chair after Hans Wegner (1952) by Sam Maloof

I'm pleased that the Huntington has put together a strong exhibit to showcase this very influential school of design. Maloof and his students are just as much a part of the LA aesthetic as anything turned out of the Ferus Gallery in the 1960s. It's a fine part of the Pacific Standard Time exhibition.