A journey into the history of porcelain | Edmund de Waal | V&A

Join master potter and writer Edmund de Waal as he takes us on a journey into the history of porcelain. Walking us through the remarkable stories of four extraordinary objects from the V&A's collection - a blue and white ewer, a delicate white cup, Wedgwood's First Day's vase, and a sturdy floral mug - de Waal reveals how he has reflected their histories in his own collection of fine bone china plates, titled 'On the White Road'.
Beginning in Jingdezhen, China - the place where Marco Polo first encountered porcelain in the 13th century - we travel along the Silk Road to Europe, where the material is continuously reinvented. The Meissen factory cracks the mystery of how to make porcelain in 18th century Germany, Josiah Wedgwood in Stoke-on-Trent revolutionises the world of ceramics in England, and determined Quaker chemist William Cookworthy dedicates 20 years to creating porcelain in his Plymouth home laboratory.
Edmund de Waal's 'On the White Road' limited edition bone china plates are available to purchase from the V&A shop: www.vam.ac.uk/shop/homeware/k...
Find out more about the V&A's ceramics collection: www.vam.ac.uk/collections/cer...

[@icewillowfrost]

People going into detail about what they’re passionate is just so decadent… I don’t know how to describe it but for someone to go into length with this amount of eloquence and energy is incredible. I love this new series you’re doing with getting modern artists to do inspired art!

[@felang-9363]

It is decadent, but not in the way you mean it! Decadent means of moral decline. Need more high-res content, but skip the non-art of his contemporary pieces.

[@joshuaharper372]

It always fascinates me how individual and unique each person's taste in art is. I hear how carefully this artist has thought out and planned his collection of plates, and I can appreciate the aesthetic choices that make the 4 plates a set. And yet, I don't much care for them aesthetically, even if I can appreciate what the artist intends and how he communicates it. De gustibus non disputandem... Thank you for sharing this, though! It was great to hear about the inspiration for the new plates.

[@laidman2007]

Plymouth mug...the color if this particular cobalt is uncommon and wonderful.

[@RaggiBoy1]

This is very interesting insight. But his designs do not work with the soulless iKea tier Wedgewood pattern; they do not speak to one another. It does not help make for an argument that these great ceramic houses are still full of life.

[@staceyrickert9299]

I am familiar with Mr. de Waal's passion for and works in porcelain clay and his excellent books on the history of his craft (The Hare With Amber Eyes and The White Road are fascinating) and call me a peasant if you must but I think he has missed the mark here. The inscriptions resemble children's scribbles in worn and dying Sharpies, then fired in an ashpit. If he was reaching for some kind of Impressionist passion, there should still be some beauty to them beyond the gold bits and makers marks on the base. If I had paid to see this exhibition, I'd want a refund.

[@oltedders]

His work is unbelievably dreary. His narration sounds like he's on something.

[@anitchlikadze3451]

Thank you❤️

[@nazimerkaya]

looks very cy twombly

[@anitchlikadze3451]

The journey in history with porcelain✨️👏👏👏

[@laidman2007]

Your plates are superb.

[@Cssfiend]

edmund de waal epitomises networking and sales patter as art, and even his patter isn't that good (fragmentary fragments?)

[@juliancoulden1753]

What a shame Edmunds plates are just blotches of look a like graffiti.

[@themarquis336]

Sorry to say it, but Edmund De Waal scribbling on plates is very far from his brightest moment.

[@DMTHOTH]

more like british history of porcelain.

[@countesscable]

Don’t like them….no matter how he bigs them up 🙄