The name of Bernard Leach still resonates because of his status, influence and general worldliness as a studio potter. Yet Leach used the single-word description ‘Artist’ on his passport in 1909 when he travelled to Japan, laden with goods and expectations, to start a new life. He was returning home, in the sense that he had been born and brought up in the Far East. And he was starting his married life too, fresh from art school, with enough of an inheritance to get by and with a speculative vision of Art to nourish his creativity.

The practical tool that underpinned this vision was an enormous ...


There are approximately 1074 more words in this article.

To read the rest of this article, please buy this issue, or join the Resurgence Trust. As a member you will receive access to the complete archive of magazines from May 1966.

Buy Issue Join Us

If you are already a member, please Sign in