quote by Mark Twain

The very "marks" on the bottom of a piece of rare crockery are able to throw me into a gibbering ecstasy.

— Mark Twain

Spectacular Pottery quotations

I do pottery. I love it. It's very relaxing; it takes me to another planet.


In Old Europe and Ancient Crete, women were respected for their roles in the discovery of agriculture and for inventing the arts of weaving and pottery making.

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There was one point in high school actually when I was on the chess team, marching band, model United Nations and debate club all at the same time. And I would spend time with the computer club after school. And I had just quit pottery club, which I was in junior high, but I let that go.

My decorating and renovation skills are nil - indeed, I once used a shower curtain from Pottery Barn as 'window dressing.

I am content to be a bric-a-bracker and a Ceramiker.


I quite like antiques. I like things that are old and the history they bring with them. I would rather fly to Morocco on an $800 ticket and buy a chair for $300 than spend $1,100 on one at Pottery Barn.

Having a little fun at my work does not make me any less of an artist and people who appreciate truly beautiful and original creations in pottery are not frightened by innocent tomfoolery!

I have always striven to fix beauty in wood, stone, glass or pottery, in oil or watercolor by using whatever seemed fittest for the expression of beauty, that has been my creed.

For a male person bric-a-brac hunting is about as robust a business as making doll-clothes.

Expectations were like fine pottery. The harder you held them, the more likely they were to crack.


Well-crafted things inspire me, whether it's pottery or art or music.

If you took a cracked pot and you cracked that cracked pot, you'd be approaching the level of cracked pottery we are talking about here.

American archaeology has always attracted lots of amateurs .

.. They were digging up Indian pottery all over the place.

Tedious as it may appear to some to dwell on the discovery of odds and ends that have, no doubt, been thrown away by the owner as rubbish ... yet it is by the study of such trivial details that Archaeology is mainly dependent for determining the date of earthworks. ... Next to coins fragments of pottery afford the most reliable of all evidence.

For the longest time I was afraid I'd have to keep on working at the factories.

There was a steel mill and a pottery; if you didn't go to college, you went to work in those places.


Many years ago, when I was once saying sadly to Max it was a pity I couldn't have taken up archaeology when I was a girl, so as to be more knowledgeable on the subject, he said, 'Don't you realize that at this moment you know more about prehistoric pottery than any woman in England?'

I don't like the idea of things being off-limits to kids - like a fancy sitting room where they can't touch anything. I own vintage pottery cups, and I let my girls hold them. It teaches them to treat objects with respect.

I celebrated [my 50th birthday] by throwing a big bowl on the pottery wheel, then going for a water ski at the lake on our property in the Catskills, and that night, skinny-dipping under the stars. Just being free and joyful. And that's how I [felt] about turning 50.

In the 19th century China dominated the manufacture of porcelain.

Then European factories discovered a cheaper method of making pottery of equal quality, demolishing the Chinese industry the exact reverse of what is happening now. World economics have turned full circle.

We asked a lot of questions and we watched everyone who was working in the studio. And we had an opportunity to sit in on discussions, aesthetic discussions at the pottery, which took place generally over tea breaks in the morning and afternoon. So we learned a lot just from being around there [with Bernard Leach ].


Rentals sank, living rose. I could not afford help. I must be owner, agent, landlady and janitor. I loathed landladying... I tried in every way to augment my income. Small fruit, hens, rabbits, dogs - pottery... I never painted now - had neither time nor wanting. For about fifteen years I did not paint.

I have no policy for my collection. For example, there's a bunch of meteorite [on the windowsill in my studio]. I touch it and I feel the energy from the universe. I have a 1/1,000th of a fragment of stone-age tools and pottery and debris. I can learn many things from my collection. Actually, the 1,000 Buddha, I wanted to buy it, but it's a National Treasure, so I couldn't. If you cannot buy it, just photograph it!

What is conserved in the ground? Stone, bronze, ivory, bone, sometimes pottery.

Never wood objects, no fabric or skins. That completely skews our notions about primitive man.

We thought [with Alix MacKenzie], if those are the kinds of pots from every culture that interest us, why would we think that it should be any different in mid-North America 20th century? And we decided then that our work would center around that sort of utilitarian pottery, and that's what I've done ever since.

[In the Field Museum of Natural History] we could see very simple, primitive, hand-built pottery from Babylonia and ancient Egypt and so forth, Greece. We could see the most sophisticated things that came out of the Orient - Japan, Korea, and China - some few pieces of European porcelain, majolica [tin glazed earthenware], and that sort of thing. But they had a marvelous collection.


A home is not a museum. It doesn't have to be furnished with Picasso paintings, or Sheraton suites, or Oriental rugs, or Chinese pottery. But it does have to be furnished with things that mean something to you.

My mother really didn't come from artists.

Her famous quote to me was, "The only artists I've ever heard of are dead." The pottery classes were meant to be a part of my overall uplift. I knew what it meant to be sent to art classes, but I still didn't know anything about being an artist.

In the Leach Pottery we did most of our work on the wheel.

[Bernard] Leach did a little work in the studio, which was press-molded forms, plastic clay pressed into plaster forms to make small rectangular boxes and some vase forms, which he liked to make. These were molds which had been made to an original that he had modeled in solid clay, and during our work there, sometimes I would be pressing these forms as a means of production.

And as far as I know about Alix's [MacKenzie] work, I don't believe she ever did any sculptural work at all. It was always pottery.

We got a great benefit from our contact with those people [Lucie Rie, Hans Coper, Richard Batram] and met people that we wouldn't have probably met if we had simply worked at the pottery.


If [Bernard Leach] didn't like the drawing, he'd X it out and do another one and change the form a little bit. And when he was all done, he would stuff these pieces of paper in his pocket and go off to the pottery, and when he wanted to make pots, he would then take these out and he'd begin to produce the pot that he had designed on paper in front of us.

It was there that we really first came in contact with the work of Shoji Hamada, who was Bernard's best friend from Japan, who had come from Japan back to England with [Bernard] Leach when Leach was establishing his pottery.

I do remember that when we left [Bernard Leach] after two and a half years, we went home on a boat again - this was before air travel became really easy - and Alix [MacKenzie] turned to me and she said, "You know, that was a great two years of training, but that's not the way we're going to run our pottery."

Looking back on it now, I understand why that was not possible [to express ourselves], because the pottery employed a dozen people, not all of whom are making pots. And these people had families, children, and they had to have a wage that would allow them to raise their family and they had to get a paycheck every Friday afternoon. So if we had not made pots that would sell it, would not have been possible for these people to be employed.