The Mad Potter

August 19, 2013
Any man who names his children Leo, Clo, Lio, Oto, Flo, Zio, Ojo, and Geo is a man worth a second look. Born just before the Civil War, George E. Ohr brought his quirky sense of humor to his pottery workshop in Biloxi, Miss., and to everything he touched. He couldn’t sell his eccentrically shaped, brilliantly glazed “art pottery,” so he made himself a tourist attraction, selling piggy banks, puzzle mugs, and clay models of ladies’ shoes. In spite of his shameless self-promotion (“Greatest Art Potter on Earth. You prove the contrary”), no serious attention was given to his work until 50 years after his death, when an antiques dealer found his pots and they brought fantastic sums at auction. Greenberg and Jordan (Ballet for Martha) don’t mention what drew them to Ohr’s work, but their detailed biography is supported by a rich trove of sepia photographs and color reproductions of the pots. Whether the book spurs readers’ interest in ceramics, it will certainly prod them to ask themselves if they’re really living life to the fullest. Ages 7–12. Agent: George Nicholson, Sterling Lord Literistic.

October 1, 2013
Greenberg and Jordan bring to life George E. Ohr, a 19th-century American potter largely unknown today and not especially successful in his own day. George Ohr proclaimed himself the "Greatest Art Potter on Earth." From the wild-eyed and mustachioed portrait on the cover to the artist's own words sprinkled throughout the text in boldfaced, oversized typefaces, Ohr's eccentricities and his penchant for self-promotion are clearly presented. What is not made clear is why Ohr's work is considered great. What makes a George E. Ohr vase sell at auction nowadays for $84,000, and is he really America's greatest art potter? Certainly his work is whimsical, as demonstrated by the many full-color photographs of Ohr's work--vases tilting like leaning towers, a teapot with a spout like an open-mouthed serpent, and all manner of wrinkled, twisted and squashed vessels. Unfortunately, the text doesn't equal the volume's visual appeal. Poorly developed paragraphs, too-abrupt transitions between and within paragraphs, occasionally awkward phrasing and quirky punctuation make this volume less successful than it might have been. The backmatter, however, is interesting, including information about the Frank Gehry-designed museum that houses the Ohr collection and lessons in "How to Look at a Pot" and how to use a potter's wheel. A fascinating introduction to an innovative artist worthy of a more effective text. (bibliography, source notes) (Nonfiction. 7-12)

COPYRIGHT(2013) Kirkus Reviews, ALL RIGHTS RESERVED.

Starred review from September 1, 2013

Gr 5-8-Ohr was a homegrown genius and the greatest artist potter on Earth, or so he claimed, and while dismissed by many as a self-promoting eccentric (he was that), much of what he declared about himself is recognized as true today. His pottery, notably inventive in its shapes, textures, and glazes, became more experimental and free-flowing in form after 1894, when fire destroyed his kiln. While clearly distinct, Ohr's art was not outsider; he subscribed to the ideals of the Arts and Crafts movement, and for a short time worked with Joseph Meyer furnishing pottery for the women of The Ladies' Decorative Arts League in New Orleans. But Ohr was quirky, flamboyant, and a Biloxi, Mississippi, tourist attraction; he had a bushy handlebar mustache that he could wrap around his ears, and he was often difficult. The authors do an excellent job describing this larger-than-life character through quotes and plentiful color photos of his pottery, or "mud babies" as he referred to his creations. Of particular interest are the archival sepia photos, including the two large, double-page images depicting the artist in his barnlike studio with piles and piles of his work-and several children-about, that open and close the book. A one-page guide on "How to Look at a Pot" examines a decorative piece with reference to texture, color, form, line, and expression. Extensive source notes round out this nicely designed, fascinating introduction to the master craftsman and art pottery.-Daryl Grabarek, School Library Journal

Copyright 2013 School Library Journal, LLC Used with permission.

Starred review from November 1, 2013
Grades 3-6 *Starred Review* Chances are you have never heard of George Ohr (18571918) of Biloxi, Mississippi. An eccentric who called himself The Mad Potter, he created wheel-thrown pots that he pinched and bent, curved and rippled, wrinkled and dimpled into distinctive shapes before adding original glazes. When those pots didn't sell, he continued to make them, while supporting his family by producing useful wares and amusing knickknacks. Ohr's flamboyant personality and preposterous advertising drew tourists to his studio but earned him disdain in the art community. Still, he believed that future generations would recognize his genius. And oddly enough, they did. Rediscovered in the 1970s, his highly praised art pottery is now displayed in museums, including one designed by Frank Gehry and dedicated to Ohr's work. The artist comes to life in this clearly written narrative, full of well-chosen details and anecdotes. Fine vintage photos show Ohr at work and with his family. Viewers accustomed to the usually staid photographs from the period will be amused by pictures in which Ohr's tomfoolery and bravado are as evident as his wild mustache. Throughout the book, color photos of his art pottery remind readers that Ohr's story is worth telling not just because it's entertaining, but because his pots are unique and beautiful. This informative introduction to the artist who made them closes with exemplary back matter that will help readers of all ages approach art with enthusiasm and confidence.(Reprinted with permission of Booklist, copyright 2013, American Library Association.)