LCV Winter 2013-14 - (Page 33)

UNIVERSITY SCRAPBOOK, UNIVERSITY ARCHIVES, TULANE UNIVERSITY I In the ceramics studio of the Newcomb Pottery building at 2828 Camp Street, circa 1905, the potter Joseph Meyer (far right) threw the pots that the female students decorated, using stylized designs derived from Southern flora and fauna. f it is true that every act of creation is first an act of destruction, this is the crucible in which the Newcomb Pottery story began. The postbellum South was a time and place of personal tragedy and sweeping societal change. American women, whose roles had been narrowly defined since long before the Civil War, stood at the beginning of a long road toward suffrage and self-determination. In the world of art and design, a new American aesthetic was starting to evolve. In the decades to follow, the Newcomb Pottery enterprise at H. Sophie Newcomb College in New Orleans would emerge as a quietly radical experiment-an unprecedented opportunity for Southern women to train as artists and support themselves financially, working as a collective. Guided by the principles of the British Arts and Crafts movement, the young women of Newcomb developed into skilled, independent craftswomen who bore little resemblance to the stereotype of the Southern belle. The enterprise produced a rich body of work that included pottery, metalwork, textiles, bookbinding, jewelry and Winter 2013-14 * LOUISIANA CULTURAL VISTAS 33 

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