I found out later on that was not true, that life drawing tells you a great deal about rhythm, about the structure… — Warren MacKenzie Copy Share Image
I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took… — Warren MacKenzie Copy Share Image
Bernard [Leach] was making pots which were duplicates of his drawing, and that was a difference of approach, which I think is… — Warren MacKenzie Copy Share Image
[Shoji] Hamada seldom drew an exact drawing of a pot that he was going to make. — Warren MacKenzie Copy Share Image
In fact, I believe to a certain extent a person today who starts with just clay, with no drawing and no painting… — Warren MacKenzie Copy Share Image
At that [childhood] time, of course, if you were involved in art, it was going to be drawing and painting, because that's… — Warren MacKenzie Copy Share Image
In the middle of my second year at school, in 1943, I got drafted into the army, was gone for three years,… — Warren MacKenzie Copy Share Image
If [Bernard Leach] didn't like the drawing, he'd X it out and do another one and change the form a little bit.… — Warren MacKenzie Copy Share Image
I took a number of graphic courses, lithography and etching and wood engraving [at Art Institute]. And particularly as I got more… — Warren MacKenzie Copy Share Image
[Bernard Leach] was an incredible draftsman, and at the end of breakfast time, for instance, he would push his plate back, and… — Warren MacKenzie Copy Share Image
[Shoji] Hamada's [drawings] were little one-line notations of something he wanted to remember about a pot or a piece of furniture or… — Warren MacKenzie Copy Share Image
In working on a drawing or a painting, one can rework and rework and rework and change ideas until you get it… — Warren MacKenzie Copy Share Image
Bernard's [Leach] drawings delineated every little accent on the pot, every subtle curve and change of angle and proportion and all. — Warren MacKenzie Copy Share Image
I used to think [Shoji] Hamada never drew, until there was a book by Bernard [Leach] published about his work [Hamada: Potter,… — Warren MacKenzie Copy Share Image
[Kathleen Blackshear] just said, "Have you thought of looking at this?" and so on and so on and so on. And it was a… — Warren MacKenzie Copy Share Image
Some years ago I was working on some forms which were vase forms with a fairly narrow base, and it was after [Hans] Coper… — Warren MacKenzie Copy Share Image
I found out later on that was not true, that life drawing tells you a great deal about rhythm, about the structure of a… — Warren MacKenzie Copy Share Image
Remember, this is back in the '40s, and the idea of a museum being a place where interested people could come in direct contact… — Warren MacKenzie Copy Share Image
At the end of that two weeks Bernard [Leach] asked us if we would like to sit with him tending the kiln, the big… — Warren MacKenzie Copy Share Image
I got drafted into the army and by pure chance was pushed into a silk-screen shop at this camp where I was, because they… — Warren MacKenzie Copy Share Image
[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.… — Warren MacKenzie Copy Share Image
Chicago is a wonderful area because it's blessed with a tremendous number of museums of various sorts, not only the Art Institute of Chicago… — Warren MacKenzie Copy Share Image
It was a wonderful opportunity. And so for two and a half years we lived with [Bernard] Leach. — Warren MacKenzie Copy Share Image
We thought [with Alix MacKenzie], if those are the kinds of pots from every culture that interest us, why would we think that it… — Warren MacKenzie Copy Share Image
I went to the Chicago Art Institute, which was the best painting school in the area at that time. And I took painting classes… — Warren MacKenzie Copy Share Image
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… — Warren MacKenzie Copy Share Image