Bird vase -
1950
Sculpture vase
Incised monogram signature (GJ) on the base
White glazed ceramic with crazing
- H: 19 cm
- L: 16 cm
- D: 9.5 cm
Born in 1910 in Fontenay-sous-Bois, Georges Jouve trained as a decorator at the École Boulle, where he acquired a strong command of form, geometry, and drawing. In the 1930s, he first turned toward the theatre, working as a set designer. However, the Second World War radically changed his trajectory: taken prisoner in Germany, he discovered ceramics during his captivity. Upon returning to France, he decided to dedicate himself fully to it. He first set up a studio in Paris, then moved to the Aix region after the war, where he worked in a traditional kiln alongside local potters.
Jouve’s early production was characterized by a whimsical, illustrative vocabulary, which gradually evolved toward a refined formal language, often inspired by architecture, the human body, or ancient objects, yet expressed through a decisively modern sensibility.
He worked in close collaboration with some of the leading figures of postwar French architecture and design, creating pieces for Jacques Adnet, Jean Royère, André Arbus, Charlotte Perriand, and Jules Leleu. These collaborations placed him at the heart of the revival of the French decorative arts in the 1950s, a period when ceramics moved beyond utilitarian function to fully enter the realms of interior architecture and fine art.
Jouve participated in numerous exhibitions in France and abroad, including the Salon des Artistes Décorateurs, the Triennale di Milano, and at Galerie La Demeure in Paris. His work, highly sought after by collectors, is now held in major institutions such as the Musée des Arts Décoratifs in Paris and the Musée National de Céramique in Sèvres, as well as in many prestigious private collections.
Jouve died prematurely in 1964, at the age of 54. Yet in just two decades, he had redefined the contours of modern ceramics. His sculptural approach, radical use of color, and ability to combine sensuality of form with purity of line make him a pivotal figure between tradition and modernity.
Jouve’s early production was characterized by a whimsical, illustrative vocabulary, which gradually evolved toward a refined formal language, often inspired by architecture, the human body, or ancient objects, yet expressed through a decisively modern sensibility.
He worked in close collaboration with some of the leading figures of postwar French architecture and design, creating pieces for Jacques Adnet, Jean Royère, André Arbus, Charlotte Perriand, and Jules Leleu. These collaborations placed him at the heart of the revival of the French decorative arts in the 1950s, a period when ceramics moved beyond utilitarian function to fully enter the realms of interior architecture and fine art.
Jouve participated in numerous exhibitions in France and abroad, including the Salon des Artistes Décorateurs, the Triennale di Milano, and at Galerie La Demeure in Paris. His work, highly sought after by collectors, is now held in major institutions such as the Musée des Arts Décoratifs in Paris and the Musée National de Céramique in Sèvres, as well as in many prestigious private collections.
Jouve died prematurely in 1964, at the age of 54. Yet in just two decades, he had redefined the contours of modern ceramics. His sculptural approach, radical use of color, and ability to combine sensuality of form with purity of line make him a pivotal figure between tradition and modernity.
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