Remembering Dr. Marion John Nelson - ©2001 - Wisconsin Pottery Association

The following article appeared in WPA Press, Vol. 7, January 2001

On the Life and Legacy of Dr. Marion John Nelson

By Tim Holthaus
Reprinted with permission from the Ceramic Arts Studios Collectors Association Newsletter

The world of art history and historic preservation has lost a strident and gracious advocate with the passing of Dr. Marion John Nelson. His contributions in furthering the appreciation for a varied array of art objects and cultural heritage remains one of the most prominent of its kind in a field in which excellence itself is the standard. His command of detail in this field was matched only by his gift for sharing it effortlessly with all who would listen.

Many of our readers' first exposure to Dr. Nelson came in 1996 when he consulted with us on a presentation we asked him to deliver at our first convention (Ceramic Arts Studio). He spoke on the history and impact of the Ceramic Arts Studio with a focus on its chief designer, Betty Harrington. He had arranged to come to our home to photograph pieces which he'd use in his presentation. Having never met him, we presumed he'd be somewhat stuffy and dry. Not so. We were at the same time surprised and thrilled to learn that he was much more than just the professor emeritus who came by simply to gather historic details and photographs. On the contrary, he turned out to be one of the most delightful persons we had ever encountered. Beyond the facade of quiet dignity and competence, we detected a sly wit, a love for the bold and unusual, and a passion for life itself, unmatched even in persons of far fewer years.

As it turned out, his lecture was a great success, very comprehensive in its scope. His chosen topic was the evolution of the figure in human history from its very beginning to the present day. He wove a fascinating story, holding the audience, including Betty Harrington and her family, in rapt attention. In favorably contrasting her work with the many other figure designers through the millennia,, he led us all, and most of all Betty herself, to more clearly see how art, and the total human effort to express ideas through it, transformed the world and continues to do so even today. We believe she viewed her accomplishments in a wholly different light after that presentation and we are eternally in his debt for letting Betty feel that while she was still with us.

But he was much more than just the world expert with a legendary command of detail and historical nuance. These traits were well-balanced with his exuberance for life itself. He was not what one might think of when conjuring up the idea of an elderly academic in the years past retirement. Indeed, his hobby was Life itself and he pursued it with gusto until the very end of it. He was able to meld seamlessly and effortlessly a public and private life on a stage that was filled with a world of fascinating players. He lived a life that many of us would envy rich in knowledge and adventure; to our minds, a perfect combination. Those of us who knew him in his public and private lives were awed at the aplomb with which he kept them elegantly distinct, yet subliminally integrated into the fabric of his life. We feel privileged, indeed, to have known him and to have seen the world, in all its aspects, through his eyes and we are grateful that we could introduce our fellow collectors to some part of this man's legacy. The knowledge we gained from him about art and history and life itself will remain with us always. For us, that is the true legacy of our friend, Dr. Marion Nelson. He shall be missed...enormously.

We asked our good friend and colleague, Nicol Knappen, to comment on Marion Nelson's passing. The three of us held Dr. Nelson as a mutual friend and a very dear one. As a scholar of art pottery in his own right, Nicol can put into proper perspective the knowledge Marion left us with, a knowledge we might not have had it not been for some of the things he did for us and left us with.

Marion Nelson
By Nicol Knappen
Reprinted with permission from the Ceramic Arts Studios Collectors Association Newsletter

Marion Nelson studied at the University of Minnesota, where he received his bachelors, masters and Ph.D., the latter in 1950. He had a long and distinguished career with two specialities: Scandinavian art and American art with concentration on art pottery, folk art, and the arts and crafts of the Scandinavians in America. He was the author of, or major contributor to more than a dozen books, and a contributor to many, many more. He curated or organized well over fifty exhibitions and was the recipient of numerous grants and honors, including being made a Knight in the Royal Order of St. Olaf by King Olav V of Norway. Nelson was professor emeritus of Art History at the University of Minnesota and Director Emeritus of Vesterheim, the Norwegian American Museum of Decorah, Iowa.

But he is most know to pottery lovers as the author of the catalog that accompanied an exhibition he curated in 1988 at the University of Minnesota. Entitled Art Pottery of the Midwest, it ranks among the very best texts on American Art Pottery. In addition, the exhibit itself successfully blurred the relevance of Paul Evan's distinction between Art Pottery and industrial art ware. In the catalog Nelson wrote that:

"Ultimately it appears to have been artistic merit that has determined whether or not a piece of decorative ceramics from the general period of the art pottery movement is art pottery. Since this is a value judgment and therefore inappropriate as the basis for a definition, I am not distinguishing between art pottery and industrial art ware."

Thus he included for the first time in a proper museum exhibition pottery by firms like Haeger, Red Wing, Cliftwood and the Ceramic Arts Studio. Seen next to and in the context of the more celebrated pottery of firms like Owens, Wheatley and Rockwood, the "industrial artware" could be appreciated and evaluated without prejudice. Indeed, to the viewer unfamiliar with pottery history, little distinction between the two kinds of ware would have been apparent.

Pottery scholarship - for want of a better word - has exploded in the last ten years. Even the books of the Let-Me-Show-You-My-Collection variety have value especially if one can remain open minded about the accuracy of the text. But a professional academic's work cannot be considered in the same context as these kinds of publications, they have to be compared to the work of their peers. With Marion Nelson, however, there are very few scholars if indeed any who could be considered his peer in this field.

In addition to the scrupulously researched and well-written texts, Marion's writing (and talks) on art pottery included critical and aesthetic evaluations, something lacking in most pottery scholarship. He could tell us why something appealed to us, why it deserved our attention, why it was 'good.' I remember with pleasure his comparison of two figurines of Native American girls, one by Cybis, one by Ceramic Arts Studio. In marked contrast to the Ceramic Arts figure, he said, the thin and stylized Cybis girl looked like she couldn't paddle a canoe if her life depended on it.

My favorite memory of Marion dates to 1993, In Arkansas. As invited guests to an exhibition opening at the Old State House Museum, and as first time visitors to Little Rock, we were given a tour of that city by the curator, David Gifford. I remember well how Marion and I were tossed like a salad in the back of a limousine being driven furiously by David, who was on a tight schedule. Later after the reception, there was another whirlwind citywide tour and a late dinner. Afterwards, David took us into the basement of the Old State House to look at the museum's recently acquired Hagen collection of Camark pottery, some of which had formed the basis of the exhibition. It was two in the morning and there we three were pulling pottery out of boxes, inspecting and commenting. Exhilarating as it was, I felt tired and disheveled, all the more so because I couldn't help noticing that Marion was fresh as a schoolboy, having a wonderful time.

Marion was unfailingly kind and generous to all of us interested in the history of American pottery. I was especially indebted to him for his encouragement and academic support, particularly at a time when it was essential to me. I am sorry beyond words that we will not have an opportunity to work together on a project we discussed. When it comes to fruition, it will be due in no small part to the inspiration his enthusiasm and integrity have imparted.