Abstract
The discourse on the history of Israeli ceramics attributes to potter Hedwig Grossman-Lehmann the establishment of a unique local school of pottery, an antithesis to the styles she knew in Europe before her arrival in the Land of Israel. However, when we examine Grossman-Lehmann’s work through a modernist lens, there is evidence of a deep commitment to the ideology of “Modern Studio Pottery,” developed in Europe within the context of modernism. Moreover, her pottery ware echoes typical European pottery styles in those years. The contradiction between these two interpretations is not unique to the field of pottery; indeed, it has characterized many elements of Hebrew culture that developed during the settlement period. At the same time, the lack of research in this field eventually led to the establishment of a false narrative of the history of Israeli ceramics. This article proposes an addition to the current scholarly understanding of the development of Israeli ceramics.
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