Our panel of experts
appraises the movement, its influences and some of its greatest designers, from
Lalique to Fouquet — illustrated with
superb pieces from the largest collection of Art Nouveau jewellery ever to come
to auction
Art Nouveau was a brief
moment (c. 1890-1910), which had a lasting impact on jewellery design and many
other arts. It was a completely new style based on original ideas, innovative
materials and entirely different design principles. In reaction to increasingly
machine-made, mass-produced jewellery, free-floating forms from the natural
world were explored as never before.
Great artist-jewellers such
as Georges Fouquet and Henri Vever chose semi- and even non-precious materials
for their creations, and standout pieces from the period are treasured for
their originality and design excellence rather than the intrinsic value of
their materials.
The undisputed master of
this genre, however, was René Lalique (1860-1945), whose oeuvre embodied the
very essence of French Art Nouveau. His use of exotic and often fragile
materials, particularly moulded glass and enamel, was revolutionary, as was his
choice of iconography.
Here, a panel of leading
experts dissect the movement, its influences and some of its greatest designers,
including Lalique, Georges Fouquet, Henri Vever, Eugène Feuillâtre, Léopold
Gautrait, and Lucien Gaillard.
When was Art Nouveau at its height?
Michel Perinet, legendary
Parisian gallerist who was the first to offer rare and important pieces of Art Nouveau
and Art Deco jewellery: ‘The movement was rather short-lived, lasting 15 years,
from 1898 to the start of World War I. The most beautiful, most creative and
most original Art Nouveau objects were only produced over an even briefer
period of time: from approximately 1898 to 1906. While René Lalique continued
to put out great works after that time, his creations were less innovative and
more decorative. Between 1908 and 1910, the taste for cleaner, simpler lines
and a proclivity for platinum and engraved crystal gained the upper hand.’
Was Art Nouveau a complete break with the decorative arts of the
late 19th century?
Sigrid Barten, author of an
acclaimed book on René Lalique: ‘Art Nouveau is an art total — it wholly
invaded every art form: jewellery, architecture, painting, music, literature,
etc. And it disappeared as suddenly as it arrived. But the years between 1890
and 1910 were artistically very intense, the proof being that we are still
talking about it today.
‘In Art Nouveau — as in
Japanese art, for instance — there is no difference between the arts
majeurs and the decorative arts. The
decorative arts are just as important, if not more so!’
Evelyne Possémé, Head of
the Ancient and Modern Jewellery department at Musée des Arts Décoratifs: ‘Art
Nouveau is indeed an art total, but one of the greatest triumphs from that era
is jewellery, particularly thanks to those such as René Lalique, Henri Vever
and Georges Fouquet.’
Sigrid Barten: ‘Lalique’s
work is a synthesis of all the arts. The shapes, contours and relief remind me
of sculpture, and I find that his use of colour closely resembles that of
painting. He pushed the boundaries of his art in his jewellery designs. He
introduced new materials, hard or semi-precious stones, ivory, glass — not to mention
all kinds of enamel. His palette was much more diverse than that of a painter
or sculptor.’
Evelyne Possémé: ‘As Jean
Cassou [first director of the National Museum of Modern Art, Paris] said, Art
Nouveau is the source of the 20th century. Throughout the 19th century,
artisans and designers seemed incapable of going further. They were crushed by
a glorious tradition; they dared not innovate; they did not see how they could
do better than their predecessors. These artists therefore took a very long time
to break free of these shackles.
‘That breaking free really
begins with Art Nouveau, in the late 19th century, which emphasised, for
instance, the use of the female figure in the decorative arts, inspired by the
Renaissance. In the 19th century, creators rediscovered enamel techniques that
would prove so important for Art Nouveau jewellery. The influence of nature was
rediscovered as well, inspired by ceramicist Bernard Palissy and goldsmith
Benvenuto Cellini.’
What else influenced Art
Nouveau jewellery design?
Sigrid Barten: ‘Literature
was very important for all artists at that time. Charles Baudelaire’s The
Flowers of Evil, for instance, played a key role — those poems reflect the
sensitivity of the Art Nouveau era. Music was also very important to Lalique:
he loved Richard Wagner.’
And who were the pieces
designed for?
Michel Perinet: ‘Art
Nouveau was not intended for mere mortals, especially when it came to the
jewellery. Originally, the women who ordered and wore these pieces were
actresses like Sarah Bernhardt (1844-1923), grandes cocottes like La Belle Otero (1868-1965) and some
worldly socialites like Countess Grefulhe (1860-1952). The general public
eschewed it.’
Sigrid Barten: ‘At first,
Lalique did not work under his own name and designed mostly for the major
Parisian jewellery houses. He then designed Sarah Bernhardt’s stage jewellery
for the theatre. It must be remembered that, at that time, Art Nouveau was an
innovative artistic movement reserved for the Parisian intelligentsia.’
Were these very intricate, delicate-looking pieces designed to be
worn?
Sigrid Barten: ‘Whether
Lalique was producing magnificent creations for private collectors, designed
for showcase display, or smaller jewellery pieces, all these items could be
worn! None were rigid, and they were almost invisibly supple. He thought first
and foremost of the person who was to wear the piece — the creation is always
soft against the skin, with the reverse as beautiful as the front.
‘As well as pieces for
Sarah Bernhardt, Lalique also produced jewellery for Julia Bartet (1854-1941),
an actress with the Comédie Française. He designed these pieces using very
lightweight materials, such as aluminium, so that they could be worn on stage
for hours at a time.’
Michel Perinet: ‘Jewellery
from the great Art Nouveau creators, like Lalique, Fouquet and Vever, is very
robust and solidly built. Yes, Fouquet made daintier jewellery by using less
metal, but that was a strategic choice to make those designs easier to wear.’
Lalique was greatly
influenced by the symbolism of plants…
Sigrid Barten: ‘Yes. Ivy,
for example, is an ancient symbol of fidelity and longevity. It grows
everywhere and stays green, summer and winter. Thistles, while being very
beautiful plants, are also covered with thorns. In my view, when Lalique uses
them, it may convey other messages, such as “Keep your distance”. This also
applies to hawthorns, roses or brambles.
‘This symbolism is not
found in all the jewellery designs or with all the plants depicted, but the
symbolic tendency is conspicuous. Lalique’s jewels were not merely decorative —
they had meaning, even if that meaning can be difficult to interpret.
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