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Parisian Exhibit Reveals Secrets of Fine Jewelry Making
PARIS Which of the 450 jewels would attract the biggest crowds at this collection on display at the French Museum of Decorative Arts?
Would the biggest draw be the gold and diamond "lion" choker with piercing emerald eyes that was a gift to new grandmother Elizabeth Taylor from Richard Burton in 1971? Or would it be the zipper necklace, with lines of diamond teeth, made in 1951 at the inspiration of the Duchess of Windsor, whose hard face and sharp jewels appear in a photograph on the wall?
Maybe a crush of visitors would gravitate to one of the most fabulous flower brooches, a peony clip from 1937, its ruby petals curled over diamond leaves? Or cluster in front of ballerina brooches redolent, in their sweet innocence, of the postwar period of the 1950s?
Few would guess that the Van Cleef Arpels exhibition "Art of Fine Jewelry," at the Muse des Arts Decoratifs in Paris until Feb. 10, would be a draw not just for its fabulous and fashionable sparkles but also for a series of films showing works in progress.
Continue reading the main story
A specialist in gems gasps as he rubs between his fingers a fiery ruby, saying, "Oh la la! There are no words!" And a polisher proudly describes his progress from a young apprentice through the workshop.
This enthusiasm for works in progress rather than just finished objects shows a turnaround in attitudes. High jewelry used to be about lofty secrets. That is why Van Cleef's most famous invention in 1933 was called a "mystery setting," because the gemstones were mounted without, apparently, any claws to hold them in place.
But even that process is decoded in the display, which shows the rails in which the stones are clamped, looking like squares in a bar of chocolate. Beside the didactic explanation, mystery set jewels are displayed in one of many plexiglass tubes that enable the visitors to look at the jewels from every angle. That idea, too, is symbolic of the openness of this exceptional exhibition.
The Van Cleef story started in the 1920s when a wedding between the scions of two jewelry clans the Van Cleefs of Amsterdam and the Arpels family from Ghent, Belgium founded a dynasty.
At that time, the sinuous curves of the Art Nouveau movement were being replaced by linear modernity. Van Cleef swiftly picked up influences from a changing world. Beatrice Salmon, the museum director, explains in her preface to the sumptuous catalogue, with more than 500 illustrations, that Egyptian references mirrored the discovery in 1922 of the Egyptian pharoah Tutankhamun's tomb and that the culture of the 1970s produced jewelry with a hippie beat.
The founding purpose of the decorative arts museum was to show that beauty and utility can coexist. And that is the message of this exhibition. It includes digital effects that allow visitors to take a virtual "backstage" trip around the jeweler's Paris premises in the Place Vendme. By using a gesture recognition system, a three dimensional tour moves through the workrooms.
On a more glamorous note, the show displays the elegant modernity of tiaras worn by royal figures, including Empress Farah Diba of Iran and Princess Charlene of Monaco at her 2011 wedding.
Stanislas de Quercize, the chief executive of Van Cleef (before he takes over as chief executive of Cartier, another jeweler within the Richemont luxury group) said this was his fourth exhibition since 2009.
The Paris show follows ones in New York, Tokyo and Shanghai, each different. Mr. de Quercize said that whereas the exhibition in New York at the Cooper Hewitt National Design Museum,van cleef clover necklace, part of the Smithsonian Institution, might have put more focus on particular themes, the Parisian version had been designed to look at the chronology.
"I wanted it to be as pedagogic as possible," he said, referring to the exhibit. "It is 20 years since we had an exhibition in Paris. The idea is to show very creative artists,van cleef arpels necklace replica, with artisanal virtuosity, the choice of the best stones, with the aim of making jewelry eternal,fake van cleef & arpels necklace, international and universal."
The display, designed by Patrick Jouin and Sanjit Manku, softens the high central nave with giant undulating petals above the showcases.
The displays take the curator Evelyne Possm's story from the small decorative boxes of 1920s to the invention of the famous minaudire, or box evening bag, in 1933. After the delicate jewelry of the '30s comes the return of yellow gold in heftier shapes in the 1940s. There are different reflections of the changing decades until the invention in 1968 of the still popular "Alhambra" design. Its four leafed motifs on dangling chains reflected the spirit of the hippie years.
Like tributaries to a mighty river, side areas of the museum offer details and follow the development of the jeweler. The show goes through to recent collections that have been themed as "Gardens" in 2008 and "Legendary Balls" in 2011.
The nature story is ever present, producing some of the loveliest jewels: a 1937 chrysanthemum with baguette cut diamonds and rubies; or a 1947 Hawaiian inspired flower on a serpent chain bracelet of solid gold.
Another strong theme incorporates the knots,fake van cleef and arpels necklace, bows, lace, tulle and trimmings of haute couture. Of the many textile references, including variations on the zip necklace, the bows are exceptional. The most subtle is the 1949 lace knot in a delicate mix of gold, platinum and brilliant cut diamonds.
Then there are the ties that bind jeweler and client. Those collaborations might have been with the Maharajah of Indore for a colorful Egyptian inspired watch in 1924; or with Daisy Fellowes, a great socialite in her time, who had a circle of emeralds made in 1926.
From the opera singer Maria Callas through Princess Grace of Monaco, Van Cleef created jewels for the famous who marked history. Yet, as this exhibition proves, while society names may fade into insignificance, their jewels remain, as imaginative design and technical virtuosity ensure an eternal sparkle.
PARIS Which of the 450 jewels would attract the biggest crowds at this collection on display at the French Museum of Decorative Arts?
Would the biggest draw be the gold and diamond "lion" choker with piercing emerald eyes that was a gift to new grandmother Elizabeth Taylor from Richard Burton in 1971? Or would it be the zipper necklace, with lines of diamond teeth, made in 1951 at the inspiration of the Duchess of Windsor, whose hard face and sharp jewels appear in a photograph on the wall?
Maybe a crush of visitors would gravitate to one of the most fabulous flower brooches, a peony clip from 1937, its ruby petals curled over diamond leaves? Or cluster in front of ballerina brooches redolent, in their sweet innocence, of the postwar period of the 1950s?
Few would guess that the Van Cleef Arpels exhibition "Art of Fine Jewelry," at the Muse des Arts Decoratifs in Paris until Feb. 10, would be a draw not just for its fabulous and fashionable sparkles but also for a series of films showing works in progress.
Continue reading the main story
A specialist in gems gasps as he rubs between his fingers a fiery ruby, saying, "Oh la la! There are no words!" And a polisher proudly describes his progress from a young apprentice through the workshop.
This enthusiasm for works in progress rather than just finished objects shows a turnaround in attitudes. High jewelry used to be about lofty secrets. That is why Van Cleef's most famous invention in 1933 was called a "mystery setting," because the gemstones were mounted without, apparently, any claws to hold them in place.
But even that process is decoded in the display, which shows the rails in which the stones are clamped, looking like squares in a bar of chocolate. Beside the didactic explanation, mystery set jewels are displayed in one of many plexiglass tubes that enable the visitors to look at the jewels from every angle. That idea, too, is symbolic of the openness of this exceptional exhibition.
The Van Cleef story started in the 1920s when a wedding between the scions of two jewelry clans the Van Cleefs of Amsterdam and the Arpels family from Ghent, Belgium founded a dynasty.
At that time, the sinuous curves of the Art Nouveau movement were being replaced by linear modernity. Van Cleef swiftly picked up influences from a changing world. Beatrice Salmon, the museum director, explains in her preface to the sumptuous catalogue, with more than 500 illustrations, that Egyptian references mirrored the discovery in 1922 of the Egyptian pharoah Tutankhamun's tomb and that the culture of the 1970s produced jewelry with a hippie beat.
The founding purpose of the decorative arts museum was to show that beauty and utility can coexist. And that is the message of this exhibition. It includes digital effects that allow visitors to take a virtual "backstage" trip around the jeweler's Paris premises in the Place Vendme. By using a gesture recognition system, a three dimensional tour moves through the workrooms.
On a more glamorous note, the show displays the elegant modernity of tiaras worn by royal figures, including Empress Farah Diba of Iran and Princess Charlene of Monaco at her 2011 wedding.
Stanislas de Quercize, the chief executive of Van Cleef (before he takes over as chief executive of Cartier, another jeweler within the Richemont luxury group) said this was his fourth exhibition since 2009.
The Paris show follows ones in New York, Tokyo and Shanghai, each different. Mr. de Quercize said that whereas the exhibition in New York at the Cooper Hewitt National Design Museum,van cleef clover necklace, part of the Smithsonian Institution, might have put more focus on particular themes, the Parisian version had been designed to look at the chronology.
"I wanted it to be as pedagogic as possible," he said, referring to the exhibit. "It is 20 years since we had an exhibition in Paris. The idea is to show very creative artists,van cleef arpels necklace replica, with artisanal virtuosity, the choice of the best stones, with the aim of making jewelry eternal,fake van cleef & arpels necklace, international and universal."
The display, designed by Patrick Jouin and Sanjit Manku, softens the high central nave with giant undulating petals above the showcases.
The displays take the curator Evelyne Possm's story from the small decorative boxes of 1920s to the invention of the famous minaudire, or box evening bag, in 1933. After the delicate jewelry of the '30s comes the return of yellow gold in heftier shapes in the 1940s. There are different reflections of the changing decades until the invention in 1968 of the still popular "Alhambra" design. Its four leafed motifs on dangling chains reflected the spirit of the hippie years.
Like tributaries to a mighty river, side areas of the museum offer details and follow the development of the jeweler. The show goes through to recent collections that have been themed as "Gardens" in 2008 and "Legendary Balls" in 2011.
The nature story is ever present, producing some of the loveliest jewels: a 1937 chrysanthemum with baguette cut diamonds and rubies; or a 1947 Hawaiian inspired flower on a serpent chain bracelet of solid gold.
Another strong theme incorporates the knots,fake van cleef and arpels necklace, bows, lace, tulle and trimmings of haute couture. Of the many textile references, including variations on the zip necklace, the bows are exceptional. The most subtle is the 1949 lace knot in a delicate mix of gold, platinum and brilliant cut diamonds.
Then there are the ties that bind jeweler and client. Those collaborations might have been with the Maharajah of Indore for a colorful Egyptian inspired watch in 1924; or with Daisy Fellowes, a great socialite in her time, who had a circle of emeralds made in 1926.
From the opera singer Maria Callas through Princess Grace of Monaco, Van Cleef created jewels for the famous who marked history. Yet, as this exhibition proves, while society names may fade into insignificance, their jewels remain, as imaginative design and technical virtuosity ensure an eternal sparkle.
The Wall