Cartier Tutti Frutti Jewelry Heritage

musee des arts decoratifs

Courtesy Musee des Arts Decoratifs

In the 1920s and 30s, Cartier commenced turning out gobsmackingly vibrant necklaces and bracelets in its Paris atelier, giving its clientele vivid options to diamonds and pearls. The collections, later known as tutti frutti, are a person of the jewelry world’s favourite legends. Like a lot of a wealthy scion, Louis and Jacques Cartier, the grandsons of the house’s founder, had travelled to India in research of inspiration, and came again with jewelry bins complete of it.

cartier et les arts de l’islam
Cartier et les arts de l’Islam will be on show by way of February 20, 2022.

Christophe Dellieres

“The discovery and reception of Islamic Artwork at the beginning of the twentieth century was a astonishing aesthetic shock. Nowadays, we have simple access to imagery from across the earth, but at the time, Islamic Art was revealing new designs, styles, and colour combos that had in no way been viewed prior to,” mentioned Évelyne Possémé and Judith Hénon-Raynaud, curators at the Musée des Arts Décoratifs, Paris, who set together Cartier and Islamic Art: In Look for of Modernity.

Louis in distinct was struck by all matters Islamic amassing a selection of art and objects to be employed as a jumping off point for Cartier’s manufacturer-new baubles. Right after his dying in 1942, on the other hand, the assortment was unceremoniously dispersed and it took Possémé and Hénon-Raynaud three a long time to reconstruct it for the show.

an elaborate cartier vanity case that was initially inspired by an iranian casket
A Cartier vanity case that was impressed by an Iranian casket.

Courtesy Musee des Arts Decoratifs

“We were being really equipped to explore proof that some of the original objects influenced Cartier’s function right. For case in point, an ornate self-importance in mother of pearl, turquoise, and emerald, noticed at the entrance of the exhibition, was motivated by an Iranian casket,” Possémé and Hénon-Raynaud reported.

And although the Western environment was admiring the specialized feats and stunning shows of Islamic-influenced jewellery, Indian royalty was fascinated in European designs, commissioning will work from the Cartiers or obtaining them re-set their pieces in the Art Deco style. To capture this fantastic jewelry trade, Cartier and Islamic Artwork also incorporates pieces motivated by this era selected from the Louvre and its personal archives. The end result is a cross-cultural dialogue of attractiveness reminding us that we have much more points celebrate collectively than not, which is, as we all perfectly-know, is a testomony to the electricity of wonderful jewelry.

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Katheleen Knopf

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