內容簡介
本書收入維多利亞時期至一次大戰間的250件代表性作品，有：斗篷別針、髮飾、胸針、耳環、手鐲、掛墜、項鍊、皇冠。女性與珠寶，相得益彰──但這些作品可不只是由女性佩戴而已。這段時期，女形開始成為著名的珠寶設計師、成立獨立的工作室，還改變了社會常規，這些都是史上頭一遭。此外，女性的形象還成為珠寶設計的靈感來源，創造出一件又一件飽含美好寓意又別出心裁的作品。
本書作品選自崔赫斯博物館以及著名藏家的珠寶收藏，許多精品從來沒有對外展示過。這些作品就和設計師一樣美麗，獨特的形式、精細的手藝、飽滿的色彩還有珍貴的半寶石，反映出二十世紀初期的各種藝術流變。
本書作品代表了五種珠寶設計製造的風格：英國的美術工藝運動、法國的新藝術、德奧的青年風格、紐約的路易斯‧康福特‧蒂芙尼、芝加哥的美國美術工藝運動。每個單元都將介紹重要的女性人物以及歷史社會大事，並搭配歷史照片，以及當時的裝潢、海報、彩繪玻璃等裝飾藝術的圖像，讓讀者更能感受時代的氣氛。
A new perspective on woman s role in the world of art jewelry at the turn of the twentieth century from Art Nouveau in France and the Arts and Crafts movement in Britain, to Jugendstil in Germany and Austria, Louis Comfort Tiffany in New York, and American Arts and Crafts in Chicago and the most extensive survey to date of the sheer diversity and beauty of art jewelry during this period.
Accompanying a groundbreaking exhibition at The Richard H. Driehaus Museum in Chicago, this lavishly illustrated catalog showcases nearly two hundred stunning pieces from the Driehaus Collection and prominent national collections, many of which have never been seen by the public.
Women were not only the intended wearers of art jewelry during the early twentieth century, but also an essential part of its creation. Their work boldly artistic, exquisitely detailed, hand wrought, and inspired by nature is now widely sought after by collectors and museums alike. From the world s first independent female jewelry makers, to the woman as artistic motif, this jewelry reflected rapid changes in definitions of femininity and social norms.
Essays by noted scholars explore five different areas of jewelry design and fabrication, and discuss the important female figures and historic social milieu associated with these movements from the suffragists and the Rational Dress Society in England; to the Wiener Werkstätte and Gustav Klimt; and the Art Nouveau masters René Lalique and Alphonse Mucha, who depicted otherworldly women in jewelry for equally fascinating patrons like Sarah Bernhardt.
The essays are illustrated by historic photographs and decorative arts of the period as well as the extraordinary pieces themselves: hair combs, bracelets, brooches, and tiaras executed in moonstones, translucent horn, enamel, opals, aquamarines, and much more. As Driehaus writes in his introduction to Maker & Muse, Essential as these elements are, the metal and gemstones of a necklace or a brooch or a bracelet are like a canvas. It is the designer who evokes true greatness, beauty, and value from them. Neither monumental nor mass-produced, the object contains a memory of a particular artist s skilled hand.
