DOI Heft:
Nr. 148 (July 1905)
DOI Artikel:Lalique, René: The exhibition of jewellery
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.20712#0150
The Lalique Exhibition
is always reverently turned to usefulness, and
into whose designs there enters no mean attempt
to draw from simple things a self-adver-
tising eccentricity of pattern. Restraint, the key-
note of all great art, is apparent amongst all the
opulence and extravagance of ideas in M. Lalique’s
work. It controls his untiring energy of design ;
it saves it from monotony and over-completeness.
One is especially struck in M. Lalique’s work with
his power of emphasising delicate ornament by its
juxtaposition to simple masses of ornamental form.
The little figures, with their Rodin-like energy of
movement, which come into so many of his designs,
show the wide knowledge and resourcefulness of his
modelling.13 His cunning as a jewel designer is almost
eclipsed by his power as a sculpt or. and the resource
with which he plays the one form of his art into the
service of the other is wonderful, and reveals to
us the minuteness and skill of his jewellery work in
the same object as he proves himself a brilliant
sculptor. Lalique’s work has become a model for
other designers, and much of the inspiration of
HAIR ORNAMENT WITH DESIGNED BY R. LALIQUE
ENAMEL FLOWERS
(By permission 'of Messrs. T. Agnew Sf Sons)
132
PENDANT BY R. LALIQUE
(By permission op Messrs. T. Agnew Sf Sons)
modern jewellery finds its source direct in his work.
This gives to Lalique a responsibility which he has
not courted, but at the same time which he cannot
avoid. There are some hundred designers willing
to abide by his judgment in matters of taste, who
would acknowledge anything he did as a prece-
dent. His most objectless experiment is liable
to be taken up thus by the enthusiast and pushed
to conclusions undreamed of by himself. Things
are not as they were when M. Lalique commenced
his revolution in French jewellery; then the art of
jewellery no longer filled its requirements. The
passion for diamonds which took possession of*
society in France and in other countries during the
Second Empire was the outcome of frequent dis-
coveries of diamond mines: the abundant supply
stimulated everyone with a desire to appear at
balls ablaze with precious stones. The poverty
of the workmanship became deplorable. The
next development in jewellery was when Massin
is always reverently turned to usefulness, and
into whose designs there enters no mean attempt
to draw from simple things a self-adver-
tising eccentricity of pattern. Restraint, the key-
note of all great art, is apparent amongst all the
opulence and extravagance of ideas in M. Lalique’s
work. It controls his untiring energy of design ;
it saves it from monotony and over-completeness.
One is especially struck in M. Lalique’s work with
his power of emphasising delicate ornament by its
juxtaposition to simple masses of ornamental form.
The little figures, with their Rodin-like energy of
movement, which come into so many of his designs,
show the wide knowledge and resourcefulness of his
modelling.13 His cunning as a jewel designer is almost
eclipsed by his power as a sculpt or. and the resource
with which he plays the one form of his art into the
service of the other is wonderful, and reveals to
us the minuteness and skill of his jewellery work in
the same object as he proves himself a brilliant
sculptor. Lalique’s work has become a model for
other designers, and much of the inspiration of
HAIR ORNAMENT WITH DESIGNED BY R. LALIQUE
ENAMEL FLOWERS
(By permission 'of Messrs. T. Agnew Sf Sons)
132
PENDANT BY R. LALIQUE
(By permission op Messrs. T. Agnew Sf Sons)
modern jewellery finds its source direct in his work.
This gives to Lalique a responsibility which he has
not courted, but at the same time which he cannot
avoid. There are some hundred designers willing
to abide by his judgment in matters of taste, who
would acknowledge anything he did as a prece-
dent. His most objectless experiment is liable
to be taken up thus by the enthusiast and pushed
to conclusions undreamed of by himself. Things
are not as they were when M. Lalique commenced
his revolution in French jewellery; then the art of
jewellery no longer filled its requirements. The
passion for diamonds which took possession of*
society in France and in other countries during the
Second Empire was the outcome of frequent dis-
coveries of diamond mines: the abundant supply
stimulated everyone with a desire to appear at
balls ablaze with precious stones. The poverty
of the workmanship became deplorable. The
next development in jewellery was when Massin