Cartier 1899 - 1949(ISBN=9788861300262) mobi 下载 网盘 caj lrf pdf txt 阿里云

The glory of classic Cartier jewelry is exhibited through fifty years worth of designs shown in this exhibition catalog. It shows how surprising the First Cartiers were, in two clear ways: first, art nouveau elements are almost totally absent. Instead there is a singular reinterpretation of the neoclassical vocabulary: floral motifs, acanthus scrolls, and garlands or drops. Care for detail in these architectural motifs–often in three dimensions–is paramount. At the same time, Cartier introduced the use of platinum for the mounts. This metal was more solid and more luminous but also harder to work. It required a revolution in setting techniques as well as new tools and underlying techniques. Layer by layer, these foundation designs raised Cartier to the position of visionary and pioneer.Specialists, collectors, fans of Cartier objects, and those who love decorative arts will discover a surprising new view of Cartier in this major catalog.

Calouste Gulbenkian in the Rue de la Paix

Nuno Vhssalto e SibJa

Cartier and Lalique, Masters of Tradition and the Avant-Garde

Maria Femanda Passos Leite

Cartier 1898-1920: The Birth of a Style

Pierre Ruiner

Exoticism in Cartier Jewels: The Influence of Eg33ot,

Persia, India and the Far East

Judy Rudoe

So why the Devil Should One Go to Cartier?

Came Remy

The Age of the Care Society

Thierr Coudert

Catalogue

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Nuno Vassallo e Silva is deputy-director of the Calouste Gulbenkian Museum in Lisbon. Maria Fernanda Passos Leite is chief curator for the Textile and René Lalique Collections at the Calouste Gulbenkian Museum. Judy Rudoe, an associate at The British Museum is a historian of the decorative arts and the author of several articles, books, and catalogs on decorative arts. Come Remy is a specialist in 20th-century decorative arts, and an expert on behalf of sales committees and insurance companies.

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The glory of classic Cartier jewelry is exhibited through fifty years worth of designs shown in this exhibition catalog. It shows how surprising the First Cartiers were, in two clear ways: first, art nouveau elements are almost totally absent. Instead there is a singular reinterpretation of the neoclassical vocabulary: floral motifs, acanthus scrolls, and garlands or drops. Care for detail in these architectural motifs–often in three dimensions–is paramount. At the same time, Cartier introduced the use of platinum for the mounts. This metal was more solid and more luminous but also harder to work. It required a revolution in setting techniques as well as new tools and underlying techniques. Layer by layer, these foundation designs raised Cartier to the position of visionary and pioneer.Specialists, collectors, fans of Cartier objects, and those who love decorative arts will discover a surprising new view of Cartier in this major catalog.