Patrick Mauriès and Évelyne Possémé have written a trilogy of books dedicated to decorative themes and the art of jewelry. Preceded by Flora and Fauna, Figures & Faces explores the human form as depicted in jewelry. The books exclusively feature items from the collection of the Musée des Arts Décoratifs in Paris.
The book opens with a preface by Olivier Gabet, director of the Musée des Arts Décoratifs, and a forward by Marie Vallanet and Nicolas Bas, the presidents of École des Arts Joailliers and Van Cleef & Arpels, respectively. Each sets up the reader for the beauty in the pages to come. Next come essays titled “Discreet Effigies,” and “The Bejeweled Body.” The first, written by Patrick Mauriès, explores the history of the human form in jewels of adornment. Here, Mauriès traces the evolution of jewelry as a means to depict religious and mythological figures to its use as talismans of great sentimentality and, ultimately, of love. The second esssay, written by Évelyne Possémé, discusses the societal attitudes of the use of the human body in jewelry.
The rest of the book consists of chapters on devotion, love, faces, portraits, fantasy and the Art of the Vanitas. “Mythological Figures” covers just that: this section shows lovely jewelry set with carvings of Medusa, Minerva, Achilles, and other Greco-Roman figures. The popularity of this subject matter has ebbed and flowed throughout history but the authors recall how the popularity of the female form in jewelry peaked during the Art Nouveau period. The photographs throughout this book are very well done and I was amazed, particularly in this chapter, with the minute details these photos could reveal in the carved pieces shown here. For example, even in rings, details such as nostrils, eyelids, and individual wisps of hair are carefully depicted.
The chapter “Figures of Devotion” highlights jewelry in religious motifs from the Byzantine era to present day. Of particular note here is the discussion on reverse painting, which was frequently used to show religious scenes that include full-bodied figures. Reverse painting is a technique involving painting a scene, in reverse, on a transparent material, usually glass or rock crystal quartz. The painting is then flipped over and set into all forms of jewelry so that the image is now sandwiched between the transparent material and a backing material, usually precious metal. The details of these tiny works of art can be staggering and very beautiful.
“Figures of Love” points out that jewelry “often conveys a message of love,” and fittingly, can often show Cupids, putti, clasped hands, and intertwined human forms. An interesting point made in this chapter is the fact that aluminum, when first discovered, was considered a precious metal and was treated appropriately. As a result, there are many pieces of art cast in or created from aluminum. A stunning nineteenth century bracelet of two putti, made of aluminum, gold, rubies, and diamonds is included in this chapter.
Next comes the chapter called, “Historical Faces.” The chapter features an impressive array of pieces showcasing images of various kings, queens, and other notable figures. In “Personal Portraits” we learn that during the eighteenth century it became acceptable to carry images of loved ones. Prior to that time, it was considered “unseemly” to wear items of such sentimentality. The chapter features jewelry set with painted and enamel portraits, as well as cameos. And “Figures of Fantasy” places an emphasis on feminine figures and provocative body parts—lips, hands—again using the style of the Art Nouveau era, executed in all manner of materials or sculpted in precious metal.
The final chapter, “The Art of the Vanitas” features jewelry that depicts skulls. “Vanitas” refers to works of art that contain symbols of death or depict symbolic reminders of the inevitability of death. These memento mori, or reminders that death will come for everyone, can be found in rosaries and all manner of jewelry. Notable in this chapter are an amazing enameled pomander shaped as a skull and an impressive skull-shaped watch case.
As a reader, I found the text engaging and to the point. It was not unduly heavy, making it enjoyable to read. As a jewelry lover myself, I greatly enjoyed the beautifully photographed, and painstakingly crafted pieces found at the Musée des Arts Décoratifs. Having never had the opportunity to visit that particular museum, I now hope for the chance one day.
I have admittedly not read the previous two texts in this set of three. I now plan to backtrack and read Flora and Fauna because of how extraordinary I found Figures & Faces to be. I would gladly recommend this book to anyone interested in the history of jewelry.
Jana Smith is a subject specialist in content strategy at GIA in Carlsbad, California.
Patrick Mauriès and Évelyne Possémé have written a trilogy of books dedicated to decorative themes and the art of jewelry. Preceded by Flora and Fauna, Figures & Faces explores the human form as depicted in jewelry. The books exclusively feature items from the collection of the Musée des Arts Décoratifs in Paris.
The book opens with a preface by Olivier Gabet, director of the Musée des Arts Décoratifs, and a forward by Marie Vallanet and Nicolas Bas, the presidents of École des Arts Joailliers and Van Cleef & Arpels, respectively. Each sets up the reader for the beauty in the pages to come. Next come essays titled “Discreet Effigies,” and “The Bejeweled Body.” The first, written by Patrick Mauriès, explores the history of the human form in jewels of adornment. Here, Mauriès traces the evolution of jewelry as a means to depict religious and mythological figures to its use as talismans of great sentimentality and, ultimately, of love. The second esssay, written by Évelyne Possémé, discusses the societal attitudes of the use of the human body in jewelry.
The rest of the book consists of chapters on devotion, love, faces, portraits, fantasy and the Art of the Vanitas. “Mythological Figures” covers just that: this section shows lovely jewelry set with carvings of Medusa, Minerva, Achilles, and other Greco-Roman figures. The popularity of this subject matter has ebbed and flowed throughout history but the authors recall how the popularity of the female form in jewelry peaked during the Art Nouveau period. The photographs throughout this book are very well done and I was amazed, particularly in this chapter, with the minute details these photos could reveal in the carved pieces shown here. For example, even in rings, details such as nostrils, eyelids, and individual wisps of hair are carefully depicted.
The chapter “Figures of Devotion” highlights jewelry in religious motifs from the Byzantine era to present day. Of particular note here is the discussion on reverse painting, which was frequently used to show religious scenes that include full-bodied figures. Reverse painting is a technique involving painting a scene, in reverse, on a transparent material, usually glass or rock crystal quartz. The painting is then flipped over and set into all forms of jewelry so that the image is now sandwiched between the transparent material and a backing material, usually precious metal. The details of these tiny works of art can be staggering and very beautiful.
“Figures of Love” points out that jewelry “often conveys a message of love,” and fittingly, can often show Cupids, putti, clasped hands, and intertwined human forms. An interesting point made in this chapter is the fact that aluminum, when first discovered, was considered a precious metal and was treated appropriately. As a result, there are many pieces of art cast in or created from aluminum. A stunning nineteenth century bracelet of two putti, made of aluminum, gold, rubies, and diamonds is included in this chapter.
Next comes the chapter called, “Historical Faces.” The chapter features an impressive array of pieces showcasing images of various kings, queens, and other notable figures. In “Personal Portraits” we learn that during the eighteenth century it became acceptable to carry images of loved ones. Prior to that time, it was considered “unseemly” to wear items of such sentimentality. The chapter features jewelry set with painted and enamel portraits, as well as cameos. And “Figures of Fantasy” places an emphasis on feminine figures and provocative body parts—lips, hands—again using the style of the Art Nouveau era, executed in all manner of materials or sculpted in precious metal.
The final chapter, “The Art of the Vanitas” features jewelry that depicts skulls. “Vanitas” refers to works of art that contain symbols of death or depict symbolic reminders of the inevitability of death. These memento mori, or reminders that death will come for everyone, can be found in rosaries and all manner of jewelry. Notable in this chapter are an amazing enameled pomander shaped as a skull and an impressive skull-shaped watch case.
As a reader, I found the text engaging and to the point. It was not unduly heavy, making it enjoyable to read. As a jewelry lover myself, I greatly enjoyed the beautifully photographed, and painstakingly crafted pieces found at the Musée des Arts Décoratifs. Having never had the opportunity to visit that particular museum, I now hope for the chance one day.
I have admittedly not read the previous two texts in this set of three. I now plan to backtrack and read Flora and Fauna because of how extraordinary I found Figures & Faces to be. I would gladly recommend this book to anyone interested in the history of jewelry.
Jana Smith is a subject specialist in content strategy at GIA in Carlsbad, California.