Dallas Museum To Present ‘Cartier And Islamic Art’ Exhibition

The Dallas Museum of Art (DMA) would be the sole North American venue for an exhibition titled, “Cartier and Islamic Art: In Search of Modernity,” which is able to open May 14 and run via September 18.

The exhibition will hint Cartier’s inspirations from Islamic artwork and design. It will embody Louis Cartier’s assortment of Persian and Indian artwork and the work of Cartier designers from the early Twentieth century to current day. It brings collectively greater than 400 objects from the holdings of Cartier, the Musée des Arts Décoratifs, the Musée du Louvre, the Keir Collection of Islamic Art and different main worldwide collections.

Cartier and Islamic Art: In Search of Modernity explores how Cartier’s designers tailored varieties and strategies from Islamic artwork, structure, and jewellery, in addition to supplies from India, Iran and the Arab lands, to create jewels and artwork objects in a contemporary stylistic language distinctive to the home of Cartier.

“For over a century, Cartier and its designers have recognized and celebrated the inherent beauty and symbolic values found in Islamic art and architecture, weaving similar elements into their own designs,” mentioned Agustín Arteaga, DMA’s director. “Not only does this exhibition present our audiences with the opportunity to explore Cartier’s dazzling designs, but it also spotlights the strength of our powerhouse Islamic Art and Decorative Arts and Design departments, as well as those of our colleagues at the Musée des Arts Décoratifs and the Louvre.”

“It has been an extraordinary experience to uncover a story about modern design rooted in the active engagement of Cartier’s designers with superb, complex works of art and architecture from the Islamic lands,” added Heather Ecker, DMA curator of Islamic Art and Medieval Art. “Sometimes those works were experienced through the mediation of 19th- and early 20th-century publications of patterns and examples. Cartier’s jewels and bejeweled objects have an unmistakable style and sense of taste that was cultivated, in part, through this aesthetic appreciation and study of Islamic art.”

The exhibition explores the origins of Islamic affect on Cartier via the cultural context of Paris within the late nineteenth and early Twentieth centuries and thru Louis J. Cartier (1875–1942), a companion and eventual director of Cartier’s Paris department, and a collector of Islamic artwork.

During this time, Louis Cartier and his designers started to experiment with new modes of design, trying to Japanese textiles, Chinese jades, Indian jewellery, and the humanities and structure of the Islamic world to increase upon the “garland style” that had introduced success to the home on the flip of the Twentieth century, museum officers mentioned in an announcement. Louis Cartier’s personal assortment of Persian and Indian work, manuscripts, and different luxurious objects additionally served as inspiration for these new designs, and collectively these influences can be important within the growth of the Art Deco type at Cartier.

The exhibition showcases Cartier jewellery and luxurious objects alongside historic images, design drawings, archival supplies, and works of Islamic artwork, together with works bearing motifs that may change into a part of Cartier’s lexicon of varieties. Digital recreations of notebooks and sketchbooks from the Cartier archives enable for added perception into the French luxurious model’s artistic course of. This consists of the assorted varieties in Cartier’s jewels and artwork objects that had been tailored from Islamic sources, together with geometric varieties (polygons and stars), naturalistic varieties (vine scrolls, cut up palmettes, and animals), and Chinese designs (cloud collars and interlocking shapes) that had been naturalized within the Islamic lands.

Material and technical sources of inspiration derived from Louis’s youngest brother Jacques’s travels to India and Bahrain within the early Twentieth century allowed Cartier to import new supplies, together with carved emeralds and different multicolored engraved gem stones. Discoveries from these travels spurred the usage of novel colour mixtures drawing from Islamic sources, probably the most distinctive elements of the home’s early Twentieth-century designs. They additionally impressed the usage of new strategies, most notably Cartier’s signature “Tutti Frutti” type.

The exhibition traces every of those stylistic developments, linking them to precise or possible Islamic supply materials and revealing the experience of Cartier’s jewelers and the way they mixed these influences to create a few of luxurious model’s most famed and recognizable types right this moment.

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