A touch of decadence

Press, 27 June 1987, Page 16

A touch of decadence

PAULA DAVIES,

"Observer,” visits a remarkable London exhibition of Rene Lalique’s jewellery.

Vivienne Becker spent nearly 18 months cajoling 20 private collectors as well as 15 museums to lend 235 pieces of jewellery for a remarkable exhibition at the Goldsmiths’ Hall in London.

“The Jewellery of Rene Lalique” is the most comprehensive show ever seen of the work of this Art Nouveau jeweller. Vivienne Becker has even managed to get hold of two of the five three-foot-high bronzes — languorous butterfly ladies — which surrounded Lalique’s stand at the International Exhibition in Paris in 1900, where he launched his new style of jewellery. “I spent three years researching and writing a book on Art Nouveau jewllery, so I had a pretty good idea where to start,” says this diminutive but dominating 34-year-old. Describing Lalique as the greatest art jeweller of all time, she says: “His workmanship is nothing short of miraculous; his use of colour was revolutionary at the turn of the century, his enamels are used in compositions and textures that literally give you a shock. “The jewels are decadent, often threatening and macabre. They are so emotionally charged, demanding — often even tiring — with a passion that is only just controlled, quite frightening.” Vivienne’s favourite piece in the exhibition — which runs till July 24 — is both creepy and compelling, in its strange combination of woman and insect. ;

It is a huge corsage ornament. The dragonfly lady, whose fragile wings span 12 inches, shimmers

and gleams with a dreamy reality.

It’s a shock to notice that the woman’s torso seems to grow out of wide jaws between nightmarish talons. Is she being born, or swallowed up? Vivienne is a Londoner, and a self-taught specialist.

“I wanted a complete change after A-levels, and went to work in the Barratt Street indoor market, for an antique jeweller. That was it — I got too involved to think of university. “Jewellery is the most personal of the decorative arts; it reflects social values and the changing role of women in society. “In 1900, when Art Nouveau dissolved the old stiff shapes into rippling lines of energy, nature and growth, women were going through a strong metamorphosis, which Lalique reflected in his jewellery. “He was inspired by the •actress Sarah Bernhardt and designed her stage jewels, which, like her, had to be melodramatic and larger than life." Lalique was the first jewellery designer to mix valueless materials with precious ones. “He ’ used horn, enamels, and glass with gold and diamonds. Many jewels are brilliant subtle parodies of more formal designs. “A tiara, for example, has sensual moulded glass pansies where you might

expect to see aquamarines.”

Lalique was daring in other ways too. “There is a damsel-fly necklace where the slender bodies of the creatures are curved into Art Nouveau lines, their little wings glisten with diamonds. But I have been told that the shapes show the insects mating.” The main difficulty encountered in organising the exhibition was persuading people to part with their Laliques. “It was rather daunting at first, and a huge responsibility, but I thought as I unwrapped all these beautiful pieces that I have been given a unique opportunity to show that Lalique was a great artist' who happened to be a jeweller. “Fine jewels should be regarded as works of art. I see this happening tor

day. “Alongside commercial jewellery, there is a trend towards individual creations by talented artist jewellers. What they need is patrons?’ Lalique had Calouste Gulbenkian, who equated, the jeweller’s work with his fine antique furniture and paintings. Then suddenly in 1910, Lalique turned his back on precious jewellery and went into manufacturing his designs for glass — 215 are still in production today. “We don’t really know why,” says Vivienne Becker. “Perhaps he was disillusioned with all the awful copies of his work.

“He was sociallyminded, so perhaps wanted to create a range more people could afford. In the Twenties and Thirties he produced much simple glass jewellery.”