This is the case with mandorlas, palmettes, foliage, sequins, scrolls, scales, etc. The patterns which decorate bindings – the central medallion surrounded by fleurons and corner pieces – were sometimes reproduced exactly. A selection of his design drawings is presented here thanks to an exceptional loan from the Petit Palais, Fine Arts Museum of Paris.Īlthough famed for its ‘garland style’ jewellery, from 1904 onwards, Cartier began developing pieces inspired by the geometric patterns of Islamic art found in books about ornamentation and architecture.Įnamelled brick decorations from Central Asia and stepped merlons, amongst others, form the basis of a precursory repertoire later described as ‘Art Deco’ - in reference to the ‘ Exposition internationale des arts décoratifs et industriels modernes’ in Paris in 1925, bringing Cartier into the modern world very early on.Ĭartier’s production under the artistic direction of Louis Cartier is notable for the inspiration he took from the Persian world as well as the art of the book. Charles Jacqueau was an important as well as brilliant member of Cartier’s team of designers. Louis’ personal collection, reconstructed thanks to the archives of the House of Cartier, is represented here through several masterpieces reunited for the first time since the dispersion of his collection. The books in Louis Cartier’s library and his collection of Islamic art were made available as resources for designers.
The second one illustrates the lexicon of forms inspired by Islamic art, from the start of the 20th century to the present day.Īlong the North Gallery, room after room, the creative process and the initial sources of inspiration in jewellery design are presented. The first part explores the origins of this interest in Islamic art and architecture through the cultural backdrop of Paris at the beginning of the 20th century and reviews the creative context among designers and studios as they searched for sources of inspiration. The exhibition is organised as a themed chronological tour.
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