Brooches Catalan 1915 – 1945
Text accompanying the presentation of the exhibition
Brooches Catalan 1915 – 1945
Gallery hypothesis – Barcelona, 1999
Hypothesis presented with liking exposure Brooches Catalan 1925-1945, within the program of retrospectives, which periodically offers photo. The exhibition includes the whole ninety pieces of notable jewelers Catalan. It is necessary to remember that making 8 years, the 1999 Hypothesis presented a first exhibition, entitled Brooches Catalan 1930 – 1950, in which he exhibited the work of some of the jewelers of vital assistance to the current edition, Jaume Queralt Mercadé (1889-1967), Ramon Sunyer Clara(1889-1963), Peter Martin Vilanova (1890-1972), Joaquim Capdevila Meya (1876-1959), Manuel Capdevila Masssana (1910-2006) and other anonymous authors, ultimately, an excellent group of artists.
The person becomes a showcase phone when wear jewelry and especially brooches in which the goldsmith pours freely expressive creativity, wit, professionalism and expertise, through the plastic support released more laxly no measures to reduce both excess conditioned portability joy. the brooch, is usually fixed to the clothing through a needle or spike that crosses, made of the same metal as the rest of the piece, a bayonet closure Awarded estaticitat thus being outside direct incidents of body movements, as in the case of the hands and arms with regard to rings and bracelets, or suffering earrings with bellugueig head and conditioning the hair added. Així doncs, it is not surprising that sometimes the elements that make up accidentally deposited there seem, circumstancialment, as if volatile elements tractésin.
The pins selected for the exhibition Brooches Catalan 1925-1945, have a common element, semiprecious gem of a live chromaticism that articulates around a universe with perfect harmony of shapes and colors. His joys fetes preferably silver with gold patina, stones, coralls, turqueses, pearls and enamel which are added to the formal complicity of rediscovered sculptural elements of the Hellenistic period or of solid architectural elements of the classical cultures of the Mediterranean shore. Pieces of columns with Ionic capitals and rounded fillets of undulating scrolls, These features are common in the pins conducted between 1925 i 1930. previously, between 1920 i 1925, there was a recovery of the finest saw fretwork made of platinum and now worked in gold and silver. While alternate with delicate subtlety and fragility of natural vegetables and other items that evoke the seabed, twisted shapes that are opposed to more pointed in remembrance a starfish or simulations with a pearl wrapped or emerging. Uses a wide range of insistent rhythms Cenefa. All imagery within a visual timeline that can not escape the lurking madness colorful, are common features of brooches made between 1930 i 1935. However, other gems offer impetuous pace of precious metals repeatedly superimposed on that combine generosity with different shapes severe contours characteristic of Cubism, which will gradually acquire a considerable volume, are traits common parts between the years 1935 i 1940. Given another style plastic, the joys we presenten soft forms, fluid and slippery, dictation from the more typical psychic automatism of Surrealism, is wrought between jewels that reflect 1940 i 1945. Sometimes many of these works of art denote a certain eclecticism and may even be enfarfegades. But what's done absolutely undeniable is the high command of the trade in these assemblages on the other obvious mastery, from the original idea of the work, drawing workshop, the execution and final construction of the jewel with the imprint balanced work of chisel and chisel, as well as the delicate rhythm and hammered, or precious work in Sierra, thoroughness of nailed, the fragility of enamel gesture and careful work to bescara of the piece that is sometimes covered.
For the execution of these jewels, highly differentiated from the bright white platinum and diamonds popularly known as the bright cakes deco, and are now present on the occasion of the exhibition, metals used alternate. preferably sleep worked with silver and gold plated or incorporated into a anecdote imperceptible details, make a wager tones and polished finishes, crespats or mats, which can be hammered matching jobs. The most common are the aquamarine gems, the amethyst and topaz ... presented in rectangular sizes, oval, emerald gem ... and adapted to using angles, grapes, mouths that can be topped with watermarks either fistonejades, occasionally framed with Cenefa sometimes repetitive. Likewise, s'hi adapten pearls, the turqueses, corals, marcasite and apply to the way stroke, enamels base cut blue, red and green, Traditional Mediterranean colors a bright light, giving a strong chromatic painting that shows the design of some of these jewels, in which we see the full significance of the artistic style and color meet the material value of the piece. Traces of paint jewelry James is latent Mercadé, also in Ramon Sunyer you can not avoid this proximity to the pictorial world for family bonding. In Manuel Capdevila there exudes the vocation of the artist painter.
We must thank M. Luisa Samaranch its new commitment at the time to move forward and make this exhibition possible the realization of this exhibition catalog testimony. We must also thank all the private collectors who, thanks to their sensitivity and kindness, have left these beloved personal items with the desire to help keep alive the work carried out by Catalan goldsmiths and persevere in the dissemination of their work..