Talk:René Lalique
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RENE LALIQUE (1860-1945) A Brief History
Rene Lalique's life and artistic career bestrode arguably the three most important movements in the field of the Decorative Arts Belle Epoque, Art Nouveau and Art Deco.
The same period witnessed the evolution of decorative glass generally, with several defunct manufacturing techniques originally invented in Ancient Roman times being re-discovered and employed by the 20th Century's new generation of artists.
Rene Lalique's contemporaries, Emile Galle and the American Louis Comfort Tiffany, worked predominantly in Art Glass, distinctive for its rich combination of colour, botanic motifs and iridescence. These facets, although of great beauty, tended somewhat to disguise the medium of glass itself. Rene Lalique, however, stood out from his contemporaries by being the purist', who applied his talent to the inherent merits of glass, and thereby elevated it to new heights of technical and artistic interpretation.
Lalique was born on 6th April 1860 in the small French town of Ay in the Marne region. While still an adolescent, he won several awards for his illustrations, and by 1890 had achieved an enviable degree of success as a silversmith, goldsmith, enameller, sculptor, designer and of course as a jeweller. It was in this latter field that he first gained worldwide renown.
Working initially in the long tradition of 'Grande Joallerie', his genius eventually found expression through his rather avant-garde 'bijouterie', and his reputation as the world's leading 'newh-œhwave' jeweller was firmly established with his success at the Exposition Universelle, held in Paris in 1900. His exhibits were exceptional for their disciplined yet fantastic designs, and the bold combination of semi- precious stones, metals and even glass.
Glass held the greatest fascination for Lalique, evolving into commercial success after 1907 through his relationship with Francois Coty, principal of the eponymous perfume house for whom Lalique created a number of exquisite scent bottles. Building on this success, Lalique went on to design and manufacture a wide range of sumptuous glass ware, for which he is today most renowned. Accolade after accolade came to Lalique in the 1920's. 1925 saw his highly successful presence at the Exposition Internationale des Arts Decoratifs, and the following year the creation of the famous pair of fountains 'Fontaines de la Galerie des Champs Elysees' exhibited at the Salon des Artistes Decorateur and subsequently installed at the Galerie du Lido His reputation, then was assured that of an 'artiste verrier who saw glass with the eye of a jeweller but treated glass with the hands of a sculptor.
The advent of the 1930's witnessed the period of his greatest commercial success. Many truly astonishing items of glassware were produced, including a range of 30 glass car mascots mainly of female nude or animalier form. Lalique had shrewdly recognised the vogue for 'automobiles de luxe' and offered its devotees his sensual mascots as the ultimate automotive adornment. Some of these mascots are today extremely rare and are amongst the most valuable of Lalique's work from this period h-œh the 'Renard' (Fox) mascot, for example, has in 1992 achieved a price of over £200,000, and certain unique coloured mascots have also approached this figure.
His range of vases and tableware have also become highly coveted collectable items achieving spectacular prices. The vase 'Cluny' recently sold for around £150,000, and the exceptional 'Cicada' vase, of which only one perfect example is known, was sold for almost £550,000 in late 1992.
Lalique's factory, employing over 500 artisans, flourished through the 1930's. He was paid an enormous compliment in 1938 when the French Government commissioned Lalique to produce a spectacular 'surtout de table' entitled 'Caravelle' which was presented to Their Royal Highnesses King George and Queen Elizabeth of Great Britain on the occasion of their State visit to France in 1938.
Many other important commissions had been placed with Lalique during the 1930's the world's wealthiest and most discerning connoisseurs sought out Lalique to add his indefinable genius to their interiors, and his patrons included Indian maharajahs, American billionaire industrialists, the great Hollywood stars and European nobility, as well as almost all of the surviving crowned heads of Europe's Royal Houses.
Although Lalique himself just survived the Second World War, his factory sustained severe damage in the fighting, and many priceless designs and moulds were lost. His son, Marc, restarted the business in the late 1940's, which continues in its present form to this day.
Of all the eulogies and posthumous praise heaped on Lalique after his death, one is most worthy of recounting here. One of Lalique's greatest friends and lifelong patrons, the American oil billionaire Calouste Gulbenkianœ wrote: He ranks among the greatest figures in the history of art of all time... from Gulbenkian, whose art collection included works by Rubens, Rembrandt, Rodin and Gainsborough as well as some of the finest works by Lalique this was praise indeed. By Mark Waller Mwlalique@aol.com
No discussion of Lalique's work should neglect mention of the Plique-a-jour enameling so central to his jewelry designs ex: [1]. One site discussing current work in plique-a-jour is: [2] If a more authoritative source on this difficult and breath-taking work is available, please do qoute it.
- Don't copy and paste from other websites into talk pages. That, too, is a copyright violation. --Alvestrand (talk) 18:42, 7 December 2007 (UTC)
[edit] British version
Jewellery is a British spelling (Webster's dictionary) of jewelry. Superslum 07:35, 26 June 2006 (UTC)
