CARTIER AND ISLAMIC ART: IN SEARCH OF MODERNITY

Installation view, Cartier and Islamic Art: In Search of Modernity at the Dallas Museum of Art. Courtesy of Dallas Museum of Art. Photo by John Smith.
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Cartier and Islamic Art: In Search of Modernity traces inspirations from Islamic art and design, including from Louis Cartier’s exquisite collection of Persian and Indian art and the work of the designers of the Maison Cartier from the early 20th century to present day. Through strong visual juxtapositions and new scholarly research, the exhibition explores how Cartier’s designers adapted forms and techniques from Islamic art, architecture, and jewelry, as well as materials from India, Iran, and the Arab lands, synthesising them into a recognisable, modern stylistic language unique to the house of Cartier.

Female tumbler, Iran, early 19th century, The Hossein Afshar Collection at the Museum of Fine Arts, Houston. Photograph © The Museum of Fine Arts, Houston; Photographer: Will Michels
Female tumbler, Iran, early 19th century, The Hossein Afshar Collection at the Museum of Fine Arts, Houston. Photograph © The Museum of Fine Arts, Houston; Photographer: Will Michels

Co-organised by The Dallas Museum of Art (DMA) and the Musée des Arts Décoratifs, Paris, in collaboration with the Musée du Louvre and with the support of Maison Cartier, the exhibition brings together over 400 objects from the holdings of Cartier, the Musée des Arts Décoratifs (Paris), the Musée du Louvre, the Keir Collection of Islamic Art on loan to the Dallas Museum of Art, and other major international collections.

Cartier and Islamic Art: In Search of Modernity is co-curated by Sarah Schleuning, The Margot B. Perot Senior Curator of Decorative Arts and Design at the DMA; Dr. Heather Ecker, the former Marguerite S. Hoffman and Thomas W. Lentz Curator of Islamic and Medieval Art at the DMA; Évelyne Possémé, Chief Curator of Ancient and Modern Jewelry at the Musée des Arts Décoratifs, Paris; and Judith Hénon, Curator and Deputy Director of the Department of Islamic Art at the Musée du Louvre, Paris. The exhibition design is conceived by renowned studio Diller Scofidio + Renfro (DS+R), which has created a contemporary display that offers enhanced opportunities for close looking and analysis of form. The Presenting Sponsor for the exhibition in Dallas is PNC Bank.

Bandeau, Cartier Paris, 1922. Platinum, gold, round old-, single-, and rose-cut diamonds, coral beads and batons, onyx rondelles and batons, tortoiseshell, black enamel. Cartier Collection. Nils Herrmann, Collection Cartier © Cartier
Bandeau, Cartier Paris, 1922. Platinum, gold, round old-, single-, and rose-cut diamonds, coral beads and batons, onyx rondelles and batons, tortoiseshell, black enamel. Cartier Collection. Nils Herrmann, Collection Cartier © Cartier

Cartier and Islamic Art: In Search of Modernity explores the origins of Islamic influence on Cartier through the cultural context of Paris in the late 19th and early 20th centuries and the figure of Louis J. Cartier (1875–1942), a partner and eventual director of Cartier’s Paris branch, and a collector of Islamic art. Louis encountered Islamic arts through various sources, including the major exhibitions of Islamic art in Paris in 1903 and 1912 at the Musée des Arts Décoratifs, which were held to inspire new forms of modern design, and a pivotal exhibition of masterpieces of Islamic art in Munich in 1910.

“Decoration arabe,” studies of Arab art and Arab-style patterns, after Jones, The Grammar of Ornament, Cartier Paris, c. 1910, graphite and India ink on tracing paper. Archives Cartier Paris @ Cartier
“Decoration arabe,” studies of Arab art and Arab-style patterns, after Jones, The Grammar of Ornament, Cartier Paris, c. 1910, graphite and India ink on tracing paper. Archives Cartier Paris @ Cartier

Paris was also a major marketplace for Islamic art and a gathering place of collectors. It was around this time that Cartier and his designers began to experiment with new modes of design, looking to Japanese textiles, Chinese jades, Indian jewelry, and the arts and architecture of the Islamic world to expand upon the “garland style” that had brought success to the house at the turn of the 20th century. Louis Cartier’s own collection of Persian and Indian paintings, manuscripts, and other luxury objects—reconstructed in this exhibition for the first time in nearly 80 years—also served as inspiration for these new designs, and together these influences would be essential to the development of a new aesthetic called “style moderne” and later “Art Deco” at Cartier.

Small bottle, Iran, 9th–10th century, bronze, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.522
Small bottle, Iran, 9th–10th century, bronze, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.522

Bringing together over 400 objects from the DMA’s own holdings and other major international collections, Cartier and Islamic Art: In Search of Modernity presents a rare opportunity to encounter not only a wide array of iconic Cartier objects, but also their original sources of inspiration. The exhibition showcases works of Cartier jewelry and luxury objects alongside historical photographs, design drawings, archival materials, and works of Islamic art, including those displayed in the Paris and Munich exhibitions and in Louis’s own collection, as well as works bearing motifs that would become part of Cartier’s lexicon of forms. Additionally, digital animations created by Diller Scofidio + Renfro offer insight into the creative process at the Maison, from an original source object to a motif, to its adaptation as a jewelry design, and finally to its execution in metal, stones, and organic materials.

Illuminated Shamsa and Floral Decoration with Impression of the Seal of Emperor Awrangzib 1070/1660, mid 16th–16th century, work on paper, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.24
Illuminated Shamsa and Floral Decoration with Impression of the Seal of Emperor Awrangzib 1070/1660, mid 16th–16th century, work on paper, The Keir Collection of Islamic Art on loan to the Dallas Museum of Art, K.1.2014.24

Juxtaposing Cartier jewels, drawings, and archival photographs with examples of Islamic art that bear similar forms and ornaments, Cartier and Islamic Art: In Search of Modernity illustrates the inspiration, adaptation, and recombination of motifs deriving from Islamic sources in Cartier’s design for jewelry and luxury objects. These include a range from geometric to naturalistic forms and Chinese designs (cloud collars and interlocking shapes) that were naturalised in the Islamic lands under the Mongol and Timurid rulers of the Middle East and India since the 13th century.

 

 

 

 

Head ornament, Cartier New York, circa 1924. Platinum, white gold, pink gold, one 4.01-carat pear-shaped diamond, five briolette-cut diamonds weighing 5.22 carats in total, round old-, single- and rose-cut diamonds, feathers, millegrain setting. Cartier Collection. Marian Gérard, Cartier Collection © Cartier
Head ornament, Cartier New York, circa 1924. Platinum, white gold, pink gold, one 4.01-carat pear-shaped diamond, five briolette-cut diamonds weighing 5.22 carats in total, round old-, single- and rose-cut diamonds, feathers, millegrain setting. Cartier Collection. Marian Gérard, Cartier Collection © Cartier

The exhibition also touches on the material and technical sources of inspiration derived from Louis’s youngest brother Jacques’s travels to India and Bahrain in the early 20th century. From these locales, and other neighboring regions, Cartier imported new materials to introduce into its work, including carved emeralds and other multicoloured engraved gemstones. Discoveries gleaned from these travels spurred the use of novel colour combinations drawing from Islamic sources, one of the most distinctive aspects of the house’s early 20th-century designs. They also inspired the use of new techniques, most notably Cartier’s signature Tutti Frutti style. From the 1920s onward, occasionally the Islamic pieces themselves—such as enameled plaques, shards of pottery, stone amulets, textiles, or miniatures taken from paintings—were gathered in a stock called apprêts and incorporated into new Cartier creations.

 

Tiara, Cartier Paris, special order, 1912. Platinum, round old- and rose-cut diamonds, pear-shaped diamonds, carved rock crystal, millegrain setting. Cartier Collection. Marian Gérard, Cartier Collection © Cartier
Tiara, Cartier Paris, special order, 1912. Platinum, round old- and rose-cut diamonds, pear-shaped diamonds, carved rock crystal, millegrain setting. Cartier Collection. Marian Gérard, Cartier Collection © Cartier
Bib necklace, Cartier Paris, special order, 1947. Twisted 18-karat and 20-karat gold, platinum, brilliant- and baguette-cut diamonds, one heart-shaped faceted amethyst, twenty-seven emerald-cut amethysts, one oval faceted amethyst, turquoise cabochons. Cartier Collection. Nils Herrmann, Cartier Collection © Cartier
Bib necklace, Cartier Paris, special order, 1947. Twisted 18-karat and 20-karat gold, platinum, brilliant- and baguette-cut diamonds, one heart-shaped faceted amethyst, twenty-seven emerald-cut amethysts, one oval faceted amethyst, turquoise cabochons. Cartier Collection. Nils Herrmann, Cartier Collection © Cartier

The exhibition traces each of these stylistic developments, linking them to actual or probable Islamic source material and revealing the expertise of the jeweler’s eye in mediating forms and creating some of Cartier’s most renowned and recognisable styles today.


Cartier and Islamic Art is on view at The Dallas Museum of Art through September 18, 2022.

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