The 1900's opened with the arrival of Art Nouveau, championed by the legendary Lalique, an artistic figure somewhere between artist and artisan who at the end of the 1800's combined gold and precious gems to create truly audacious brooches, pendants and necklaces inspired by the grace of nature (flowers, leaves, dragonflies and trees) or by a woman's profile. Lalique's genial creations were followed by Housson's glittering animals and the Henry Vever winged beauties. Later, the refined Fouquet introduced the use of stones and materials previously held in low esteem: opal, moonstone, agate and enamel work. Certainly no collection would be complete without the essence of New York style in the 1920's: a young designer by the name of Louis Comfort Tiffany, who infected entire western world with Egyptomania after the discovery of King Tut's tomb. Art Nouveau was followed by a more commercial reworking of the basic themes, known in some circles as Liberty, a name inexplicably adopted from London's Liberty fabric shop which standardized the Art Noveau style for mass production. With the "Viennese Office" of Hoffmann, Czeschka and Witzman, Art Nouveau began to show its more rational, geometric side. The exhibition documents the evolution of this delicate and expressive style from its inception to the arrival of Fouquet, then Cartier, Boucheron and Van Cleef & Arpels, the symbol of Parisian taste and luxury who by distilling form to the essential, contrasting strong colors and setting in precious stones created Art Déco. Of course, also Italy's contributions sparkle and astound in this showcase of gleaming art: its more classic and streamlined tastes are reflected by the works of Milanese jeweller Alfredo Ravasco, while Lorenzo Buccellati created pieces so inspired the poet Gabriele D'Annunzio gave them as gifts to his numerous muses... The 1960's saw the rise of Bulgari, jeweller of the "dolce vita" who cut stones into the now familiar cabochon form, taking full advantage of their chromatic effect. he was an immediate success among the crowned heads of Europe -- and Hollywood. The passion for gold inspired artists such as Picasso, Dalì, Derain, Giocometti and Calder, the latter of which was a favorite of the eccentric (and heavily bejewelled) Peggy Guggnheim. Thanks to the contributions of these heroes of the European creative spirit, jewellery became an adventure: strange, abstract, surreal. Even Fontana has brought his famous "slashes" to strips of gold fashioned into bracelets and pins. Alberto Burri, on the other hand, prizes the thickness and weight of the piece, while Caporossi's characteristic "primitive" touch provides the basis of his pendants and brooches. The exhibition is replete with several pieces realized by celebrated architects such as Richard Meier, Ettore Sottsass, Tigerman and Isozaki. Back