CÁC NHÀ THIẾT KẾ CHÂU ÂU Spain. Although England, France, and Germany had the greatest impact on the Art Nouveau movement in jewelry, other countries in Europe also produced important designers. Spain's Art Nouveau movement was largely confined to archi- tecture; yet one jeweler in particular, Luis Mas-riera (1872-1958), made significant pieces in the Art Nouveau style. After viewing Lalique's work at the 1900 Paris Exhibition, Masriera returned to Barcelona and closed his shop for six months, during which time he melted down his entire stoclz of traditional jewels and feverishly designed and manufactured jewelry in the Nouveau style. When he reopened his shop, the display of his jewels caused such a sensation that his entire new stoclz was sold out within a week. Masriera's adaptations of French Nouveau jewelry frequently incorporated winged nymphs with flowers in their hair, emerging from gem-set frames or borders (again, see figure 1). The female figures often have plique-2-jour enameled wings, and the borders of their draped clothing are occasionally set with diamonds. Although these figures are lithe and free, they are fully clothed and quite chaste, perhaps out of respect for Spain's conservative religious principles. Some of them represent reli- gious icons of angels or the Virgin Mary sur- rounded by jeweled halos. One of Masriera's most distinctive jewels is a pendant portraying the medieval heroine, Isolde, in a jeweled crown against a plique-ii-jour gothic window (see cover). This was undoubtedly inspired by the Wagnerian opera Tristan and Isolde, which was enjoying enormous popularity in Europe at that time (Becker, 1985).
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