List of selected artworks. Maps for the tour in the museum

Preview

Search

Francisco Durrio y Julio González: Orfebrería en el cambio de siglo (Colecciones del MNCARS)

14 january, 1997 - 30 march, 1997 /
Sabatini Building, Floor 2

Both Francisco Druuio (Valladolid, 1868 - Paris, 1940) and Julio González (Barcelona, 1876 - Paris, 1942) live the Parisian experience of the first decades of the century and share a fondness for jewellery which they practice on the margins of their artistic work. The two artists undertake a formal investigation which is often described as secondary to their contributions but which is important because it helps to reveal the iconographic interests of both as well as their chosen affinities.

Durrio creates jewellery from a sculptural vocation. His work is shaped in the trail of French goldsmith René Lalique who reaffirms the category of jeweller as an artist, rather than as an artisan who assembles noble materials. Durrio trains in 1890s Paris and incorporates mythological themes inspired by nature, prevalent at the time. The artist adds a certain interest in Impressionism and Orientalism that gives expression to his female ornamental accessories productions.

A close friend of Pablo Picasso and Paul Gauguin, together they share experiences with ceramics. This learning fits in with his friend and teacher Alphonse Mucha’s endeavours. In fact, Gauguin, Mucha and Durrio share the same studio in Paris in 1893 after Gauguin returns from Tahiti. Durrio’s jewellery style greatly influences artists like Manolo Hugué. At the same time his melancholy theme, in which the characters are hunched over, refer to the pursuit of an inner world.

This exhibition includes fifteen pieces by Durrio produced between 1895 and 1896. All of them are made in silver: brooches, necklaces, pendants, rings, a pin and a ring for handkerchiefs. In the collection an Art Nouveau-inspired pendant made of chiselled silver stands out, with inlaid opal and nephrite depicting two birds intertwined.

Gonzalez starts his career at the family workshop which specialises in decorative wrought iron. On arrival in Paris he is immersed in the symbolist tradition as a vindication of the ornament. The Catalan artist practices goldsmith assiduously between 1908 and 1918 motivated by his collaborations with Durrio, supplying the store his family opens in Paris and participating in the Salon d'Automne and the Salon des Independants. However his artistic research, which leads him to be an innovator of modern sculpture along with Picasso and Brancusi, keep him away from the creating jewellery until the early thirties.

The collection of Gonzalez’ pieces that can be seen in this exhibition totals eighteen, including some that were already present in the Julio González. Las colecciones del IVAM exhibition which the Centro de Arte Reina Sofia dedicates to him in 1986.

Among his works on display are a candelabra shaped as a chimera, a foliage glass, two trays, one cigarette-case, three flowers, a jewellery case, two buckles, a hand mirror, a bracelet, one silver and two iron crosses. More pictorial are the two enamels on copper Mujer en el espejo (1936) y Rostro (1933-1940) which complete the exhibition.

These pieces of jewellery -dated approximately around 1929 and 1923- establish a dynamic between the lines and edges in the space of González’s sculpture.

Durrio and Gonzalez are included on a list of names such as Max Ernst, Salvador Dalí, Georges Braque and Pablo Picasso among others, they use jewellery-creation as a form of expression and with it challenge the boundaries between "high" and "low" art, between art, craft and decorative arts.

Exhibition´s details

Organized by: 
Museo Nacional Centro de Arte Reina Sofía

Share

Current exhibitions

  • Exhibition view. Ree Morton. Be a Place, Place an Image, Imagine a Poem, 2015
    May 20 - September 28, 2015

    Ree Morton

    Be a Place, Place an Image, Imagine a Poem

  • Exhibition view. Carl Andre. Sculpture as Place, 1958-2010, 2015
    May 5 - October 12, 2015 Palacio de Velázquez. Parque del Retiro

    Carl Andre

    Sculpture as Place, 1958-2010

  • Paul Klee. Baldgreis, 1922. Oil on cardboard, 40.3 x 37.4 cm. Kunstmuseum Basel © Kunstmuseum Basel
    March 18 - September 14, 2015

    White Fire

    The Kunstmuseum Basel Modern Collection

  • Pablo Picasso. Buveuse d’absinthe (The Absinthe Drinker), 1901. Oil on canvas, 81 x 60 cm. Im Obersteg Foundation, permanent loan to the Kunstmuseum Basel. Photography: Mark Gisler, Müllheim
    March 18 - September 14, 2015

    Collectionism and Modernity

    Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections