Modernist Jewellery Essay

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Consumption The brooch reached its audience in a more personal way than the mass-produced objects that were channelled through department stores and commercials on TV. The desire for a more humanistic relation to consuming was fulfilled through meeting the maker of the object in his or her small independent shop, away from the crassness of the shopping centres. Maraberth Schon also states that the museums helped the growth of the modernist jewellery scene through bringing together the jeweller as an artist and the artist as a jeweller through exhibitions, which encouraged the making of unconventional jewellery that people wouldn’t normally wear. There were several exhibitions held in the mid and late 1940’s, which were seminal ”having a lasting effect on the modern jewellery movement and its artisans.” 14 Furthermore, the studio jewellery at the time was relatively cheap and available to a much wider audience than it is today. The consumers would buy it as an accessory that was bohemian and arty, in the same way that we buy vintage or second hand today to make a similar statement. Today, de Riveras brooch is a collectible. It has increased its value through the history and the value of the maker’s name. Still, modernist jewellery is nowhere near priced as highly as e.g. a famous surrealist painting of the same era, but their value has increased for the same reasons. This means that the consumer group of the brooch is today much smaller than it was 70 years ago when it was first made. Even though collecting artistic jewellery is increasing in popularity and much cheaper than collecting fine art, the buyer has to have enough money and interest in the area of modernist jewellery in order for it to be appealing. Marbeth Schon talks about the beauty of collecting studio jewellery being that you can wear it and appreciate it as a work of art. ” It’s a good

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