I. Yu. Perfilyeva
Price: 50 руб.
In late 1980s — early 1990s designer jewelry art has moved beyond the traditional view of being purely ornamental. For the first time, artists began to consider this area of plastic arts as an art object, which should be viewed as an extension of the human body and its plasticity. Plastic interaction of jewelry with the human body as a “foundation” of sorts for this kind of plasticity, was inspired by the influences of avant-garde stylistic trends in sculpture during the second half of the twentieth century. This interaction stimulated further exploration of new forms in designer jewelry that resulted in the creation of new types of ornaments in this form of art, non-existent heretofore.
Keywords: jewelry, art objects, plastic system, the figure of a person subject form,
synthesis.
REFERENCES
1. Busev M. A. Tvorchestvo skul'ptora Sezara. Mezhdu traditsiey i eksperimentom //
Zapadnoe iskusstvo. XX vek: mastera i problemy. M.: Nauka. 2000. S. 80–91.
2. Zemper G. O formal'nykh zakonomernostyakh ukrasheniy i ikh znachenii
kak khudozhestvennykh simvolov // Prakticheskaya estetika. M.: Iskusstvo. 1970.
S. 117–130.
3. Mille K. Sovremennoe iskusstvo Frantsii. Minsk: Propilei. 1995.
4. Masini L.-V. The Artist’s Jewel, The Goldsmith’s Jewel // The Art of Jewelry and
Artists’ Jewels in the 20th Century. Fierenze: GIUNTI. 2001. P. 348–387.
5. Schadt H. Goldsmiths’ Art: 5000 Years of Jewelry and Hollowware. [Engl. transl.:
Ann Schadt]. Stuttgart, New York: Arnoldshe. 1996.