BAUHAUS, 100... 



Opening Exposition BAUHAUS vernissage vitrines


2019 marks the celebration of a significant anniversary: Bauhaus turns 100!


The “Staatliches Bauhaus”, commonly known as the Bauhaus, was a German Art school operational from 1919 to 1933 that combined crafts and fine arts. It was famous for its approach to design that it publicized and taught.

In 1919, while naming the school Bauhaus, Gropius proclaimed his goal as "to create a new guild of craftsmen, without the class distinctions which raise an arrogant barrier between craftsman and artist."

The Bauhaus style was marked by the absence of ornamentation and by the harmony between the function of an object or a building and its design.

This combination, artist-craftsman in a single hand and the quest for beauty without ornamentation, is probably what brings together the works of the duet Yoko Takirai / Pietro Pellitteri,(It), Josef Koppmann, (GB), Daphne Krinos, (GB), Niessing, (All.) Suzanne Otwell-Nègre, (Fr) and Karola Torkos, (All.).

Until the 26th October, you may find jewels having clear lines, satin or brushed metals, a form that is self-sufficient at the gallery.


Visuels bijoux BAUHAUS 100


Bauhaus Tension® ring in red gold and radiant cut diamond, Niessing; Silver and lacquer Square bracelet, Yoko Takirai & Pietro Pellitteri; « Positive/Negative», rings, yellow gold, Daphne Krinos; “D” ring, grey gold on silver, blue tourmaline, Josef Koppmann, Round bi-metal pendant, gold 900, Silver 925, Suzanne Otwell-Nègre.


Niessing’s floating diamond ring takes Bauhaus ideas further and translates them in terms of jewelry. The ring holds the diamond entirely without a setting, solely by the tension in the precious metal. The diamond and the ring become one; the diamond receives the greatest possible degree of freedom and light. The Niessing Ring® Bauhaus with its clever D shape is architecture for the hand.

The creative impulse of Yoko Takirai and Pietro Pellitteri’s work is inscribed inside a primordial space in which to act, experimenting with digressions which decline in small mobile sculptures, oscillating between solids and voids, the visible and invisible.

As for Daphne Krinos jewels, their architectural lines, their apparent simplicity and the bold use of colours and textures make them instantly recognizable and related to Bauhaus philosophy.

In Josef Koppmann’s jewelry, simple shapes, brushed metals and geometric volumes underline the sheer beauty of coloured stones and rough diamonds.

Finally, Suzanne Otwell-Nègre's jewellery, which is a juxtaposition of abstract elements, subtly evokes the oriental cities where she grew up, the verticality of New York where she worked and the Mediterranean light in which she lives today.


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