Cartier’s muse: Islamic art on show at Louvre Abu Dhabi

The Louvre Abu Dhabi is the latest stop for this exhibition, after Paris and Dallas. Stepping into it is like stepping into a treasure trove. Each piece radiates its own story.

Cartier chief executive Cyril Vigneron says the aesthetics of Islamic arts are "inherently non-representational (and) steeped in modernity, as evident in their stylistic abundance, boundless reproductive prowess, and evocative strength".

He adds that "this wellspring of inspiration seamlessly intertwines with Cartier's design ethos, especially during the illustrious era of Art Deco, a period of timeless allure that continues to captivate hearts".

When East met West

There is more than a nod to the 1912 'Persian Miniatures' exhibition, which served as a revelation for the Parisian art scene and introduced Persian fashion to various social strata in the French capital.

Deer leaping from hunters in vibrant green landscapes grace a 1932 Cartier washbag and fabric designed by Poiret. Other images include branches with bell-shaped leaves like Platanus shrubs, a star of the Persian Miniatures show.

In the early 20th century, Cartier developed the Garland Collection, the roots found in 18th-century spiral ornaments.

The Maison kept early sketches and an extensive artistic document library, which offers insight into its meticulous creations and those of artists from earlier eras.

The graduated pyramid seen in many Art Deco pieces draws inspiration from the cascading arches that graced Islamic mosques during the Middle Ages.

Some date from ancient times, including Palmyra (Syria) and Rasapalayam (Iran).

Cartier's archive houses numerous 3D photos of Islamic heritage sites that served as a wellspring of inspiration for designers.

Persian materials and colours also played a pivotal role in Cartier's creations, carefully handpicked to produce harmonies unknown beyond the Islamic world.

One example is the fusion of Iranian turquoise with the deep, luminous blue of Afghan lapis lazuli, distinctive colours seen in things like central Asian tiles.

Likewise, the hues of Iznik Ottoman ceramics served as the origin for blending emerald green and coral red, the latter being specially altered to produce a tomato-red hue at Cartier's request.

Journey of innovation

Jacques Cartier's famous journey to India in 1911 provided an opportunity for him to explore ancient and contemporary art treasures and jewellery and establish close connections that facilitated the import of precious stones.

After that trip, he organised an exhibition of Eastern jewellery and artefacts collected from his travels. Thereafter, three more followed.

The first, in Paris, showcased original Indian jewellery. Later exhibits in Boston and New York featured jewellery inspired by Indian, Persian, and Arab models but crafted in Cartier workshops and influenced by the Art Deco movement.

More than 80 such jewels are showcased at the Louvre Abu Dhabi exhibition.

Among the highlights is a necklace crafted in Cartier's workshops based on two original Indian pieces dating back to 1928, of gold, emerald, pearl, and jade.

Cartier also reproduced the carved gemstones from India's Mughal era to create the so-called floral or arabesque jewellery that became known as Tutti Frutti in 1970.

Jacques Cartier's adventures unlocked a wealth of new shapes and designs, broadening the maison's artistic horizons. Together with Louis Cartier's love for French aesthetics, there followed a fusion of styles.

Jeanne Toussaint

In 1913, the Belgian-born French jewellery designer Jeanne Toussaint was first hired by Louis Cartier to coordinate the company's accessories.

She was to play a central role in the maison's designs for an incredible 57 years, until her retirement in 1970.

In 1918, Toussaint was heading the company's silver department, and by 1933, Louis made her Director of Fine Jewellery, with full responsibility for artistic design.

For decades, she drew inspiration from the rich canvases of India and Turkey, inspired by the jewellery of the Moghuls and Maharajas.

Her designs were a waltz between intricate engravings, panther silhouettes, polka dots, cypress trees, blossoming branches, and glistening fish scales.

Each creation was a living canvas and kept the Islamic arts legacy alive, adding a touch of allure and a dash of the extraordinary to Cartier's narrative.

Throughout the 20th century, Cartier's inspiration evolved. By the middle of the century, there had been a shift from Iran towards India and the Arab Maghreb.

Yet the roots of the fascination endure. Even today, Cartier's contemporary creations continue to draw strength from the powerful impact of Islamic arts, maintaining a deep connection with these artistic traditions.

The role of museums

The exhibition underscores the vital role of museums as direct sources of inspiration for Cartier. A telling example is a design by Charles Jacqueau for Cartier.

In it, Jacqueau skilfully reproduces images of two plates depicting the city of Iznik after tracing the two artworks back to Paris' Cluny Museum, which had showcased Iznik ceramics since 1878.

Similarly, from 1905, the Central Union of Decorative Arts in the Louvre's Pavillon de Marsan began showcasing its Islamic art collections on the ground floor, overlooking the Tuileries Palace.

Elsewhere, a 15th-century grand mosaic of Iranian ceramic exhibited in the Pavillon inspired Cartier's designs for a wall clock and a powder box.

Alongside it, there is the falcon-shaped incense burner from Khorasan dating back to the 12th and 13th centuries, as well as the wooden mashrabiyas that served as a source of inspiration for Cartier's innovations.

The drawings reflect how these elements inspired designers, who crafted headbands and decorative tool bags that echo their intricacies.

Cartier's archive also includes images of two brooches crafted in 1907 that mimic the form of wooden pieces used in mashrabiyas.

It underscores the profound connection between diverse art forms that blend seamlessly to birth new creative expressions.

Each jewel and design in this exhibition spin a tale of reciprocal artistic exchange, where Cartier absorbed inspiration to gift the world distinguished luxury pieces illuminated by the intricate patterns of the East.

Long may it continue.