{"id":2981,"date":"2026-04-19T02:09:57","date_gmt":"2026-04-18T23:09:57","guid":{"rendered":"https:\/\/kostumologiya.ru\/en\/?p=2981"},"modified":"2026-06-27T00:10:29","modified_gmt":"2026-06-26T21:10:29","slug":"10ivkl126","status":"publish","type":"post","link":"https:\/\/kostumologiya.ru\/en\/10ivkl126.html","title":{"rendered":"Principles of forming in art deco jewelry"},"content":{"rendered":"

Pinchuk Anna Mikhailovna<\/strong>
\nRussian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia
\nInstitute of Arts
\nE-mail: i@anna-pinchuk.ru<\/p>\n

Kruglova Maria Gennadyevna<\/strong>
\nRussian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia
\nInstitute of Arts
\nE-mail: 7290101@mail.ru
\nORCID: https:\/\/orcid.org\/0000-0002-6343-6181<\/a>
\nRSCI: https:\/\/elibrary.ru\/author_profile.asp?id=1229303<\/a><\/p>\n

Abstract.<\/strong> The article is devoted to a comprehensive analysis of the principles of form formation in the Art Deco style of jewelry, which covers the period from 1925 to 1940. The choice of the topic is motivated by the significant date of the style’s centenary in 2025, which highlights the importance of exploring its artistic legacy and understanding its place in the history of design and decorative arts. The work examines the historical and cultural background of the development of Art Deco: the influence of the 1925 International Exhibition in Paris on art in general and jewelry art in particular; the aesthetics of the industrial era; the fascination with archaeological discoveries (particularly Ancient Egypt and the tomb of Tutankhamun); and the social demands of the period between the two World Wars, with their emphasis on luxury, dynamism, and emancipation. Based on an analysis of the creative legacy of leading jewelry houses such as Cartier, Van Cleef & Arpels, and others. \u2014 the authors identify and systematize the key principles of form formation characteristic of Art Deco jewelry art: total geometrization and stylization of natural motifs, the principle of \u00abconstruction design\u00bb (architectonicity, frame, modularity), and contrasting polychromy. It is proven that the jewelry form formation of that time synthesized industrial aesthetics, interest in archaic cultures, and the social order of the era, creating a plastic system based on strict mathematical logic and decorative content, which ensured the style\u2019s long life and relevance. The work systematizes technological methods, including methods of articulated connection of movable elements, inlay techniques, as well as the principles of color and texture zoning within a single composition. The rhythmic organization of the plane, modular division of volume, symmetry-asymmetry, and the features of the ornamental structure (the dominance of geometricized ornamentation, grid and step motifs, and radial compositions) of that time have significant didactic potential. The article substantiates the possibility of integrating them into the educational process in the training of jewelry artists and others. The article proposes a method of using the analyzed principles in creative design, from developing sketches using modular grids to creating author’s collections. It proves that using the Art Deco plastic language helps students develop systemic thinking, understanding the relationship between design, material, and decor, as well as skills in stylization and compositional modeling.<\/p>\n

Keywords:<\/strong> style; art deco; jewelry art; shaping; geometrization; synthesis; visualization; principles of composition; ornamental structure; stylization of natural forms; technological methods; polychromy; modularity; didactic potential; creative design; and artistic metal<\/p>\n","protected":false},"excerpt":{"rendered":"

Pinchuk Anna Mikhailovna Russian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia Institute of Arts E-mail: i@anna-pinchuk.ru Kruglova Maria Gennadyevna Russian State University named A.N. Kosygin (Technologies. Design. Art), Moscow, Russia Institute of Arts E-mail: 7290101@mail.ru ORCID: https:\/\/orcid.org\/0000-0002-6343-6181 …<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[51,5],"tags":[],"class_list":["post-2981","post","type-post","status-publish","format-standard","hentry","category-vol11-no1","category-article"],"_links":{"self":[{"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/posts\/2981","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/comments?post=2981"}],"version-history":[{"count":2,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/posts\/2981\/revisions"}],"predecessor-version":[{"id":3078,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/posts\/2981\/revisions\/3078"}],"wp:attachment":[{"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/media?parent=2981"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/categories?post=2981"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kostumologiya.ru\/en\/wp-json\/wp\/v2\/tags?post=2981"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}