艺术家: René Jules Lalique
日期: 1900
尺寸: 37 x 7 cm
博物馆: Museum of Applied Arts (Budapest, Hungary)
术: 玻璃
女性裸体由被刻有的玻璃制成,并被附着在一条细长的链子上,穿过了女性金色的发型级联. 平面的肩上被一顶多彩的斗篷所覆盖,其下部由小型钻石装饰而成,花朵中分出三组. 艺术的构成是用虚拟技法执行的,特别是在外衣的装饰上. 花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花被花 这种方法所产生的效果类似于有污点的玻璃窗:从后方点出后,取出纳梅尔光泽的颜色. 这种复杂的半透明纳梅尔技术在中世纪被使用,但在文艺复兴后被遗忘了. 珠宝商安德烈·费尔南德·特斯马尔(1843年–1912年)被重新发现的plique-a-jour enamel并开始展出在1870年代使用这种方法制作的物品. 该技术成为"新艺术"珠宝的标志之一. 虽然Thesmar使用不透明纳梅尔,而Lalique(1860–1945)则与半透明plic-a-jour纳梅尔合作,承认其能产生出强大而发光的颜色. 目前珠宝背后的灵感是当时的标志性巴黎舞者Loie Fuller(1862年–1928年),他出名的1895年舞曲"丹斯蛇"(Danse sideline)被用类似外衣的花纱来表演.
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