A Case for Including Jewelry in Art History Studies

In the early 16th century, Albrecht Dürer painted an idealized portrait of Charlemagne, portraying him wearing a dazzling crown that did not exist during Charlemagne’s lifetime. This depiction, indicative of artists’ willingness to manipulate historical accuracy to leverage the symbolic power of jewelry, is explored in the book “Beyond Adornment: Jewelry and Identity in Art” by Yvonne J. Markowitz and Susanne Gänsicke. Jewelry, considered the oldest form of decorative art, can convey immense associative meanings.

The crown in Dürer’s painting, adorned with various jewels and the inscription “By Me Kings Reign,” underscores the enduring symbolism of emblems in asserting legitimate power through divine right. This narrative-driven representation disregards historical precision, similar to the Archaeological Revival jewelry trend of the 18th and 19th centuries, which mimicked ancient styles.

The book further explores the significance of jewelry in art, such as in Vicente Palmaroli y González’s portrait of Enid, Lady Layard, wearing jewelry made from ancient seals—illustrating jewelry’s role as a declaration of both personal and familial achievements. Also highlighted is Frida Kahlo’s “Self-Portrait with Thorn Necklace and Hummingbird,” where her use of jewelry and adornments conveys personal symbolism.

“Beyond Adornment” concludes by examining jewelry’s definition and role in identity and cultural expression. Emily Stoehrer argues for understanding jewelry through a sociological and material culture lens, suggesting the importance of further study in jewelry theory. This book, available from the J. Paul Getty Museum, presents insights into how jewelry’s symbolic function in art transcends mere aesthetics.