Vadas József (szerk.): Ars Decorativa 12. (Budapest, 1992)

PRÉKOPA Ágnes: Tarján (Huber) Oszkár szecessziós ékszerei

et Decoration.

14 The same is true for the other two jewels by Tarján in the Museum's collection, regarded as significant examples of Hungarian Art Nouveau by Hungarian art historians. The model for die horn comb decorated widi a female head of curly locks, opals and enamel (Inv.No. 6825) and for die à jour enamel pendant shaping a swallow-fish (Inv.No. 6826) were exhibited at the 1898 Paris Salon." Lalique's horn comb with opals and enamel was decorated by three female heads; Henri Vever, one of Lalique's greatest rivals found die idea especially original when writing about die exhibition in Art et Décoration. 16 The swallow-fish, regarded by Vever as "very Japanese" was also decorating a horn comb. The applied technique was fairly interesting: Lalique engraved the fields encircled by the oudincs of die motif in die surface of die object and covered diese hollows with die paint. This special technique reminded Vever of the compartments prepared for enamelling 17 - Tarján applied a more successful technique when reconstructing Lalique's motif as an à jour enamel pendant. Reno Lalique was a great personality of die turn of die century - his influence could hardly be ignored by his contemporaries. As Kálmán Györgyi wrote at the time of the 1900 world exhibition: "Lalique has started a new school widi his jewels. The rest of die French jewellers arc following - more or less succesfully - his genre. One of the most famous among diem is Vever, who is followed by Sandoz, René Foy, Fouquct, Boucheron etc."

18 There arc several examples proving the direct influence of Lalique. The comb decorated widi diree female heads, mentioned above, inspired among otiiers Orazi, die designer of Maison Moderne.

19 He, however, reinterpreted the motif: his figures are harsh and sharp, the heads arc a little grotesque compared to the harmonious decorativity of Lalique's jewel. Tarján, on the otiicr hand, did not add any individual interpretation to the jewels mentioned above; in fact, they are variants of Lalique's jewels, made in Hungary. These French-style jewels reflected die most typical topics of European Art Nouveau. Bodi the scrolling foliage and die long waves of female hair belong to these panels together with the peacock motif, which was regarded typically Hungarian by die Hungarian public, though it was a favourite symbol all over Europe.

20 Beside die swallow-fish, die drive towards Japanese symbols is indirectly represented by the ornamental combs, Lalique's favourite genre. Japanese influence must have been responsible for the fact diat ornamental combs were among the most significant génies of jewellery at the turn of the century.

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' We must also bear in mind that these motifs appeared also on Hungarian jewels, influencing the public as well as contemporary masters of applied art. Oszkár Tarján, however, was rather a mediator than a contributor in this process.