Gérard Sandoz (1902-1995) - Nature morte





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Gérard SANDOZ (1902-1995)
Still life 71x54 cm (with frame) oil on canvas
Gérard Sandoz was born in Paris in 1902 into a family of jewellers and watchmakers. He began working for the Sandoz House as a jewelry designer. In 1929 he joined the Union of Modern Artists, known by the abbreviation UAM. The aim of this association was to promote and defend modern art.
He produced jewelry with monumental architecture—impressive bracelets, rings with sculpted and structured lines, and massive pendants.
His motifs are engraved silver and lacquer in red and black tones. He also experimented with eggshells. He placed particular importance on visible settings and the striking colors of his jewelry. Technical execution and design precision were more important to him than the value of the materials. He used hematite, corals, onyx, lapis lazuli, aventurine, jaspe, and chalcedony. He consistently executed simple, straight lines, smooth and angular surfaces in colored, polished and matte metals. He depicted scenes of daily life on his lacquered boxes. He counts among the avant-garde jewelers of his time.
At the end of the 1920s, his father ceded the business to Georges L’Enfant, for whom Gérard worked as artistic director until 1931, when he decided to devote himself fully to painting and cinema.
Gérard SANDOZ (1902-1995)
Still life 71x54 cm (with frame) oil on canvas
Gérard Sandoz was born in Paris in 1902 into a family of jewellers and watchmakers. He began working for the Sandoz House as a jewelry designer. In 1929 he joined the Union of Modern Artists, known by the abbreviation UAM. The aim of this association was to promote and defend modern art.
He produced jewelry with monumental architecture—impressive bracelets, rings with sculpted and structured lines, and massive pendants.
His motifs are engraved silver and lacquer in red and black tones. He also experimented with eggshells. He placed particular importance on visible settings and the striking colors of his jewelry. Technical execution and design precision were more important to him than the value of the materials. He used hematite, corals, onyx, lapis lazuli, aventurine, jaspe, and chalcedony. He consistently executed simple, straight lines, smooth and angular surfaces in colored, polished and matte metals. He depicted scenes of daily life on his lacquered boxes. He counts among the avant-garde jewelers of his time.
At the end of the 1920s, his father ceded the business to Georges L’Enfant, for whom Gérard worked as artistic director until 1931, when he decided to devote himself fully to painting and cinema.

