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In Voss's mansion, collections from various periods and regions are displayed, and there is no part of the house that is not decorated. The entire interior space is like a complex ornate kaleidoscope, showing Voss' rich and diverse art collection. Voss also emphasized his identity as an "artist" through his public image. For example, in a portrait photography in 1892, Voss can be seen dressed as an artist. However, from the perspective of the history of collection and exhibition, Voss' motive for collecting art is not really from the appreciation of art itself, but rather a "desire for class" and to show himself as an artist and art patron. the self-presentation of the person.
Another important fashion designer at the time, Jacque color correction services Doucet (1853-1929 ), regarded "art" as an "investment". Compared with the active participation of Voss and Poiret in the fashion circle, Dussey is almost absent from the fashion social circle, because he has never positioned himself as a "clothing designer". Ducey founded his own fashion house on Peace Street around the 1870s. Dussey's family was itself a successful manufacturer of women's clothing and fabrics at the time, so compared to the self -made Voss , Dussey's approach to art resembles the tradition of high-class connoisseurship.
Doucet began to build his own art collection in the mid- 1890s. Unlike Voss' all-encompassing art collection, Doucet specialized in eighteenth-century paintings and crafts, and specifically purchased high-quality and representative works of art for his collection. , and even hired professionals, such as André Breton (1896-1966 ),to build an art collection for it. However, he held four auctions in 1912 to sell the collection. We can draw some clues from Breton's observations about Dussey's behavior of selling his collection. Breton commented that although Dussey has "a taste for designing clothes" , he lacks a taste for "appreciating art".
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发表于 2022-7-19 17:50:58
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