Echoes of Prestige
Discover sumptuous jewelry in portraiture from the museum’s collection and explore its meaning in society and role in illustrating identity and social status.
The Portrait of Simon Drauth the Elder (Cca. 1660) by AnonymousBrașov Art Museum
PATRICIANS, THE RULING CLASS OF BRAȘOV
The costumes of the patricians were handed down from one generation to the next, Hungarian and Ottoman influences being visible. The portraits of the Brașov senators at the end of the 17th century reflect a society conservative in tradition and dress.
The Portrait of Anna Maria Closius (1758) by AnonymousBrașov Art Museum
THE RICH MAKE THE LAW
According to the official dress code of the 18th century, only the ruling class was allowed to wear gold jewelry.
Anna Maria Closius is wearing a gold Násfa brooch, gifted from the groom to his bride, adorned with precious stones, pearls and enamel, decorated with floral motifs.
The Portrait of Maria Theresa (19th Century) by AnonymousBrașov Art Museum
JEWELRY AND WIDOWHOOD
Jewelry can reflect specific moments of a person’s life, even widowhood.
The elaborate dresses and the royal symbols tend to disappear in the portrayal of Empress Maria Therese of Austria after the death of Francis Stephen. Black onyx beads remain appropriate.
The Portrait of Neaga, Wife of Ionașcu (1860) by Constantin LeccaBrașov Art Museum
MONEY AS AESTHETICS
Salba, or the coin necklace, was used since ancient times, and in the 18th century it came back into fashion due to Ottoman influence. Together with earrings, the bead necklaces and the gold girdle, the woman’s belonging to the upper echelons of society is attested.
Portrait of a Woman (1851) by Constantin LeccaBrașov Art Museum
PRECIOUS TIME
In the Romanian territories, women started to wear gold pocket watches during the 19th century, under Western influence.
In this painting, the pendant watch is attached to a gold safety chain, held delicately between the woman’s fingers.
Tradition and modernity mingle in the two commissioned paintings portraying Ioan Prișcu and his wife.
The Portrait of Ioan Prișcu (1869) by Ștefan CsillágiBrașov Art Museum
Ioan Prișcu's clothing, butcher in the Șchei district of Brașov, reflects his belonging to a traditional society, keeping in line with the new simplifications in men’s attire.
When the old costumes of the patricians lost their social legitimacy, some ornamental elements began to be used in some regional folk costumes. An example of this are the silver spherical buttons aligned on Ioan Prișcu's surcoat.
Portrait of a Man (1870) by Sava HențiaBrașov Art Museum
INSECTS AS FASHION
The Regatta tie became fashionable after the mid-19th century. With the introduction of these ties came the tie pin, used to secure the knot. The man’s pin, in the shape of a stylized insect, indicates the desire to reconnect with nature in the context of rapid urbanization.
The Portrait of Mrs. Greissing (1879) by Samuel HerterBrașov Art Museum
ENGRAVED PORTRAITS
In this portrait, the woman’s gold jewelry contrasts sharply with her clothing.
Although cameo brooches have been used since ancient times, they only made a frequent reappearance in women's fashion during the 19th century, during the reign of Queen Victoria of England.
The Portrait of Ana Davila (1869) by Theodor AmanBrașov Art Museum
ELEGANT SIMPLICITY
The influence of Western fashions brought new simplicity in dresses and jewelry, compared to the oriental traditions from previous centuries. The noblewoman Ana Davila, descended from ruling families of Romania, is wearing earrings and a braided gold necklace.
Jewelry was also used as inheritance. Such is illustrated in the portraits of Sofia Spuderca and Zoe Popp, mother and daughter. The earrings adorning the bride on her wedding day can also be spotted in her mother’s portrait by the same artist.
Artists often painted double portraits, thus indicating family relations. Such is the case of the complementary portraits of Maria and Teodor Ioan, husband and wife. The woman is wearing more jewelry than her husband, which is in accordance with the 19th century Western fashion.
Portrait of a Woman in a Saxon Costume (1898) by Friedrich MiessBrașov Art Museum
PORTRAIT AS HISTORICAL DOCUMENT
Friedrich Miess painted a portrait of Frieda Teutsch, his aunt, for the unveiling of the statue of Johannes Honterus in Brașov on 21 August 1898.
During the festivities, members of the "Free Union of Saxon Women" wore richly decorated Saxon national costumes.
The Portrait of Barbu Știrbei (1881) by Mișu PoppBrașov Art Museum
JEWELRY AS MILITARY DECORATIONS
Barbu Știrbei, ruler of Wallachia (1849-1856) at a time when the Romanian Lands were caught up in the conflict between the Russians and the Ottomans, was decorated for his achievements by both parties. The Ottoman decorations, unlike Western orders, resemble a piece of jewelry.
The portraits of Queen Marie of Romania and King Ferdinand painted by artist Coca Romano were inspired by the official photographs from the coronation ceremony that took place on 15 Oct. 1922. Both portraits are filled with specific symbols of power. Queen Marie is depicted wearing a golden gown with mantle, while the Transylvanian gold crown is adorned with floral and Celtic patterns. King Ferdinand's portrait prominently features his royal insignia: the crown, mantle, and marshal's baton.
Peasant Girl Sewing (First quarter of the 20th Century) by Ipolit StrâmbuBrașov Art Museum
JEWELRY FOR EVERYONE
The young girl in folk costume, wearing necklaces around her neck, is sewing in the garden. Her attire, adornments and occupation indicate her belonging to a lower class. The materials of the jewelry suggest a closer connection to nature and simpler manufacturing processes.
Portrait of a Peasant Girl (1936) by Aurel BordenacheBrașov Art Museum
FAMILY HEIRLOOM
The portrait reflects the girl's affiliation with an affluent family.
The young woman wears a pearl necklace, a wide red stone necklace, and a substantial silver coin necklace hanging down to her waist. According to the tradition, these adornments often served as heirlooms or dowry.
Portrait of a Woman (First quarter of the 20th Century) by Hans BulhardtBrașov Art Museum
JEWELRY IN MODERN TIMES
The woman has a gold necklace with gemstones around her neck and her red scarf is fastened with a gold brooch adorned with pearls. After the First World War, with the development of synthetic materials, the boundaries between classes are blurred. It’s a new era for jewelry.
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