Bourse de Master 2022 - Interview Lauréate Eva Portillo

During my undergraduate studies, I felt a little lost. At first, I did two years of a law degree, which although difficult, allowed me to acquire a certain rigor. Despite my best efforts, I came to the realization that this discipline wasn’t for me. Subsequently, I turned to a joint degree in law and art history, which was especially beneficial. It allowed me to combine the rigor of law and that of art history. Nevertheless, over the course of my first year, my desire to focus on my real passion became vital. I therefore decided to embark on a degree in art history at Bordeaux Montaigne, a universe that was already familiar to me. The experience has shown me the importance of not being afraid to follow my dreams. At the time, it was a real relief to finally find the studies that best suited me.

A combination of circumstances led me to this topic. In the middle of my third year, I knew that I wanted to do a research-based master’s and initially I was attracted by the topic of Surrealism. However, while carrying out research into the projects of past master’s students, I noticed that some former alumni had focused on jewelry. I have always had a fascination for jewelry, and items of jewelry have accompanied various key moments of my life. From the whimsical to the most precious, they had already been following me for some time both in my travels and daily life. Nevertheless, I had never considered the possibility of doing a research dissertation on the history of the art of jewelry or jewelry itself. As I had a rather classical background, I had never approached this aspect of art in my previous studies. Therefore, I began making contact with students and doing research on them. I met a former PhD student of university professor Pascal Bertrand who suggested I look at artists’ jewelry as this encompassed many of my interests. It was love at first sight and since that moment, I haven’t been able to tear myself away from the subject. It brings together both my classical training and my interest in jewelry. As my research has progressed, I am beginning to appreciate all the more its multidisciplinary nature and the unfortunate lack of knowledge of this field.

This topic has a particular interest in the sense that I personally believe it to have been neglected by art history. If we look carefully, we can see that all artists’ jewelry carries an intimate message from the artist, whether in terms of the artist’s identity, by the story of its creation, or by the artist’s idiom. These elements enrich the universe that the artist has to offer, and open up new perspectives. Questions arise about the interest, the creative process, and the universe that these artists have been able to create in parallel. This unique work, with a new reflection for some, is the fruit of artists and sometimes even of collaborations with artisans and/or jewelers. However, this aspect is often either overlooked or not exploited. This neglect is unfortunately explained by its status as a kind of free spirit in the world of the history of classical art, the decorative arts, and jewelry, ultimately making it unworthy of a real place. Currently, many people are working to restore the sense of prestige to this universe.

As I already mentioned, there is something about jewelry that has always fascinated me. Even as a child, my teachers called me “Little Miss Jewelry”! Jewelry has been a part of my life for a long time, and each item has its share of history and intimacy. When I am out, it is impossible for me to pass in front of a jewelry store without stopping. I am attracted by the beauty and the work behind each of the pieces on display, involving artists and artisans in oftentimes unique productions, accompanied by a careful design and the search for exceptional stones. This process is the fruit of a reflection on the habitual aspects of jewelry, as it nevertheless retains immutable characteristics, and the body is still its primary support. Jewels and jewelry have always had a place, as much in shop windows as in natural history and decorative arts museums, but also in contemporary museums, and in our daily lives. In the case of artists’ jewelry, I appreciate this intimate and exacting side, but also the creative aspect. The plurality of the creative processes and the rarity of these confer artists’ jewelry with a unique precious aspect, without the “materials” taking over. These characteristics fascinate me as much as the setting created by a jeweler for an exceptional stone. Indeed for me, the word “exceptional” is what best sums up jewels and jewelry.

Thanks to this scholarship, I will be able to travel and meet people in order to deepen my knowledge of the subject, thereby providing me with the opportunity to approach my research from several angles. Indeed, the universe of artists’ jewelry goes beyond Paris and its borders. I plan to travel to London but also to intensify my research in Paris. In addition, the fact of being recognized by such an institution is already a fantastic opportunity, especially in the context of my subject which might initially seem

Yes, during my research into students at my university in the field of jewelry, I noticed that one of them was the recipient of this award. Therefore, I discovered L’ÉCOLE and this gave me the ambition to apply. Nevertheless, it was my research director, Professor Pascal Bertrand, who really encouraged me to apply and I would like to thank him here for his support. Furthermore, in the history of jewelry field, L’ÉCOLE, School of Jewelry Arts integrates jewelry into its teachings through its various courses, thus providing a more academic framework, and is a true vector of knowledge on the subject. A knowledge that ultimately completes the gaps in my educational background as an academic art historian.