From what has been said up to this point, it appears clear how the artistic movements that followed one another between the end of the nineteenth century and the beginning of the twentieth century , on the one hand, declared the pre-eminence of jewellery among the minor arts and, on the other, recognised an artistic value in the work of goldsmiths.
It is only with the advent of the 1950s and 1960s (of the twentieth century) that the jewel is definitively "understood as a free artistic expression open to personal interpretations and experiments with forms, materials and techniques" , thus starting a new field of research that has created and still creates extraordinary ornaments today. In Anglo-Saxon or German-speaking countries we speak of "new jewelry" ( new jewelry, neue schmuck ) , while in Italy we prefer to use the definition "research or artist's jewel".
On the European goldsmith scene, countries such as Germany, Holland and England soon distinguished themselves for their unprejudiced and revolutionary way of understanding ornament; in fact, it became an object of pure artistic experimentation, often completely detached from the materials, techniques or even the meanings historically attributed to the world of goldsmithing. Italy , on the other hand, at least for an initial period, developed its investigation within tradition, still preferring, for example, the use of precious materials such as gold .
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