Rococo Art Period Notes 6t4q5x

Rococo Art: Background Rococo art is a very sensuous type of art. Rococo sculptures have been defined as the Baroque style eroticized (Sayre, 479). The Rococo art movement began in the early 18th century until the late 18th century and was said to be born of the Baroque movement (huntfor.com). During this time, new ideas about human existence were coming into play and brought optimism to many people. Rococo art objectified this optimistic feeling that people felt (huntfor.com). The word Rococo comes from the French word rocaille which refers to the small stones and shells that decorated the interiors of the grottoes. Grottoes were artificial caves that were popular in landscape design at the time (Sayre, 479). The Rococo style brought together erotic tones with the sensibility of the Baroque style. “Rococo art portrayed a world of artificiality, make-believe, and game playing…it was essentially an art of the aristocracy and emphasized what seems now to have been the unreflective and indulgent lifestyles of the aristocracy rather than piety, morality, selfdiscipline, reason, and heroism (all of which are found in the Baroque)” (huntfor.com). Pastel colors are characteristic of the Rococo style as well as a light-hearted mood, curving forms, and fanciful figures (huntfor.com). This art was focused on the high-society, wealthy people of this period. It was not focused on morality or any other serious issue that other types of art focused on. At the end of the Rococo period, the French began to view it as “symptomatic of a wide-spread cultural decadence, epitomized by the luxurious lifestyle of the aristocracy” (Sayre, 480). Most of the paintings were people enjoying their leisure time. This would not happen as shown among the working class people. This art was not created for them and exemplified a lifestyle unknown to the common person at that time. This art was created for enjoyment and to show others enjoying their lives. Artist 1: Jean-Honoré Fragonard - 1732–1806 Fragonard first painted in a style suitable to his religious and historical subjects. After 1765, however, he worked in the rococo style then fashionable in . These later paintings, the works for which he is best known, reflect the gaiety, frivolity, and voluptuousness of the period. They are characterized by fluid lines, frothy flowers amid loose foliage, and gracefully posed figures, usually of ladies and their lovers or peasant mothers with children. Fragonard was a prolific painter, but he rarely dated his works and it is not easy to chart his stylistic development. As always with Fragonard, more important than the subject matter are the soft tones and colors of the palate. Fragonard's scenes of frivolity and gallantry are considered the embodiment of the Rococo spirit. A pupil of Chardin and later Boucher, he won the Prix de Rome and from 1756 to 1761 was in Italy, where he developed a particular iration for Tiepolo and the late Baroque style. In this period he specialized in large historical paintings. Returning to Paris, he soon changed this style, adopting instead the erotic subjects then in vogue and for which he is chiefly known, of which The Swing is the most famous.

This picture became an immediate success, not merely for its technical excellence, but for the scandal behind it. The young nobleman is not only getting an interesting view up the lady's skirt, but she is being pushed into this position by her priest-lover, shown in the rear. In this same spirit are some other famous pictures, The See-Saw, Blindman's Bluff, The Stolen Kiss, and the Meeting. After his marriage in 1769, he began painting children and family scenes (usually called genre painting) and even returned to religious subjects. He stopped exhibiting publicly in 1770 and all his later works are commissions from private patrons. developed an exuberant and fluid manner as a painter, draftsman, and printmaker. Prolific and inventive, he abandoned early on the conventional career path dictated by the hierarchical structure of the Royal Academy, working largely for private patrons. His work constitutes a further elaboration of the Rococo idiom established by Antoine Watteau and François Boucher, a manner perfectly suited to his subjects, which favored the playful, the erotic, and the joys of domesticity “The Swing” -1767 “The Swing” by Jean-Honore Fragonard is another typical Rococo art painting. This painting is also outdoors and in the carefree spirit of the Rococo artists. The girl seems to be thoroughly enjoying having the attention of two men and being pushed on the swing. The colors, again, are typical pretty pastel colors used in Rococo art. The sky in the background is cloudy, yet pastel blue. The statues in the yard and the woman lend the painting an erotic sense. She laughs as her shoe flies off her foot and she continues to enjoy herself. The sun shines through the clouds onto the girl and hits her dress just right to make the color stand out. The sun shining on her puts her in a spotlight of sorts and makes her the object of the painting. These paintings totally epitomize the Rococo art style. They capture the light-heartedness and the fun-loving attitude of that time.

“The Stolen Kiss” Jean-Honore Fragonard's late period was marked by his careful study of the Dutch 17thcentury masters, whose influence is felt in this masterpiece from the 1790s, The Stolen Kiss. The smooth, enamel-like surface of the painting, the blended brushstrokes used to convey the details so precisely, unavoidably recall the work of the Dutch artists Metsu and Terborch. Fragonard lovingly depicts surface texture and the material of which each object is made. Yet the subject itself is a pretty, amusing scene taken from life, with that grace and lightness in the movements of the two heroes which is so typical of French art of the time. The painting lies firmly within the traditions of the rococo style - already being affected by realistic tendencies in the second half of the 18th century. Resisting, but not too strongly, a maiden pulls halfheartedly away from a furtive kiss in one of Fragonard's many evocations of romantic love.

Artist 2: Francois Boucher (1703-1770), French painter, noted for his pastoral and mythological scenes, whose work embodies the frivolity and sensuousness of the rococo style. Boucher's delicate, lighthearted depictions of classical divinities and well-dressed French shepherdesses delighted the public, who considered him the most fashionable painter of his day. In 1723 Boucher won the Prix de Rome; he studied in Rome from 1727 to 1731. After his return to , he created hundreds of paintings, decorative boudoir s, tapestry designs, theater designs, and book illustrations. He became a faculty member of the Royal Academy in 1734. He designed for the Beauvais tapestry works and in 1755 became director of the Gobelins tapestries. In 1765 he was made first painter to the king, director of the Royal Academy, and designer for the Royal Porcelain Works. His success was encouraged by his patron, Marquise de Pompadour, mistress to Louis XV. He painted her portrait several times.

Madame de Pompadour

François Boucher - Portrait of Mademoiselle Bergeret

Architecture style in architecture, especially in interiors and the decorative arts, which originated in and was widely used in Europe in the 18th cent. The term may be derived from the French words rocaille and coquille (rock and shell), natural forms prominent in the Italian baroque decorations of interiors and gardens. The first expression of the rococo was the transitional régence style. In contrast with the heavy baroque plasticity and grandiloquence, the rococo was an art of exquisite refinement and linearity. Through their engravings, Juste Aurèle Meissonier and Nicholas Pineau helped spread the style throughout Europe. The Parisian tapestry weavers, cabinetmakers, and bronze workers followed the trend and arranged motifs such as arabesque elements, shells, scrolls, branches of leaves, flowers, and bamboo stems into ingenious and engaging compositions. The fashionable enthusiasm for Chinese art added to the style the whole bizarre vocabulary of chinoiserie motifs. In , major exponents of the rococo were the painters Watteau, Boucher, and Fragonard and the architects Robert de Cotte, Gilles Marie Oppenord, and later Jacques Ange Gabriel. The rococo vogue spread to and Austria, where François de Cuvilliès was the pioneer. Italian rococo, particularly that of Venice, was brilliantly decorative, exemplified in the paintings of Tiepolo. The furniture of Thomas Chippendale manifested its influence in England. During the 1660s and 1670s, the rococo competed with a more severely classical form of architecture, which triumphed with the accession of Louis XVI. Rococo Architecture • 1725-1775 Rococo artists reigned in the weighty drama of Baroque but retained its curves and elaborate ornament, resulting in a gentler, lighter style typified by whimsical, often asymmetrical decoration and pastel colours. Rococo painting and interior design flourished best in , the birthplace of the style, but the foremost Rococo architecture was built in the Holy Roman Empire ( and Austria)10, which had in fact been the second-greatest centre of the Late Baroque11. Rococo architecture was led by François de Cuvilliès, whose masterpiece is the Amalienburg: a hunting lodge that, inside and out, positively bursts with the exuberant frivolity of Rococo. Rococo (less commonly roccoco) is a style of 18th century French art and interior design. Rococo rooms were designed as total works of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings. It was largely supplanted by the Neoclassic style. Architect 1: Manuel Caetano de Sousa Place : Mafra National Palace library, situated at the back of the second floor, is truly the highlight of this palace, rivalling the grandeur of the library of the Melk Abbey in Austria. Built by Manuel Caetano de Sousa

, this library is 88 m long, 9.5 m wide and 13 m high. The magnificent floor is covered with tiles of rose, grey and white marble. The wooden bookshelves in Rococo style are situated on the sidewalls in two rows, separated by a balcony with a wooden railing. They contain over 35,000 leather-bound volumes, attesting of the extent of western knowledge from the 14th to the 19th century. Among them, are many valuable bibliographical jewels, such as incunabula The palace , which also served as a Franciscan monastery , was built during the reign of King John V

Architect 2: Francois Cuvillies Place: Hall of Mirrors at Amalienburg - The pale delphinium blue walls and ceiling are set off by elaborate carved silver decoration that rises from the floor and flows into the dome. The Amalienburg is the most famous of three pleasure pavilions in the park of NYMPHENBURG PALACE, the summer residence of the Bavarian kings on the outskirts of Munich. The pavilion, a sumptuous version of a hunting lodge, was built between 1734 and 1740 by the great ROCOCO architect Francois CUVILLIES (1695-1768) for Princess Amalie, wife of Elector Charles Albert of Bavaria (later Holy Roman Emperor CHARLES VII).