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Home / The Following Characteristics Are All Typical of Rococo Art Except

The Following Characteristics Are All Typical of Rococo Art Except

18th-century creative motion and manner

Rococo

Ca' rezzonico, salone da ballo, quadrature di pietro visconti e affreschi di g.b. crosato (caduta di febo e 4 continenti), 1753, 02.jpg

Charles Cressent, Chest of drawers, c. 1730 at Waddesdon Manor.jpg

Kaisersaal Würzburg.jpg

Ballroom ceiling of the Ca Rezzonico in Venice with illusionistic quadratura painting past Giovanni Battista Crosato (1753); Chest of drawers by Charles Cressent (1730); Kaisersaal of Würzburg Residence past Balthasar Neumann (1749–51)
Years agile 1730s to 1760s
Country France, Italy, Central Europe

Rococo (, also ), less commonly Roccoco or Late Baroque, is an exceptionally ornamental and theatrical style of architecture, art and ornament which combines asymmetry, scrolling curves, gilding, white and pastel colors, sculpted molding, and trompe-l'œil frescoes to create surprise and the illusion of motion and drama. It is ofttimes described as the final expression of the Baroque movement.[1]

The Rococo way began in France in the 1730s as a reaction against the more than formal and geometric Louis XIV style. It was known equally the "style Rocaille", or "Rocaille style".[two] Information technology soon spread to other parts of Europe, specially northern Italian republic, Austria, southern Federal republic of germany, Central Europe and Russia.[3] It also came to influence the other arts, particularly sculpture, furniture, silverware, glassware, painting, music, and theatre.[4] Although originally a secular way primarily used for interiors of private residences, the Rococo had a spiritual aspect to it which led to its widespread use in church interiors, particularly in Central Europe, Portugal, and S America.[5]

Etymology [edit]

The give-and-take rococo was outset used as a humorous variation of the discussion rocaille.[half dozen] [7] Rocaille was originally a method of decoration, using pebbles, seashells and cement, which was often used to decorate grottoes and fountains since the Renaissance.[8] [9] In the late 17th and early 18th century rocaille became the term for a kind of decorative motif or ornament that appeared in the late Mode Louis XIV, in the course of a seashell interlaced with acanthus leaves. In 1736 the designer and jeweler Jean Mondon published the Premier Livre de forme rocquaille et dare, a drove of designs for ornaments of article of furniture and interior ornament. It was the first appearance in print of the term "rocaille" to designate the style.[10] The carved or molded seashell motif was combined with palm leaves or twisting vines to decorate doorways, furniture, wall panels and other architectural elements.[11]

The term rococo was starting time used in impress in 1825 to describe decoration which was "out of style and erstwhile-fashioned." Information technology was used in 1828 for decoration "which belonged to the fashion of the 18th century, overloaded with twisting ornaments." In 1829 the author Stendhal described rococo as "the rocaille fashion of the 18th century."[12]

In the 19th century, the term was used to describe architecture or music which was excessively ornamental.[xiii] [fourteen] Since the mid-19th century, the term has been accepted by fine art historians. While there is still some argue about the historical significance of the style, Rococo is now frequently considered as a distinct menstruation in the development of European art.

Characteristics [edit]

Rococo features exuberant ornamentation, with an abundance of curves, counter-curves, undulations and elements modeled on nature. The exteriors of Rococo buildings are ofttimes elementary, while the interiors are entirely dominated by their ornament. The style was highly theatrical, designed to print and awe at first sight. Floor plans of churches were often complex, featuring interlocking ovals; In palaces, grand stairways became centrepieces, and offered different points of view of the ornament.[i] The main ornaments of Rococo are: asymmetrical shells, acanthus and other leaves, birds, bouquets of flowers, fruits, musical instruments, angels and Chinoiserie (pagodas, dragons, monkeys, baroque flowers and Chinese people).[15]

The manner often integrated painting, molded stucco, and wood carving, and quadratura, or illusionist ceiling paintings, which were designed to give the impression that those entering the room were looking upward at the sky, where cherubs and other figures were gazing downwardly at them. Materials used included stucco, either painted or left white; combinations of different colored woods (normally oak, beech or walnut); lacquered wood in the Japanese style, ornamentation of gilded bronze, and marble tops of commodes or tables.[16] The intent was to create an impression of surprise, awe and wonder on showtime view.[17]

Differences between Baroque and Rococo [edit]

The following are characteristics that Rococo has, and Baroque does not:

  • The partial abandonment of symmetry, everything being composed of graceful lines and curves, similar to Fine art Nouveau
  • The huge quantity of asymmetrical curves and C-shaped volutes
  • The wide employ of flowers in ornament, an example existence festoons made of flowers
  • Chinese and Japanese motifs (run across also: chinoiserie and Japonism)
  • Warm pastel colours[18] (whitish-yellowish, cream-colored, pearl greys, very light dejection)[19]

France [edit]

The Rocaille style, or French Rococo, appeared in Paris during the reign of Louis XV, and flourished between nearly 1723 and 1759.[20] The mode was used especially in salons, a new manner of room designed to print and entertain guests. The virtually prominent case was the salon of the Princess in Hôtel de Soubise in Paris, designed by Germain Boffrand and Charles-Joseph Natoire (1735–40). The characteristics of French Rococo included exceptional artistry, especially in the circuitous frames made for mirrors and paintings, which were sculpted in plaster and oftentimes gilt; and the utilise of vegetal forms (vines, leaves, flowers) intertwined in complex designs.[21] The piece of furniture also featured sinuous curves and vegetal designs. The leading furniture designers and craftsmen in the fashion included Juste-Aurele Meissonier, Charles Cressent, and Nicolas Pineau.[22] [23]

The Rocaille style lasted in France until the mid-18th century, and while information technology became more than curving and vegetal, it never achieved the improvident exuberance of the Rococo in Bavaria, Austria and Italia. The discoveries of Roman antiquities commencement in 1738 at Herculaneum and especially at Pompeii in 1748 turned French architecture in the direction of the more than symmetrical and less flamboyant neo-classicism.

  • Grand Sleeping accommodation of the Prince, Hotel de Soubise (1735–40)

Italy [edit]

Artists in Italian republic, particularly Venice, besides produced an exuberant rococo mode. Venetian commodes imitated the curving lines and carved ornament of the French rocaille, only with a particular Venetian variation; the pieces were painted, often with landscapes or flowers or scenes from Guardi or other painters, or Chinoiserie, against a blue or green groundwork, matching the colours of the Venetian school of painters whose work decorated the salons. Notable decorative painters included Giovanni Battista Tiepolo, who painted ceilings and murals of both churches and palazzos, and Giovanni Battista Crosato who painted the ballroom ceiling of the Ca Rezzonico in the quadraturo manner, giving the illusion of three dimensions. Tiepelo travelled to Frg with his son during 1752–1754, decorating the ceilings of the Würzburg Residence, one of the major landmarks of the Bavarian rococo. An before historic Venetian painter was Giovanni Battista Piazzetta, who painted several notable church building ceilings. [24]

The Venetian Rococo likewise featured exceptional glassware, specially Murano drinking glass, often engraved and coloured, which was exported across Europe. Works included multicolour chandeliers and mirrors with extremely ornate frames. [24]

  • Ceiling of church of Santi Giovanni e Paolo in Venice, by Piazzetta (1727)

Southern Germany [edit]

In church construction, especially in the southern German-Austrian region, gigantic spatial creations are sometimes created for practical reasons alone, which, notwithstanding, exercise not announced awe-inspiring, but are characterized by a unique fusion of architecture, painting, stucco, etc., often completely eliminating the boundaries between the art genres, and are characterized by a light-filled weightlessness, festive cheerfulness and movement. The Rococo decorative manner reached its summit in southern Germany and Republic of austria from the 1730s until the 1770s. There information technology dominates the church mural to this day and is deeply anchored there in pop civilization. It was first introduced from France through the publications and works of French architects and decorators, including the sculptor Claude Iii Audran, the interior designer Gilles-Marie Oppenordt, the architect Germain Boffrand, the sculptor Jean Mondon, and the draftsman and engraver Pierre Lepautre. Their piece of work had an of import influence on the German Rococo way, but does not attain the level of buildings in southern Germany.[25]

German architects adapted the Rococo manner but made it far more asymmetric and loaded with more ornate decoration than the French original. The German mode was characterized past an explosion of forms that cascaded downwards the walls. Information technology featured molding formed into curves and counter-curves, twisting and turning patterns, ceilings and walls with no right angles, and stucco leafage which seemed to be creeping up the walls and across the ceiling. The decoration was oft gold or silvered to requite it contrast with the white or pale pastel walls.[26]

The Belgian-built-in architect and designer François de Cuvilliés was 1 of the first to create a Rococo building in Germany, with the pavilion of Amalienburg in Munich, (1734-1739), inspired by the pavilions of the Trianon and Marly in France. It was built equally a hunting guild, with a platform on the roof for shooting pheasants. The Hall of Mirrors in the interior, by the painter and stucco sculptor Johann Baptist Zimmermann, was far more exuberant than any French Rococo.[27]

Another notable example of the early German Rococo is Würzburg Residence (1737–1744) constructed for the Prince-Bishop of Würzburg by Balthasar Neumann. Neumann had traveled to Paris and consulted with the French rocaille decorative artists Germain Boffrand and Robert de Cotte. While the exterior was in more sober Baroque fashion, the interior, particularly the stairways and ceilings, was much lighter and decorative. The Prince-Bishop imported the Italian Rococo painter Giovanni Battista Tiepolo in 1750–53 to create a mural over the top of the iii-level formalism stairway.[28] [29] Neumann described the interior of the residence equally "a theater of light". The stairway was also the central chemical element in a residence Neumann built at the Augustusburg Palace in Brühl (1743–1748). In that building the stairway led the visitors upwardly through a stucco fantasy of paintings, sculpture, ironwork and ornamentation, with surprising views at every turn.[28]

In the 1740s and 1750s, a number of notable pilgrimage churches were synthetic in Bavaria, with interiors decorated in a distinctive variant of the rococo manner. Ane of the most notable examples is the Wieskirche (1745–1754) designed by Dominikus Zimmermann. Like near of the Bavarian pilgrimage churches, the exterior is very simple, with pastel walls, and little ornament. Entering the church the visitor encounters an amazing theater of movement and light. It features an oval-shaped sanctuary, and a deambulatory in the same form, filling in the church with light from all sides. The white walls contrasted with columns of blueish and pink stucco in the choir, and the domed ceiling surrounded by plaster angels below a dome representing the heavens crowded with colorful Biblical figures. Other notable pilgrimage churches include the Basilica of the Fourteen Holy Helpers by Balthasar Neumann (1743–1772).[thirty] [31]

Johann Michael Fischer was the architect of Ottobeuren Abbey (1748–1766), another Bavarian Rococo landmark. The church features, like much of the rococo compages in Germany, a remarkable dissimilarity between the regularity of the facade and the overabundance of decoration in the interior.[28]

Britain [edit]

In Great Great britain, rococo was called the "French sense of taste" and had less influence on blueprint and the decorative arts than in continental Europe, although its influence was felt in such areas as silverwork, porcelain, and silks. William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not mentioning rococo past name, he argued in his Analysis of Beauty (1753) that the undulating lines and South-curves prominent in Rococo were the basis for grace and beauty in art or nature (unlike the direct line or the circle in Classicism).[32]

Rococo was irksome in arriving in England. Before inbound the Rococo, British furniture for a time followed the neoclassical Palladian model under designer William Kent, who designed for Lord Burlington and other important patrons of the arts. Kent travelled to Italy with Lord Burlington between 1712 and 1720, and brought back many models and ideas from Palladio. He designed the furniture for Hampton Court Palace (1732), Lord Burlington'southward Chiswick House (1729), London, Thomas Coke's Holkham Hall, Norfolk, Robert Walpole's pile at Houghton, for Devonshire House in London, and at Rousham.[22]

Mahogany made its appearance in England in about 1720, and immediately became popular for furniture, forth with walnut wood. The Rococo began to make an appearance in England between 1740 and 1750. The furniture of Thomas Chippendale was the closest to the Rococo way, In 1754 he published "Admirer's and Chiffonier-makers' directory", a catalog of designs for rococo, chinoiserie and fifty-fifty Gothic furniture, which achieved wide popularity, going through three editions. Dissimilar French designers, Chippendale did non employ marquetry or inlays in his furniture. The predominant designer of inlaid piece of furniture were Vile and Cob, the cabinet-makers for King George III. Some other important figure in British article of furniture was Thomas Johnson, who in 1761, very late in the period, published a catalog of Rococo furniture designs. These include effects based on rather fantastic Chinese and Indian motifs, including a canopy bed crowned by a Chinese pagoda (now in the Victoria and Albert Museum).[24]

Other notable figures in the British Rococo included the silversmith Charles Friedrich Kandler.

  • Design for Commode and lamp stands by Thomas Chippendale (1753–54)

  • Blueprint for candlesticks in the "Chinese Taste" past Thomas Johnson (1756)

  • Chippendale chair (1772), Metropolitan Museum

  • Brazier by silversmith Charles Friedrich Kander (1735), Metropolitan Museum

Russia [edit]

The Russian Empress Catherine the Groovy was another admirer of the Rococo; The Golden Chiffonier of the Chinese Palace in the palace complex of Oranienbaum near St. petersburg, designed by the Italian Antonio Rinaldi, is an example of the Russian Rococo.

Reject and finish [edit]

The art of Boucher and other painters of the period, with its emphasis on decorative mythology and gallantry, soon inspired a reaction, and a demand for more "noble" themes. While the Rococo continued in Federal republic of germany and Austria, the French Academy in Rome began to teach the classic style. This was confirmed past the nomination of De Troy as director of the University in 1738, and then in 1751 by Charles-Joseph Natoire.

Madame de Pompadour, the mistress of Louis XV contributed to the turn down of the Rococo style. In 1750 she sent her blood brother, Abel-François Poisson de Vandières, on a ii-yr mission to study artistic and archeological developments in Italy. He was accompanied by several artists, including the engraver Charles-Nicolas Cochin and the architect Soufflot. They returned to Paris with a passion for classical art. Vandiéres became the Marquis of Marigny, and was named director full general of the King's Buildings. He turned official French architecture toward the neoclassical. Cochin became an important art critic; he denounced the petit way of Boucher, and called for a chiliad style with a new emphasis on antiquity and nobility in the academies of painting and architecture.[33]

The beginning of the end for Rococo came in the early 1760s equally figures similar Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality and degeneracy of the fine art. Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in contemporary interiors.[34]

By 1785, Rococo had passed out of way in French republic, replaced past the order and seriousness of Neoclassical artists like Jacques-Louis David. In Germany, late 18th-century Rococo was ridiculed equally Zopf und Perücke ("pigtail and periwig"), and this phase is sometimes referred to as Zopfstil. Rococo remained pop in certain German language provincial states and in Italia, until the second phase of neoclassicism, "Empire style", arrived with Napoleonic governments and swept Rococo away.

Furniture and ornament [edit]

The ornamental style called rocaille emerged in French republic between 1710 and 1750, mostly during the regency and reign of Louis XV; the style was also called Louis Quinze. Its chief characteristics were picturesque detail, curves and counter-curves, asymmetry, and a theatrical exuberance. On the walls of new Paris salons, the twisting and winding designs, normally made of gilt or painted stucco, wound around the doorways and mirrors similar vines. One of the primeval examples was the Hôtel Soubise in Paris (1704–05), with its famous oval salon decorated with paintings by Boucher, and Charles-Joseph Natoire.[35]

The all-time known French furniture designer of the period was Juste-Aurèle Meissonnier (1695–1750), who was also a sculptor, painter. and goldsmith for the royal household. He held the title of official designer to the Sleeping room and Cabinet of Louis XV. His work is well known today because of the enormous number of engravings fabricated of his work which popularized the way throughout Europe. He designed works for the royal families of Poland and Portugal.

Italy was another place where the Rococo flourished, both in its early and subsequently phases. Craftsmen in Rome, Milan and Venice all produced lavishly busy article of furniture and decorative items.

  • Chariot of Apollo design for a ceiling of Count Bielinski past Meissonier, Warsaw, Poland (1734)

  • Canapé designed by Meissonnier for Count Bielinski, Warsaw, Poland (1735)

  • Console tabular array, Rome, Italia (circa 1710)

The sculpted decoration included fleurettes, palmettes, seashells, and foliage, carved in wood. The most improvident rocaille forms were establish in the consoles, tables designed to stand against walls. The Commodes, or chests, which had first appeared under Louis 14, were richly decorated with rocaille ornament made of aureate bronze. They were fabricated by primary craftsmen including Jean-Pierre Latz and also featured marquetry of different-coloured woods, sometimes placed in checkerboard cubic patterns, fabricated with light and dark woods. The menstruum also saw the arrival of Chinoiserie, ofttimes in the form of lacquered and gilded commodes, chosen falcon de Chine of Vernis Martin, after the ebenist who introduced the technique to France. Ormolu, or gilded bronze, was used by master craftsmen including Jean-Pierre Latz. Latz made a particularly ornate clock mounted atop a cartonnier for Frederick the Great for his palace in Potsdam. Pieces of imported Chinese porcelain were often mounted in ormolu (gilded bronze) rococo settings for display on tables or consoles in salons. Other craftsmen imitated the Japanese fine art of lacquered furniture, and produced commodes with Japanese motifs.[17]

  • A Chinese porcelain bowl and two fish mounted in golden bronze, French republic (1745–49)

British Rococo tended to be more restrained. Thomas Chippendale'southward piece of furniture designs kept the curves and feel, but stopped short of the French heights of whimsy. The nigh successful exponent of British Rococo was probably Thomas Johnson, a gifted carver and furniture designer working in London in the mid-18th century.

Painting [edit]

Elements of the Rocaille manner appeared in the work of some French painters, including a taste for the picturesque in details; curves and counter-curves; and dissymmetry which replaced the movement of the baroque with exuberance, though the French rocaille never reached the extravagance of the Germanic rococo.[36] The leading proponent was Antoine Watteau, particularly in Pilgrimage on the Isle of Cythera (1717), Louvre, in a genre chosen Fête Galante depicting scenes of immature nobles gathered together to gloat in a pastoral setting. Watteau died in 1721 at the age of thirty-seven, but his piece of work connected to have influence through the residuum of the century. The Pilgrimage to Cythera painting was purchased by Frederick the Great of Prussia in 1752 or 1765 to decorate his palace of Charlottenburg in Berlin.[36]

The successor of Watteau and the Féte Galante in decorative painting was François Boucher (1703–1770), the favorite painter of Madame de Pompadour. His work included the sensual Toilette de Venus (1746), which became one of the best known examples of the style. Boucher participated in all of the genres of the time, designing tapestries, models for porcelain sculpture, set decorations for the Paris opera and opera-comique, and decor for the Fair of Saint-Laurent. [37] Other important painters of the Fête Galante style included Nicolas Lancret and Jean-Baptiste Pater. The manner particularly influenced François Lemoyne, who painted the lavish ornamentation of the ceiling of the Salon of Hercules at the Palace of Versailles, completed in 1735.[36] Paintings with fétes gallant and mythological themes by Boucher, Pierre-Charles Trémolières and Charles-Joseph Natoire decorated the famous salon of the Hôtel Soubise in Paris (1735–40).[37] Other Rococo painters include: Jean François de Troy (1679–1752), Jean-Baptiste van Loo (1685–1745), his 2 sons Louis-Michel van Loo (1707–1771) and Charles-Amédée-Philippe van Loo (1719–1795), his younger blood brother Charles-André van Loo (1705–1765), and Nicolas Lancret (1690–1743).

In Austria and Southern Federal republic of germany, Italian painting had the largest effect on the Rococo manner. The Venetian painter Giovanni Battista Tiepolo, assisted past his son, Giovanni Domenico Tiepolo, was invited to paint frescoes for the Würzburg Residence (1720–1744). The most prominent painter of Bavarian rococo churches was Johann Baptist Zimmermann, who painted the ceiling of the Wieskirche (1745–1754).

Sculpture [edit]

  • The intoxication of wine past Claude Michel (Clodion), terracotta, 1780s-90s

Rococo sculpture was theatrical, colorful and dynamic, giving a sense of motility in every direction. Information technology was nearly commonly found in the interiors of churches, usually closely integrated with painting and the architecture. Religious sculpture followed the Italian baroque fashion, as exemplified in the theatrical altarpiece of the Karlskirche in Vienna.

Early on Rococo or Rocaille sculpture in France sculpture was lighter and offered more than motility than the classical style of Louis Fourteen. Information technology was encouraged in detail past Madame de Pompadour, mistress of Louis 15, who commissioned many works for her chateaux and gardens. The sculptor Edmé Bouchardon represented Cupid engaged in carving his darts of love from the club of Hercules. Rococo figures also crowded the later fountains at Versailles, such every bit the Fountain of Neptune past Lambert-Sigisbert Adam and Nicolas-Sebastien Adam (1740). Based on their success at Versailles, they were invited to Prussia past Frederick the Nifty to create fountain sculpture for Sanssouci Palace, Prussia (1740s).[38]

Étienne-Maurice Falconet (1716–1791) was some other leading French sculptor during the period. Falconet was nigh famous for his statue of Peter the Great on horseback in St. Petersburg, but he also created a series of smaller works for wealthy collectors, which could be reproduced in a series in terra cotta or cast in bronze. The French sculptors, Jean-Louis Lemoyne, Jean-Baptiste Lemoyne, Louis-Simon Boizot, Michel Clodion, Lambert-Sigisbert Adam and Jean-Baptiste Pigalle all produced sculpture in series for collectors.[39]

In Italy, Antonio Corradini was among the leading sculptors of the Rococo way. A Venetian, he travelled around Europe, working for Peter the Great in St. Petersburg, for the imperial courts in Republic of austria and Naples. He preferred sentimental themes and made several skilled works of women with faces covered by veils, one of which is now in the Louvre.[40]

The nigh elaborate examples of rococo sculpture were establish in Spain, Austria and southern Germany, in the ornamentation of palaces and churches. The sculpture was closely integrated with the architecture; it was impossible to know where one stopped and the other began. In the Belvedere Palace in Vienna, (1721-1722), the vaulted ceiling of the Hall of the Atlantes is held up on the shoulders of muscular figures designed by Johann Lukas von Hildebrandt. The portal of the Palace of the Marquis of Dos Aguas in Valencia (1715-1776) was completely drenched in sculpture carved in marble, from designs past Hipolito Rovira Brocandel.[41]

The El Transparente altar, in the major chapel of Toledo Cathedral is a towering sculpture of polychrome marble and aureate stucco, combined with paintings, statues and symbols. Information technology was made by Narciso Tomé (1721–32), Its blueprint allows light to pass through, and in changing calorie-free it seems to move.[42]

Porcelain [edit]

A new course of small-scale sculpture appeared, the porcelain figure, or modest group of figures, initially replacing carbohydrate sculptures on thou dining room tables, merely shortly pop for placing on mantelpieces and furniture. The number of European factories grew steadily through the century, and some fabricated porcelain that the expanding middle classes could afford. The amount of colourful overglaze decoration used on them likewise increased. They were usually modelled by artists who had trained in sculpture. Common subjects included figures from the commedia dell'arte, city street vendors, lovers and figures in fashionable dress, and pairs of birds.

Johann Joachim Kändler was the most of import modeller of Meissen porcelain, the earliest European factory, which remained the most important until about 1760. The Swiss-born German sculptor Franz Anton Bustelli produced a wide variety of colourful figures for the Nymphenburg Porcelain Manufactory in Bavaria, which were sold throughout Europe. The French sculptor Étienne-Maurice Falconet (1716–1791) followed this case. While also making large-scale works, he became managing director of the Sevres Porcelain mill and produced modest-scale works, normally nigh beloved and gaiety, for production in series.

Music [edit]

A Rococo period existed in music history, although it is non too known as the earlier Baroque and later Classical forms. The Rococo music way itself developed out of baroque music both in France, where the new style was referred to as manner galant ("gallant" or "elegant" manner), and in Germany, where it was referred to as empfindsamer Stil ("sensitive style"). It can be characterized as calorie-free, intimate music with extremely elaborate and refined forms of ornamentation. Exemplars include Jean Philippe Rameau, Louis-Claude Daquin and François Couperin in France; in Germany, the style'south master proponents were C. P. E. Bach and Johann Christian Bach, two sons of J.S. Bach.

In the 2nd half of the 18th century, a reaction against the Rococo style occurred, primarily against its perceived overuse of decoration and decoration. Led by Christoph Willibald Gluck, this reaction ushered in the Classical era. Past the early on 19th century, Catholic opinion had turned against the suitability of the style for ecclesiastical contexts considering it was "in no way conducive to sentiments of devotion".[43]

Russian composer of the Romantic era Pyotr Ilyich Tchaikovsky wrote The Variations on a Rococo Theme, Op. 33, for cello and orchestra in 1877. Although the theme is not Rococo in origin, it is written in Rococo style.

Fashion [edit]

Sack-back gown and petticoat, 1775-1780 V&A Museum no. T.180&A-1965

Rococo fashion was based on extravagance, elegance, refinement and decoration. Women's fashion of the seventeenth-century was assorted by the fashion of the eighteenth-century, which was ornate and sophisticated, the truthful mode of Rococo.[44] These fashions spread beyond the royal court into the salons and cafés of the ascendant bourgeoisie.[45] The exuberant, playful, elegant style of decoration and design that nosotros now know to be 'Rococo' was then known as le style rocaille, le style moderne, le gout. [46]

A manner that appeared in the early eighteenth-century was the robe volante,[44] a flowing gown, that became pop towards the end of King Louis XIV'south reign. This gown had the features of a bodice with large pleats flowing down the back to the footing over a rounded petticoat. The colour palette was rich, dark fabrics accompanied by elaborate, heavy design features. After the death of Louis XIV the clothing styles began to change. The way took a turn to a lighter, more frivolous fashion, transitioning from the bizarre period to the well-known fashion of Rococo.[47] The later period was known for their pastel colours, more than revealing frocks, and the plethora of frills, ruffles, bows, and lace every bit trims. Presently after the typical women's Rococo gown was introduced, robe à la Française, [44] a gown with a tight bodice that had a depression cut neckline, unremarkably with a big ribbon bows down the centre forepart, wide panniers, and was lavishly trimmed in big amounts of lace, ribbon, and flowers.

The Watteau pleats [44] as well became more pop, named after the painter Jean-Antoine Watteau, who painted the details of the gowns down to the stitches of lace and other trimmings with immense accurateness. Later, the 'pannier' and 'mantua' became stylish effectually 1718, they were wide hoops under the dress to extend the hips out sideways and they soon became a staple in formal wear. This gave the Rococo period the iconic dress of broad hips combined with the large amount of decoration on the garments. Wide panniers were worn for special occasions, and could reach up to xvi feet (4.8 metres) in diameter,[48] and smaller hoops were worn for the everyday settings. These features originally came from seventeenth-century Spanish fashion, known as guardainfante, initially designed to hide the pregnant tum, then reimagined afterward as the pannier.[48] 1745 became the Gilded Age of the Rococo with the introduction of a more exotic, oriental culture in France chosen a la turque.[44] This was made popular by Louis XV'due south mistress, Madame Pompadour, who deputed the artist, Charles Andre Van Loo, to pigment her as a Turkish sultana.

In the 1760s, a style of less formal dresses emerged and one of these was the polonaise, with inspiration taken from Poland. It was shorter than the French apparel, allowing the underskirt and ankles to be seen, which made information technology easier to move around in. Another apparel that came into fashion was the robe a fifty'anglais, which included elements inspired by the males' fashion; a short jacket, broad lapels and long sleeves.[47] It too had a snug bodice, a full skirt without panniers merely still a little long in the back to form a minor train, and oft some type of lace kerchief worn around the cervix. Another piece was the 'redingote', halfway between a cape and an overcoat.

Accessories were as well of import to all women during this time, as they added to the opulence and the decor of the body to match their gowns. At any official anniversary ladies were required to cover their hands and arms with gloves if their apparel were sleeveless.[47]

Gallery [edit]

Architecture [edit]

Engravings [edit]

  • Unknown artist. Allegories of astronomy and geography. France (?), ca. 1750s

  • A. Avelin afterward Mondon le Fils. Fifty′Heureux moment. 1736

  • A. Avelin after Mondon le Fils. Chinese God. An engraving from the ouvrage «Quatrieme livre des formes, orneė des rocailles, carteles, figures oyseaux et dragon» 1736

Painting [edit]

Rococo era painting [edit]

Run into also [edit]

  • Italian Rococo art
  • Rococo in Portugal
  • Rococo in Kingdom of spain
  • Cultural motion
  • Gilded woodcarving
  • History of painting
  • Timeline of Italian artists to 1800
  • Illusionistic ceiling painting
  • Louis Xv style
  • Louis 15 piece of furniture

Notes and citations [edit]

  1. ^ a b Hopkins 2014, p. 92.
  2. ^ Ducher 1988, p. 136.
  3. ^ "What is Rococo?". Victoria and Albert Museum. Retrieved 20 October 2018.
  4. ^ "Rococo mode (blueprint) - Britannica Online Encyclopedia". Britannica.com . Retrieved 24 Apr 2012.
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Bibliography [edit]

  • de Morant, Henry (1970). Histoire des arts décoratifs. Librarie Hacahette.
  • Droguet, Anne (2004). Les Styles Transition et Louis Xvi. Les Editions de fifty'Amateur. ISBN2-85917-406-0.
  • Cabanne, Perre (1988), Fifty'Fine art Classique et le Baroque, Paris: Larousse, ISBN978-2-03-583324-ii
  • Duby, Georges and Daval, Jean-Luc, La Sculpture de l'Antiquité au XXe Siècle, (French translation from German), Taschen, (2013), (ISBN 978-iii-8365-4483-ii)
  • Ducher, Robert (1988), Caractéristique des Styles, Paris: Flammarion, ISBN2-08-011539-i
  • Fierro, Alfred (1996). Histoire et dictionnaire de Paris. Robert Laffont. ISBN2-221--07862-4.
  • Prina, Francesca; Demartini, Elena (2006). Petite encylopédie de l'architecture. Paris: Solar. ISBNtwo-263-04096-X.
  • Hopkins, Owen (2014). Les styles en architecture. Dunod. ISBN978-two-10-070689-ane.
  • Renault, Christophe (2006), Les Styles de l'architecture et du mobilier, Paris: Gisserot, ISBN978-two-877-4746-58
  • Texier, Simon (2012), Paris- Panorama de l'architecture de fifty'Antiquité à nos jours, Paris: Parigramme, ISBN978-2-84096-667-eight
  • Dictionnaire Historique de Paris. Le Livre de Poche. 2013. ISBN978-2-253-13140-iii.
  • Vila, Marie Christine (2006). Paris Musique- Huit Siècles d'histoire. Paris: Parigramme. ISBN978-2-84096-419-3.
  • Marilyn Stokstad, ed. Art History. 3rd ed. New Jersey: Prentice Hall, 2005. Impress.
  • Bailey, Gauvin Alexander (2014). The Spiritual Rococo: Décor and Divinity from the Salons of Paris to the Missions of Patagonia. Farnham: Ashgate. The Spiritual Rococo: Decor and Divinity from the Salons of Paris to the Missions of Patagonia

Further reading [edit]

  • Kimball, Fiske (1980). The Creation of the Rococo Decorative Syle. New York: Dover Publications. ISBN0-486-23989-6.
  • Arno Schönberger and Halldor Soehner, 1960. The Age of Rococo. Published in the U.s. as The Rococo Historic period: Art and Civilization of the 18th Century (Originally published in High german, 1959).
  • Levey, Michael (1980). Painting in Eighteenth-Century Venice . Ithaca: Cornell Academy Press. ISBN0-8014-1331-1.
  • Kelemen, Pál (1967). Baroque and Rococo in Latin America . New York: Dover Publications. ISBN0-486-21698-5.

External links [edit]

  • All-art.org: Rococo in the "History of Fine art"
  • "Rococo Fashion Guide". British Galleries. Victoria and Albert Museum. Retrieved 16 July 2007.
  • History of Rococo. Art, architecture & luxury History & Culture Academy of Latgale
  • Bergerfoundation.ch: Rococo mode examples
  • Barock- und Rococo- Architektur, Volume 1, Office 1, 1892(in German) Kenneth Franzheim II Rare Books Room, William R. Jenkins Architecture and Art Library, Academy of Houston Digital Library.

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Source: https://en.wikipedia.org/wiki/Rococo