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Which of the Following Is Not a Element of Rococo Art or Architecture

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18th-century artistic movement and style

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 by Giovanni Battista Crosato (1753); Breast of drawers by Charles Cressent (1730); Kaisersaal of Würzburg Residence by Balthasar Neumann (1749–51)
Years active 1730s to 1760s
Country France, Italy, Central Europe

Rococo (, also ), less commonly Roccoco or Late Bizarre, is an uncommonly ornamental and theatrical manner of architecture, art and ornamentation which combines disproportion, scrolling curves, gilding, white and pastel colors, sculpted molding, and trompe-50'œil frescoes to create surprise and the illusion of motion and drama. It is often described every bit the final expression of the Baroque move.[1]

The Rococo style began in France in the 1730s as a reaction against the more formal and geometric Louis XIV style. It was known as the "style Rocaille", or "Rocaille style".[2] It soon spread to other parts of Europe, particularly northern Italy, Austria, southern Germany, Central Europe and Russia.[iii] Information technology also came to influence the other arts, particularly sculpture, article of furniture, silverware, glassware, painting, music, and theatre.[four] Although originally a secular fashion 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 Primal Europe, Portugal, and South America.[five]

Etymology [edit]

The give-and-take rococo was first used every bit a humorous variation of the discussion rocaille.[6] [7] Rocaille was originally a method of ornamentation, 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 Fashion Louis XIV, in the form 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 ornamentation. It was the first appearance in print of the term "rocaille" to designate the style.[x] The carved or molded seashell motif was combined with palm leaves or twisting vines to decorate doorways, article of furniture, wall panels and other architectural elements.[11]

The term rococo was offset used in impress in 1825 to describe decoration which was "out of style and old-fashioned." It was used in 1828 for decoration "which belonged to the manner of the 18th century, overloaded with twisting ornaments." In 1829 the author Stendhal described rococo equally "the rocaille style of the 18th century."[12]

In the 19th century, the term was used to describe architecture or music which was excessively ornamental.[13] [fourteen] Since the mid-19th century, the term has been accustomed by fine art historians. While there is still some debate about the historical significance of the style, Rococo is now often considered as a distinct menstruation in the development of European art.

Characteristics [edit]

Rococo features exuberant decoration, with an abundance of curves, counter-curves, undulations and elements modeled on nature. The exteriors of Rococo buildings are frequently unproblematic, while the interiors are entirely dominated by their ornamentation. The style was highly theatrical, designed to impress and awe at offset sight. Floor plans of churches were often circuitous, featuring interlocking ovals; In palaces, grand stairways became centrepieces, and offered different points of view of the ornamentation.[1] The principal ornaments of Rococo are: asymmetrical shells, acanthus and other leaves, birds, bouquets of flowers, fruits, musical instruments, angels and Chinoiserie (pagodas, dragons, monkeys, bizarre flowers and Chinese people).[15]

The style ofttimes integrated painting, molded stucco, and forest etching, and quadratura, or illusionist ceiling paintings, which were designed to give the impression that those inbound the room were looking up at the sky, where cherubs and other figures were gazing down at them. Materials used included stucco, either painted or left white; combinations of different colored woods (commonly oak, beech or walnut); lacquered wood in the Japanese manner, decoration of gilded statuary, and marble tops of commodes or tables.[xvi] The intent was to create an impression of surprise, awe and wonder on first view.[17]

Differences between Bizarre and Rococo [edit]

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

  • The partial abandonment of symmetry, everything being composed of svelte lines and curves, similar to Art Nouveau
  • The huge quantity of asymmetrical curves and C-shaped volutes
  • The broad use of flowers in decoration, an example being festoons made of flowers
  • Chinese and Japanese motifs (meet also: chinoiserie and Japonism)
  • Warm pastel colours[xviii] (whitish-yellow, cream-colored, pearl greys, very lite dejection)[xix]

French republic [edit]

The Rocaille manner, or French Rococo, appeared in Paris during the reign of Louis Xv, and flourished between about 1723 and 1759.[20] The manner was used specially in salons, a new way of room designed to impress 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–forty). The characteristics of French Rococo included exceptional artistry, especially in the circuitous frames made for mirrors and paintings, which were sculpted in plaster and frequently aureate; and the use 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 manner included Juste-Aurele Meissonier, Charles Cressent, and Nicolas Pineau.[22] [23]

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

  • Thou Sleeping room of the Prince, Hotel de Soubise (1735–40)

Italia [edit]

Artists in Italy, especially Venice, also produced an exuberant rococo style. Venetian commodes imitated the curving lines and carved decoration of the French rocaille, but 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 background, matching the colours of the Venetian school of painters whose work busy 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 mode, giving the illusion of three dimensions. Tiepelo travelled to Germany 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 ceilings. [24]

The Venetian Rococo also featured exceptional glassware, particularly Murano 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, past Piazzetta (1727)

Southern Frg [edit]

In church construction, peculiarly in the southern German-Austrian region, gigantic spatial creations are sometimes created for applied reasons alone, which, however, do non appear monumental, but are characterized by a unique fusion of architecture, painting, stucco, etc., oftentimes completely eliminating the boundaries between the art genres, and are characterized past a light-filled weightlessness, festive cheerfulness and movement. The Rococo decorative mode reached its meridian in southern Germany and Republic of austria from the 1730s until the 1770s. In that location it dominates the church building landscape to this day and is deeply anchored there in popular culture. Information technology was offset introduced from French republic 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 important influence on the German Rococo style, only does non reach the level of buildings in southern Frg.[25]

German architects adapted the Rococo fashion but made it far more asymmetric and loaded with more ornate ornament than the French original. The German language style was characterized by an explosion of forms that cascaded down the walls. It featured molding formed into curves and counter-curves, twisting and turning patterns, ceilings and walls with no right angles, and stucco foliage which seemed to be creeping upwardly the walls and across the ceiling. The decoration was oftentimes gilded or silvered to give it contrast with the white or pale pastel walls.[26]

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

Another notable case of the early on High german Rococo is Würzburg Residence (1737–1744) constructed for the Prince-Bishop of Würzburg past 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 style, the interior, peculiarly 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 three-level ceremonial stairway.[28] [29] Neumann described the interior of the residence every bit "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 up 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 style. I of the most notable examples is the Wieskirche (1745–1754) designed past Dominikus Zimmermann. Like about of the Bavarian pilgrimage churches, the exterior is very simple, with pastel walls, and piffling ornamentation. Entering the church the company encounters an astonishing theater of motility and light. It features an oval-shaped sanctuary, and a deambulatory in the aforementioned form, filling in the church with light from all sides. The white walls contrasted with columns of blue 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).[30] [31]

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

Britain [edit]

In Great United kingdom, rococo was called the "French taste" and had less influence on pattern and the decorative arts than in continental Europe, although its influence was felt in such areas every bit silverwork, porcelain, and silks. William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not mentioning rococo by name, he argued in his Analysis of Dazzler (1753) that the undulating lines and Southward-curves prominent in Rococo were the footing for grace and dazzler in fine art or nature (unlike the straight line or the circle in Classicism).[32]

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

Mahogany made its appearance in England in well-nigh 1720, and immediately became pop for furniture, along with walnut woods. The Rococo began to make an appearance in England between 1740 and 1750. The furniture of Thomas Chippendale was the closest to the Rococo manner, In 1754 he published "Gentleman'due south and Cabinet-makers' directory", a catalog of designs for rococo, chinoiserie and even Gothic piece of furniture, which achieved wide popularity, going through three editions. Dissimilar French designers, Chippendale did non utilize marquetry or inlays in his furniture. The predominant designer of inlaid piece of furniture were Vile and Cob, the cabinet-makers for Male monarch George III. Another important figure in British furniture was Thomas Johnson, who in 1761, very late in the period, published a catalog of Rococo piece of furniture designs. These include furnishings based on rather fantastic Chinese and Indian motifs, including a canopy bed crowned by a Chinese pagoda (at present 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)

  • Design for candlesticks in the "Chinese Taste" by Thomas Johnson (1756)

  • Chippendale chair (1772), Metropolitan Museum

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

Russia [edit]

The Russian Empress Catherine the Great was another gentleman of the Rococo; The Golden Cabinet of the Chinese Palace in the palace complex of Oranienbaum nigh Saint Petersburg, designed by the Italian Antonio Rinaldi, is an example of the Russian Rococo.

Decline and terminate [edit]

The fine 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 University in Rome began to teach the classic way. This was confirmed past the nomination of De Troy every bit manager of the Academy in 1738, and so in 1751 by Charles-Joseph Natoire.

Madame de Pompadour, the mistress of Louis XV contributed to the decline of the Rococo style. In 1750 she sent her blood brother, Abel-François Poisson de Vandières, on a ii-year 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 fine art. Vandiéres became the Marquis of Marigny, and was named managing director general of the Rex's Buildings. He turned official French architecture toward the neoclassical. Cochin became an important art critic; he denounced the petit style of Boucher, and chosen for a grand style with a new accent on artifact and nobility in the academies of painting and architecture.[33]

The beginning of the end for Rococo came in the early 1760s equally figures like 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 gimmicky interiors.[34]

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

Piece of furniture and ornament [edit]

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

The best 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 Chamber and Cabinet of Louis 15. His piece of work is well known today because of the enormous number of engravings made of his work which popularized the style throughout Europe. He designed works for the royal families of Poland and Portugal.

Italy was some other place where the Rococo flourished, both in its early and later phases. Craftsmen in Rome, Milan and Venice all produced lavishly decorated furniture and decorative items.

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

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

  • Console table, Rome, Italy (circa 1710)

The sculpted ornamentation included fleurettes, palmettes, seashells, and leaf, carved in wood. The nigh extravagant rocaille forms were institute in the consoles, tables designed to stand against walls. The Commodes, or chests, which had outset appeared nether Louis Xiv, were richly decorated with rocaille decoration fabricated of gilded bronze. They were made past chief craftsmen including Jean-Pierre Latz and as well featured marquetry of different-coloured woods, sometimes placed in checkerboard cubic patterns, made with light and dark woods. The flow also saw the inflow of Chinoiserie, often in the grade of lacquered and gilded commodes, called falcon de Chine of Vernis Martin, subsequently 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 frequently mounted in ormolu (gilded statuary) 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 gilt bronze, France (1745–49)

British Rococo tended to be more restrained. Thomas Chippendale's piece of furniture designs kept the curves and feel, but stopped curt of the French heights of whimsy. The most 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 mode 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, especially in Pilgrimage on the Isle of Cythera (1717), Louvre, in a genre called Fête Galante depicting scenes of young nobles gathered together to celebrate in a pastoral setting. Watteau died in 1721 at the age of xxx-seven, only his work continued to accept influence through the rest of the century. The Pilgrimage to Cythera painting was purchased by Frederick the Bang-up 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 piece of work included the sensual Toilette de Venus (1746), which became i of the best known examples of the way. 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 style especially influenced François Lemoyne, who painted the lavish decoration 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–forty).[37] Other Rococo painters include: Jean François de Troy (1679–1752), Jean-Baptiste van Loo (1685–1745), his two 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 Deutschland, Italian painting had the largest effect on the Rococo fashion. The Venetian painter Giovanni Battista Tiepolo, assisted by his son, Giovanni Domenico Tiepolo, was invited to paint frescoes for the Würzburg Residence (1720–1744). The almost 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 by Claude Michel (Clodion), terracotta, 1780s-90s

Rococo sculpture was theatrical, colorful and dynamic, giving a sense of movement in every management. It was almost commonly institute in the interiors of churches, usually closely integrated with painting and the architecture. Religious sculpture followed the Italian baroque manner, as exemplified in the theatrical altarpiece of the Karlskirche in Vienna.

Early Rococo or Rocaille sculpture in France sculpture was lighter and offered more than move than the classical style of Louis XIV. It was encouraged in detail by Madame de Pompadour, mistress of Louis XV, who commissioned many works for her chateaux and gardens. The sculptor Edmé Bouchardon represented Cupid engaged in etching his darts of love from the club of Hercules. Rococo figures likewise crowded the afterwards fountains at Versailles, such as the Fountain of Neptune by Lambert-Sigisbert Adam and Nicolas-Sebastien Adam (1740). Based on their success at Versailles, they were invited to Prussia by Frederick the Great to create fountain sculpture for Sanssouci Palace, Prussia (1740s).[38]

Étienne-Maurice Falconet (1716–1791) was another leading French sculptor during the menstruation. Falconet was nigh famous for his statue of Peter the Dandy on horseback in St. Petersburg, but he also created a series of smaller works for wealthy collectors, which could exist reproduced in a series in terra cotta or bandage 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 Italia, Antonio Corradini was among the leading sculptors of the Rococo style. A Venetian, he travelled around Europe, working for Peter the Cracking in St. Petersburg, for the imperial courts in Austria and Naples. He preferred sentimental themes and made several skilled works of women with faces covered by veils, i of which is now in the Louvre.[forty]

The about elaborate examples of rococo sculpture were constitute in Spain, Republic of austria and southern Germany, in the decoration of palaces and churches. The sculpture was closely integrated with the compages; it was impossible to know where i 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 by Hipolito Rovira Brocandel.[41]

The El Transparente altar, in the major chapel of Toledo Cathedral is a towering sculpture of polychrome marble and gold stucco, combined with paintings, statues and symbols. It was fabricated past Narciso Tomé (1721–32), Its design allows light to pass through, and in changing light it seems to move.[42]

Porcelain [edit]

A new form of pocket-size-scale sculpture appeared, the porcelain effigy, or small group of figures, initially replacing carbohydrate sculptures on grand dining room tables, but soon popular for placing on mantelpieces and article of furniture. The number of European factories grew steadily through the century, and some made porcelain that the expanding middle classes could afford. The amount of colourful overglaze decoration used on them also increased. They were usually modelled by artists who had trained in sculpture. Common subjects included figures from the commedia dell'arte, urban center street vendors, lovers and figures in fashionable apparel, and pairs of birds.

Johann Joachim Kändler was the most of import modeller of Meissen porcelain, the earliest European factory, which remained the most of import until well-nigh 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 example. While also making big-scale works, he became director of the Sevres Porcelain manufactory and produced pocket-size-calibration works, commonly nearly honey and gaiety, for production in series.

Music [edit]

A Rococo catamenia existed in music history, although it is not as well known as the earlier Bizarre and later on Classical forms. The Rococo music mode itself developed out of bizarre music both in France, where the new mode was referred to as style galant ("gallant" or "elegant" way), and in Frg, where it was referred to as empfindsamer Stil ("sensitive style"). It tin can be characterized equally calorie-free, intimate music with extremely elaborate and refined forms of ornamentation. Exemplars include Jean Philippe Rameau, Louis-Claude Daquin and François Couperin in French republic; in Germany, the style's main proponents were C. P. East. Bach and Johann Christian Bach, two sons of J.S. Bach.

In the 2d half of the 18th century, a reaction confronting the Rococo style occurred, primarily against its perceived overuse of decoration and decoration. Led past Christoph Willibald Gluck, this reaction ushered in the Classical era. By the early 19th century, Catholic opinion had turned against the suitability of the style for ecclesiastical contexts because 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 non Rococo in origin, it is written in Rococo manner.

Fashion [edit]

Sack-back gown and petticoat, 1775-1780 5&A Museum no. T.180&A-1965

Rococo fashion was based on extravagance, elegance, refinement and decoration. Women'southward fashion of the seventeenth-century was assorted by the fashion of the eighteenth-century, which was ornate and sophisticated, the true style of Rococo.[44] These fashions spread across the royal court into the salons and cafés of the ascendant bourgeoisie.[45] The exuberant, playful, elegant fashion of decoration and pattern that we at present know to be 'Rococo' was then known as le way rocaille, le style moderne, le gout. [46]

A style that appeared in the early eighteenth-century was the robe volante,[44] a flowing gown, that became popular towards the stop of King Louis 14'southward reign. This gown had the features of a bodice with large pleats flowing down the back to the ground over a rounded petticoat. The colour palette was rich, dark fabrics accompanied by elaborate, heavy pattern features. After the decease of Louis 14 the vesture styles began to alter. The fashion took a turn to a lighter, more than frivolous mode, transitioning from the baroque period to the well-known way of Rococo.[47] The afterward period was known for their pastel colours, more than revealing frocks, and the plethora of frills, ruffles, bows, and lace equally trims. Shortly after the typical women'southward Rococo gown was introduced, robe à la Française, [44] a gown with a tight bodice that had a low cut neckline, commonly with a large ribbon bows downward the centre front end, broad panniers, and was lavishly trimmed in large amounts of lace, ribbon, and flowers.

The Watteau pleats [44] besides became more popular, 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 accuracy. Later, the 'pannier' and 'mantua' became fashionable around 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 flow the iconic clothes of broad hips combined with the large corporeality of ornamentation on the garments. Broad panniers were worn for special occasions, and could reach up to sixteen feet (iv.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 hibernate the pregnant stomach, so reimagined later every bit the pannier.[48] 1745 became the Golden Age of the Rococo with the introduction of a more than exotic, oriental civilisation in France called a la turque.[44] This was made popular by Louis 15'southward mistress, Madame Pompadour, who commissioned the artist, Charles Andre Van Loo, to paint 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 motility around in. Another dress that came into fashion was the robe a 50'anglais, which included elements inspired past the males' fashion; a curt jacket, wide lapels and long sleeves.[47] It also had a snug bodice, a full skirt without panniers but all the same a trivial long in the back to course a small train, and often some type of lace kerchief worn around the cervix. Another slice was the 'redingote', halfway between a cape and an overcoat.

Accessories were as well important to all women during this fourth dimension, as they added to the opulence and the decor of the trunk to friction match their gowns. At whatsoever official ceremony ladies were required to cover their hands and arms with gloves if their apparel were sleeveless.[47]

Gallery [edit]

Compages [edit]

Engravings [edit]

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

  • A. Avelin after Mondon le Fils. L′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]

Come across also [edit]

  • Italian Rococo art
  • Rococo in Portugal
  • Rococo in Spain
  • Cultural move
  • Gilded woodcarving
  • History of painting
  • Timeline of Italian artists to 1800
  • Illusionistic ceiling painting
  • Louis XV mode
  • Louis 15 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 way (pattern) - Britannica Online Encyclopedia". Britannica.com . Retrieved 24 April 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 l'Amateur. ISBN2-85917-406-0.
  • Cabanne, Perre (1988), L'Art Classique et le Bizarre, Paris: Larousse, ISBN978-ii-03-583324-2
  • Duby, Georges and Daval, Jean-Luc, La Sculpture de 50'Antiquité au XXe Siècle, (French translation from German), Taschen, (2013), (ISBN 978-three-8365-4483-ii)
  • Ducher, Robert (1988), Caractéristique des Styles, Paris: Flammarion, ISBN2-08-011539-1
  • 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. ISBN2-263-04096-10.
  • Hopkins, Owen (2014). Les styles en compages. Dunod. ISBN978-2-10-070689-i.
  • Renault, Christophe (2006), Les Styles de l'architecture et du mobilier, Paris: Gisserot, ISBN978-2-877-4746-58
  • Texier, Simon (2012), Paris- Panorama de l'compages de l'Antiquité à nos jours, Paris: Parigramme, ISBN978-2-84096-667-8
  • Dictionnaire Historique de Paris. Le Livre de Poche. 2013. ISBN978-ii-253-13140-3.
  • Vila, Marie Christine (2006). Paris Musique- Huit Siècles d'histoire. Paris: Parigramme. ISBN978-2-84096-419-3.
  • Marilyn Stokstad, ed. Art History. third ed. New Bailiwick of jersey: Prentice Hall, 2005. Print.
  • 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 US as The Rococo Age: Art and Culture of the 18th Century (Originally published in German, 1959).
  • Levey, Michael (1980). Painting in Eighteenth-Century Venice . Ithaca: Cornell University Printing. 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 Art"
  • "Rococo Style Guide". British Galleries. Victoria and Albert Museum. Retrieved sixteen July 2007.
  • History of Rococo. Art, architecture & luxury History & Culture Academy of Latgale
  • Bergerfoundation.ch: Rococo style examples
  • Barock- und Rococo- Architektur, Volume 1, Part one, 1892(in German language) Kenneth Franzheim II Rare Books Room, William R. Jenkins Architecture and Fine art Library, University of Houston Digital Library.

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

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