Rococo In France

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Rococo In France

  1. 1. Rococo in France <ul><li>Watteau, Return from Cythera, 1717 </li></ul><ul><li>Right: lady listens to a proposition from a pilgrim to Cythera (island of Venus) who is carrying a handbook on love </li></ul><ul><li>Cupid tugs at a woman to stay </li></ul><ul><li>Cavalier helps a lady to rise </li></ul><ul><li>A woman turns her back in hesitation </li></ul><ul><li>Country ladies lead the way to the gilded boat </li></ul><ul><li>Herm of Venus overlooks the island </li></ul><ul><li>Panther hide is an allusion to Bacchus </li></ul><ul><li>Clouds are light, dream-like </li></ul><ul><li>Slender women in delicate iridescent colors </li></ul><ul><li>Water reflects hazy colors </li></ul><ul><li>Relationship of figures to landscape </li></ul><ul><li>Women turn their backs to the viewer </li></ul>
  2. 2. <ul><li>Watteau, L’Indifferent, 1717 </li></ul><ul><li>The Indifferent One </li></ul><ul><li>Small, intimate scale and subject matter </li></ul><ul><li>Dancing pose </li></ul><ul><li>Delicate, a bit tired, or touched with ennui </li></ul><ul><li>Fancifully dressed in rich satins </li></ul><ul><li>Background awash in atmospheric perspective </li></ul>
  3. 3. Rococo in France <ul><li>Fragonard, The Swing, 1767 </li></ul><ul><li>An intrigue painting </li></ul><ul><li>Bishop swings a woman whose lover hides below </li></ul><ul><li>Kicks her shoe at the little statue of Discretion and toward the lover </li></ul><ul><li>Glowing color </li></ul><ul><li>Delicate femininity in tiny hands and feet and layers of petticoats </li></ul>
  4. 4. <ul><li>Vigée-Lebrun, Self-Portrait, 1782 </li></ul><ul><li>40 exist, all highly idealized </li></ul><ul><li>Traditional concept of femininity </li></ul><ul><li>Sensuous paint handling and color harmonies </li></ul><ul><li>Elegantly attired working artist </li></ul><ul><li>Paints her favorite patron, Marie Antoinette </li></ul>
  5. 5. Rococo in Germany <ul><li>De Cuvillies, Amalienburg, Munich </li></ul><ul><li>Flowing curving lines of decoration that inch like ivy up the walls, the ceilings and around the mirrors </li></ul><ul><li>Ornate frames with silver gilding bordering and entering mirror surfaces </li></ul><ul><li>Pale blue and silver color scheme </li></ul><ul><li>Ornamental, decorative, sophisticated </li></ul>
  6. 6. <ul><li>Neumann, Church of Fourteen Saints, Staffelstein </li></ul><ul><li>3 longitudinal ovals joined by two transverse ovals </li></ul><ul><li>Altar of Mercy in the center </li></ul><ul><li>Open galleries around, some in half-columns, engaged to piers </li></ul><ul><li>Light, airy: this is Heaven </li></ul><ul><li>Pastel shades abound </li></ul><ul><li>Complex façade inspired by Borromini </li></ul><ul><li>Concave and convex shapes, intricate bell towers </li></ul>
  7. 7. Rococo in Italy <ul><li>Tiepolo, Apotheosis of the Pisani Family, 1761-62 </li></ul><ul><li>Sense of limitless space </li></ul><ul><li>Sunlit brilliance </li></ul><ul><li>Dazzling light </li></ul><ul><li>Venetian pageantry </li></ul><ul><li>Silvery precious colors </li></ul><ul><li>Impressive scale </li></ul><ul><li>Spiraling forms </li></ul><ul><li>Ancient and distinguished Pisani family rise to heaven </li></ul><ul><li>Allegory and personification accompany the family </li></ul><ul><li>Legs hang freely over the frame, overlapping sides of painting </li></ul>detail
  8. 8. <ul><li>Egid Quirin Asam, Assumption of the Virgin </li></ul><ul><li>1717-25 </li></ul><ul><li>Mary ascends to heaven from her tomb weightlessly carried aloft by angels; those visiting the tomb are aghast in theatrical amazement </li></ul><ul><li>Hard solid forms of the tomb contrast dramatically with the flexible nature of the figures </li></ul><ul><li>Painting, sculpture and architecture combined </li></ul><ul><li>Use of window light and rays above to indicate God’s glory </li></ul>
  9. 9. English Baroque Architecture <ul><li>Vanbrugh, Blenheim Palace, Oxfordshire </li></ul><ul><li>For the Duke of Marlborough, victor at Blindheim on August 1704, the turning point in War of Spanish Succession </li></ul><ul><li>Italian Baroque complexity </li></ul><ul><li>Projecting pavilions </li></ul><ul><li>North front: flamboyant, unnerving pattern of advance and recession </li></ul><ul><li>Massive columns and pilasters extend over two stories </li></ul><ul><li>Gate towers are sculptural objects of the same rank as those of the main house </li></ul><ul><li>Allusions to Britannia’s might: British lion mauling a French cockerel on top of the pillars </li></ul>
  10. 10. 18th Century Art in England <ul><li>Hogarth, Breakfast Scene from Marriage a la Mode, 1745 </li></ul><ul><li>Satire in painting a British specialty </li></ul><ul><li>Second scene in a series of six, based on a play </li></ul><ul><li>The loveless marriage of a bride and groom shortly after their wedding </li></ul><ul><li>Groom has been out all night with other women (the dog sniffs at an unfamiliar bonnet) </li></ul><ul><li>Broken sword may symbolize a fight, or sexual inadequacy </li></ul><ul><li>Bride has been losing at cards, been playing until noon, and seems not to care </li></ul><ul><li>Accountant holds a ledger and a stack of unpaid bills and indicates that they have already spent a fortune </li></ul><ul><li>Items on mantelpiece illustrate their questionable taste </li></ul><ul><li>This is a “Marriage in the Style” </li></ul><ul><li>Narrative art </li></ul>
  11. 11. 18th Century Art in England <ul><li>Gainsborough, Mrs. Richard Brinsley Sheridan </li></ul><ul><li>She married the great playwright, Richard Sheridan, and became manager of his theatre </li></ul><ul><li>Serious, but relaxed pose </li></ul><ul><li>Dressed informally </li></ul><ul><li>Seated in a Watteau landscape </li></ul><ul><li>Feathery brushstroke </li></ul><ul><li>Hair blows freely </li></ul><ul><li>Unspoiled beauty of natural landscape and the sitter </li></ul><ul><li>Gracious forms bend to the curve of the trees </li></ul><ul><li>A hint of melancholy in the expression of the face </li></ul><ul><li>Circular pattern of the painting </li></ul>
  12. 12. <ul><li>Sir Joshua Reynolds, Lord Heathfield </li></ul><ul><li>1787 </li></ul><ul><li>Commander of the fortress at Gibraltar </li></ul><ul><li>Huge key to fortress in his hands, he holds it thoughtfully </li></ul><ul><li>One cannon points down and another barrel lies on its back </li></ul><ul><li>Heroic figure </li></ul><ul><li>Painted using bravura brushwork </li></ul><ul><li>Rich colors and atmospheric detail </li></ul>

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