The document provides summaries of several Rococo artworks from France, Germany, and Italy in the 18th century, as well as examples of Baroque architecture and 18th century art from England. Key Rococo works discussed include Watteau's Return from Cythera and L'Indifferent, Fragonard's The Swing, and portraits by Vigée-Lebrun. Examples of Rococo architecture mentioned are the Amalienburg palace in Munich and the Church of Fourteen Saints in Staffelstein. The document also briefly summarizes Tiepolo's Apotheosis of the Pisani Family and works by Asam and Neumann.

1. Rococo in France Watteau, Return from Cythera, 1717 Right: lady listens to a proposition from a pilgrim to Cythera (island of Venus) who is carrying a handbook on love Cupid tugs at a woman to stay Cavalier helps a lady to rise A woman turns her back in hesitation Country ladies lead the way to the gilded boat Herm of Venus overlooks the island Panther hide is an allusion to Bacchus Clouds are light, dream-like Slender women in delicate iridescent colors Water reflects hazy colors Relationship of figures to landscape Women turn their backs to the viewer

2. Watteau, L’Indifferent, 1717 The Indifferent One Small, intimate scale and subject matter Dancing pose Delicate, a bit tired, or touched with ennui Fancifully dressed in rich satins Background awash in atmospheric perspective

3. Rococo in France Fragonard, The Swing, 1767 An intrigue painting Bishop swings a woman whose lover hides below Kicks her shoe at the little statue of Discretion and toward the lover Glowing color Delicate femininity in tiny hands and feet and layers of petticoats

4. Vigée-Lebrun, Self-Portrait, 1782 40 exist, all highly idealized Traditional concept of femininity Sensuous paint handling and color harmonies Elegantly attired working artist Paints her favorite patron, Marie Antoinette

5. Rococo in Germany De Cuvillies, Amalienburg, Munich Flowing curving lines of decoration that inch like ivy up the walls, the ceilings and around the mirrors Ornate frames with silver gilding bordering and entering mirror surfaces Pale blue and silver color scheme Ornamental, decorative, sophisticated

6. Neumann, Church of Fourteen Saints, Staffelstein 3 longitudinal ovals joined by two transverse ovals Altar of Mercy in the center Open galleries around, some in half-columns, engaged to piers Light, airy: this is Heaven Pastel shades abound Complex façade inspired by Borromini Concave and convex shapes, intricate bell towers

7. Rococo in Italy Tiepolo, Apotheosis of the Pisani Family, 1761-62 Sense of limitless space Sunlit brilliance Dazzling light Venetian pageantry Silvery precious colors Impressive scale Spiraling forms Ancient and distinguished Pisani family rise to heaven Allegory and personification accompany the family Legs hang freely over the frame, overlapping sides of painting detail

8. Egid Quirin Asam, Assumption of the Virgin 1717-25 Mary ascends to heaven from her tomb weightlessly carried aloft by angels; those visiting the tomb are aghast in theatrical amazement Hard solid forms of the tomb contrast dramatically with the flexible nature of the figures Painting, sculpture and architecture combined Use of window light and rays above to indicate God’s glory

9. English Baroque Architecture Vanbrugh, Blenheim Palace, Oxfordshire For the Duke of Marlborough, victor at Blindheim on August 1704, the turning point in War of Spanish Succession Italian Baroque complexity Projecting pavilions North front: flamboyant, unnerving pattern of advance and recession Massive columns and pilasters extend over two stories Gate towers are sculptural objects of the same rank as those of the main house Allusions to Britannia’s might: British lion mauling a French cockerel on top of the pillars

10. 18th Century Art in England Hogarth, Breakfast Scene from Marriage a la Mode, 1745 Satire in painting a British specialty Second scene in a series of six, based on a play The loveless marriage of a bride and groom shortly after their wedding Groom has been out all night with other women (the dog sniffs at an unfamiliar bonnet) Broken sword may symbolize a fight, or sexual inadequacy Bride has been losing at cards, been playing until noon, and seems not to care Accountant holds a ledger and a stack of unpaid bills and indicates that they have already spent a fortune Items on mantelpiece illustrate their questionable taste This is a “Marriage in the Style” Narrative art

11. 18th Century Art in England Gainsborough, Mrs. Richard Brinsley Sheridan She married the great playwright, Richard Sheridan, and became manager of his theatre Serious, but relaxed pose Dressed informally Seated in a Watteau landscape Feathery brushstroke Hair blows freely Unspoiled beauty of natural landscape and the sitter Gracious forms bend to the curve of the trees A hint of melancholy in the expression of the face Circular pattern of the painting

12. Sir Joshua Reynolds, Lord Heathfield 1787 Commander of the fortress at Gibraltar Huge key to fortress in his hands, he holds it thoughtfully One cannon points down and another barrel lies on its back Heroic figure Painted using bravura brushwork Rich colors and atmospheric detail