Sayre2e ch25 integrated_lecture_pp_ts-150666

Copyright ©2012 Pearson Inc.
Germain Boffrand. Salon de la Princesse de Soubise (Salon ovale), Hôtel
de Soubise, Paris. ca. 1740.
33' x 26' ovoid.

Charles-Joseph Natoire. Salon de la Princesse de Soubise, Hôtel de
Soubise, Paris: Cupid and Psyche, painted section of ceiling. 1738.
5’ 7-3/4" × 8’ 6-3/8”.

Map: Europe in 1750.

The Rococo
What is the Rococo?
• Rococo Painting in France: The Fete Galante and the Art of
Love — The subject matter is frivolous, emphasizing the pursuit of
pleasure, particularly love. Watteau painted celebrations or parties
enjoyed by an elite group in a pastoral or garden setting. Boucher was
notorious for painting nude goddesses and Fragonard suggests erotic
intrigue in his most famous painting.
• Rococo Architecture and Landscape Design in Central
Europe and England — Architecture took on a curvilinear style
embodied by Neumann and Tiepolo in Bavaria. Frederick I of Prussia
favored ostentation and extravagance, his son, Frederick the Great,
lavished attention on his palace highlighted by gilded stucco
decorations. The English garden has walkways that are serpentine as
opposed to the geometrical layout of the French garden.

Jean-Antoine Watteau. The Embarkation from Cythera. ca. 1718-19.
50-3/4" × 76-3/8”.

François Boucher. Madame de Pompadour. 1756.
79-1/8" × 61-7/8”.

François Boucher. The Toilet of Venus. Signed and dated lower right: f-
Boucher-1751. 1751.
42-5/8" × 33-1/8”.

Jean-Antoine Watteau. Closer Look: Watteau's The Signboard of Gersaint.
ca. 1721.
5’ 4" × 10’ 1”.

Peter Paul Rubens. Closer Look: Watteau's The Signboard of Gersaint:
The Coronation of Marie de’ Medici by Rubens. 1622-25.
12’ 11" × 23’ 10”.

Jean-Honoré Fragonard. The Swing. 1767.
32-5/8" × 26”.

Balthasar Neumann. Kaisersaal, Residenz, Würzburg, Germany. 1719-44.

Giovanni Battista Tiepolo. Kaisersaal, Residenz, Würzburg, Germany:
Ceiling fresco. 1751.

Map: Prussia in the late eighteenth and early nineteenth centuries.

Concert hall, Sanssouci Palace, Potsdam, Germany, with French painter
Antoine Pesne's wall painting illustrating an episode from Ovid's
Metamorphoses. ca. 1746-47.

Johann Friedrich Schleuen, after Friedrich Zacarias Saltzmann. Sanssouci
Palace, Potsdam, Germany: General Plan. 1772.
18-1/8" × 32-3/8”.

Henry Flitcroft and Henry Hoare. The Park at Stourhead, Wiltshire,
England. 1744-65.

Claude Lorrain. The Rest on the Flight into Egypt (Noon). 1661.
45-5/8" × 62-7/8”.

Charles Bridgeman and Lancelot “Capability” Brown. Plan of the Gardens
of the Most Noble Marquis of Buckingham at Stowe, from the Visitor’s
Guide Book. 1797.

The Philosophes
Who are the philosophes?
• Denis Diderot and the Encyclopedie — The crowning
achievement of the philosophes edited by Diderot and Jean le Rond
d’Alembert and intended “to change the general way of thinking.”
• Jean-Jacques Rousseau and the Cost of the Social
Contract — Rousseau contributed to the Encyclopedie and believed
in the natural goodness of humankind which is corrupted by society and
the growth of civilization.
• Voltaire and French Satire — Voltaire championed freedom of
thought, including the freedom to be absolutely pessimistic, a theme
that dominates Candide.

• Art Criticism and Theory — Diderot began reviewing the Paris
Salons for a private newsletter and the separation of “fine arts” from
“liberal arts” commenced.
• Discussion Question: What were the ideals of the Philosophes? Were
they generally realized in Rococo culture?

Jean-Baptiste-Siméon Chardin. A Philosopher Occupied with His Reading.
1734.
54-3/8" × 41-3/8”.

A Brazier’s Workshop, from the Encyclopédie, edited by Denis Diderot.

Anicet-Charles-Gabriel Lemonnier, after François Boucher. Reading of
Voltaire’s Tragedy ‘L’orphelin de la Chine’ at the Salon of Madame Geoffrin
in 1755, after Boucher's drawing. 1812.

Jean-Baptiste-Siméon Chardin. The Brioche (The Dessert). 1763.
18-1/2" × 22”.

Rococo and Classical Music
What are the characteristics of Classical music?
• The Symphonic Orchestra — This ensemble was larger than
previously and divided into separate sections according to type of
instruments. The Symphonic Form was developed.
• The String Quartets of Joseph Haydn — This ensemble was the
first of the new Classical genres and featured two violins, a viola, an a
cello.
• Wolfgang Amadeus Mozart: Classical Complexity —
Mozart’s music was generally regarded as overly complicated for a
popular audience to absorb such as Symphony No. 40.

• The Popularization of Opera — This form announced the death of
the Rococo. Opera buffa emerged and Mozart united opera seria with
opera buffa.
• Discussion Question: How does string quartet music differ from that for
a symphonic orchestra? Why is there need for each?

The Classical symphonic orchestra in the time of Mozart and Haydn
(diagram).

The Classical symphonic orchestra today (diagram).

Devices of standard musical notation.

Sonata form (diagram).

 Active Listening Guide: Haydn: Symphony No.
94, III
MyArtsLabChapter 25 – The Rococo and the Enlightenment On the Continent

Michel Barthélémy Ollivier. Tea at Prince Louis-François de Conti’s in the
Temple, Paris. 1766.

 Active Listening Guide: Mozart: Symphony No.
40 in G Minor, I

Jean-Étienne Liotard. Still Life: Tea Set. ca. 1781-83.
14-7/8" × 20-5/16”.

China and Europe: Cross-Cultural Contact
How did China and the West influence one another?
• The Arts in the Qing Dynasty — Western conventions were
expressed as artists created images for export to both the West and
Japan though traditional Chinese art was valued.
• Celebrating Tradition: The Great Jade Carving — An
enormous piece of jade was discovered near Khotan and the Quianlong
emperor realized its propagandistic value. He commissioned the
subject depicting a mythical emperor taming a flood.

Map: The Far East, ca. 1600-1799.

 Closer Look: Europe’s Chinoiserie Craze.

William Marlow. View of the Wilderness at Kew. 1763.
11-1/16" × 17-13/16”.

François Boucher. Le Chinois Galant. 1742.
41" × 57”.

Jean Denis Attiret. The Presentation of Uigur Captives, within the series
Battle Scenes of the Quelling of Rebellions in the Western Regions, with
Imperial Poems. ca. 1765-74; poem dated 1760.
51 × 87 cms.

Guangzhou (Canton), after William Hogarth. Porcelain punch bowl, painted
with copy of William Hogarth’s print, The Gates of Calais. ca. 1750-55.
Diameter: 16”.

Qing dynasty. View of Suzhou Showing the Gate of Changmen. 1734.
42-3/4" × 22”.

Wang Hui. A Thousand Peaks and Myriad Ravines. 1693.
8’ 2-1/2" × 3’ 4-1/2”.

Qing dynasty. Yu the Great Taming the Waters. Completed 1787.
7’ 1/4" × 3’ 1-3/4”.

Elisabeth-Louise Vigée-Lebrun. Continuity & Change: Marie-Antoinette en
Chemise. 1783.
33-1/2" × 28-1/4”.

Jacques-Louis David. Continuity & Change: Marie-Antoinette conduite au
supplice (Queen Marie-Antoinette on the way to the guillotine). 1783.

Sayre2e ch25 integrated_lecture_pp_ts-150666

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