rococo in france

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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

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Page 1: Rococo In France

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

Page 2: Rococo In France

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

Page 3: Rococo In France

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

Page 4: Rococo In France

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

Page 5: Rococo In France

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

Page 6: Rococo In France

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

Page 7: Rococo In France

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

Page 8: Rococo In France

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

Page 9: Rococo In France

English Baroque ArchitectureVanbrugh, 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

Page 10: Rococo In France

18th Century Art in EnglandHogarth, 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

Page 11: Rococo In France

18th Century Art in EnglandGainsborough, 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

Page 12: Rococo In France

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