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Rococo art is a very sensuous type of art. Rococo sculptures have been defined as the
Baroque style eroticized (Sayre, 479). The Rococo art movement began in the early 18th
century until the late 18th century and was said to be born of the Baroque movement
(huntfor.com). During this time, new ideas about human existence were coming into play
and brought optimism to many people. Rococo art objectified this optimistic feeling that
people felt (huntfor.com). The word Rococo comes from the French word rocaille which
refers to the small stones and shells that decorated the interiors of the grottoes. Grottoes
were artificial caves that were popular in landscape design at the time (Sayre, 479). The
Rococo style brought together erotic tones with the sensibility of the Baroque style.
“Rococo art portrayed a world of artificiality, make-believe, and game playing…it was
essentially an art of the aristocracy and emphasized what seems now to have been the
unreflective and indulgent lifestyles of the aristocracy rather than piety, morality, self-
discipline, reason, and heroism (all of which are found in the Baroque)” (huntfor.com).
Pastel colors are characteristic of the Rococo style as well as a light-hearted mood,
curving forms, and fanciful figures (huntfor.com).
This art was focused on the high-society, wealthy people of this period. It was not
focused on morality or any other serious issue that other types of art focused on. At the
end of the Rococo period, the French began to view it as “symptomatic of a wide-spread
cultural decadence, epitomized by the luxurious lifestyle of the aristocracy” (Sayre, 480).
Most of the paintings were people enjoying their leisure time. This would not happen as
shown among the working class people. This art was not created for them and
exemplified a lifestyle unknown to the common person at that time. This art was created
for enjoyment and to show others enjoying their lives.
Fragonard first painted in a style suitable to his religious and historical subjects.
After 1765, however, he worked in the rococo style then fashionable in France. These
later paintings, the works for which he is best known, reflect the gaiety, frivolity, and
voluptuousness of the period. They are characterized by fluid lines, frothy flowers amid
loose foliage, and gracefully posed figures, usually of ladies and their lovers or peasant
mothers with children.
Fragonard was a prolific painter, but he rarely dated his works and it is not easy to chart
his stylistic development. As always with Fragonard, more important than the subject
matter are the soft tones and colors of the palate.
Fragonard's scenes of frivolity and gallantry are considered the embodiment of the
Rococo spirit. A pupil of Chardin and later Boucher, he won the Prix de Rome and from
1756 to 1761 was in Italy, where he developed a particular admiration for Tiepolo and the
late Baroque style. In this period he specialized in large historical paintings.
Returning to Paris, he soon changed this style, adopting instead the erotic subjects then in
vogue and for which he is chiefly known, of which The Swing is the most famous.
This picture became an immediate success, not merely for its technical excellence, but for
the scandal behind it. The young nobleman is not only getting an interesting view up the
lady's skirt, but she is being pushed into this position by her priest-lover, shown in the
rear.
In this same spirit are some other famous pictures, The See-Saw, Blindman's Bluff, The
Stolen Kiss, and the Meeting. After his marriage in 1769, he began painting children and
family scenes (usually called genre painting) and even returned to religious subjects. He
stopped exhibiting publicly in 1770 and all his later works are commissions from private
patrons.
developed an exuberant and fluid manner as a painter, draftsman, and printmaker. Prolific
and inventive, he abandoned early on the conventional career path dictated by the
hierarchical structure of the Royal Academy, working largely for private patrons. His
work constitutes a further elaboration of the Rococo idiom established by Antoine
Watteau and François Boucher, a manner perfectly suited to his subjects, which favored
the playful, the erotic, and the joys of domesticity
Rococo artists reigned in the weighty drama of Baroque but retained its curves and
elaborate ornament, resulting in a gentler, lighter style typified by whimsical, often
asymmetrical decoration and pastel colours. Rococo painting and interior design
flourished best in France, the birthplace of the style, but the foremost Rococo architecture
was built in the Holy Roman Empire (Germany and Austria)10, which had in fact been
the second-greatest centre of the Late Baroque11. Rococo architecture was led by
François de Cuvilliès, whose masterpiece is the Amalienburg: a hunting lodge that,
inside and out, positively bursts with the exuberant frivolity of Rococo.
Rococo (less commonly roccoco) is a style of 18th century French art and interior design.
Rococo rooms were designed as total works of art with elegant and ornate furniture,
small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs,
and wall paintings. It was largely supplanted by the Neoclassic style.
situated at the back of the second floor, is truly the highlight of this palace, rivalling the
grandeur of the library of the Melk Abbey
monastery
- The pale delphinium blue walls and ceiling are set off by elaborate carved silver
decoration that rises from the floor and flows into the dome. The Amalienburg is the
most famous of three pleasure pavilions in the park of NYMPHENBURG PALACE, the
summer residence of the Bavarian kings on the outskirts of Munich. The pavilion, a
sumptuous version of a hunting lodge, was built between 1734 and 1740 by the great
ROCOCO architect Francois CUVILLIES (1695-1768) for Princess Amalie, wife of
Elector Charles Albert of Bavaria (later Holy Roman Emperor CHARLES VII).