ave you or anyone in your family ever had your portrait painted?Have you ever seen a portrait hanging in a museum? What do you

know about Rococo art? At the beginning of the eighteenth century, theBaroque style of art was replaced by the Rococo style. Rococo paintings,like the one in Figure 20.1 were concerned with capturing the beauty,wealth, and gaiety of a carefree, aristocratic society. The Rococo style madeFrance a leader in the art world, and France kept that position for the nextthree centuries.

20

Read to Find Out As you read this chapter, find out about theeighteenth-century Rococo movement in art. Learn about Rococo artand painting in France. Read to find out about portrait painting andother art from England and Spain.

Focus Activity Compare and contrast the different ways that France,England, and Spain responded to the elegant Rococo style. Draw twooverlapping circles to create a Venn diagram. List the traits unique toThe French Comedy (Figure 20.1) by Antoine Watteau in one circle. Listthe traits unique to The Third of May (thumbnail detail 1814 on theTime Line) by Francisco Goya in the opposite circle. List the traits similarto both pieces in the space created by the overlapping circles. Both areoil paintings created during the Rococo period. What do they have incommon? In what ways are they very different from each other?

Using the Time Line Take a look at some of the other artworks forthis chapter that are introduced on the Time Line. What differentresponses to the Rococo style do you notice?

H

444

20Rococo Art

1668–85The Palace of Versaillesdisplays the power andwealth of King Louis XIV

1672France declareswar on the Dutch

c. 1738Jean-Baptiste SiméonChardin portraysmembers of the middle class in hispaintings

1661Molière, the Frenchcomic dramatist,presents the first ofhis comédie-ballets to the king

1666The Great Fire of London

1700–1750Rococo Period

1675Sir Christopher Wrenbegins St. Paul’sCathedral, London,England

1650 1700

■ FIGURE 20.1 Antoine Watteau. The French Comedy. c. 1716. Oil on canvas. 37 � 48 cm (141⁄2 � 189⁄10�).

Gemaeldegalerie, Staatliche Museum zu Berlin, Berlin, Germany. Bildarchiv Preussischer Kulturbesitz/Art Resource, NY.

445

c. 1765Jean-HonoréFragonard paintsThe Swing

c. 1770ThomasGainsboroughpaints TheBlue Boy

1814Francisco Goyapaints The Thirdof May, 1808

1804Napoleon becomesemperor of France

1775–1776American Revolution

Refer to the Time Lineon page H11 in yourArt Handbook for moreabout this period.

1789–1799The French Revolution

1750 1800

Vocabulary■ aristocracy■ Rococo art

Artists to Meet■ Antoine Watteau■ Jean-Honoré Fragonard■ Jean-Baptiste Siméon Chardin

DiscoverAfter completing this lesson,

you will be able to:■ Identify the differences between

Baroque and Rococo art.■ Discuss how the works of Antoine

Watteau and Jean-Honoré Fragonard conform to theRococo style.

■ Explain how the works of Jean-Baptiste Siméon Chardin differfrom those of other French eighteenth-century painters.

t the beginning of the eighteenth century, a new style of art andarchitecture became evident in France. The royal court had

become increasingly important, and the aristocracy—persons of high rankand privilege—took their place in the pageantry of court life. The newstyle reflected this luxurious and idle way of life. It was marked by a free,graceful movement, a playful use of line, and delicate colors. Sometimesreferred to as Late Baroque, the style differed enough from the Baroquethat it deserved its own label. It received one when artists at the beginningof the next century disrespectfully called it Rococo.

Rococo art placed emphasis on the carefree life of the aristocracy ratherthan on grand heroes or pious martyrs. Love and romance were thought tobe more fitting subjects for art than history and religion. At a time whenpoets were creating flowery phrases of love, painters were using soft, pas-tel colors to express the same sentiment. Both showed a zest for describ-ing a lighthearted world filled with people seeking little more thanpleasure and happiness.

The Palace at Versailles■ FIGURE 20.2

At Versailles, a short distance from Paris, King Louis XIV embarked onthe greatest building project of the age. It was to be the largest, most ele-gant palace in the world—the king’s home as well as the capital of France(Figure 20.2). The royal family moved into it in 1682, but the palace con-tinued to undergo numerous changes. Louis and his successors lavishedmoney, time, and attention on the palace, constantly making improve-ments and adding new decorations.

Art in France

446

■ FIGURE 20.2 Large forests wereplanted and statues of marble andbronze decorated the magnificent gar-dens of Versailles. Looking at it from theoutside, what do you think the interiorof this palace looked like?

The Palace of Versailles, near Paris, France. 1668–85.

LESSON ONE

A

Versailles was considered to be an exampleof the Baroque style in France. However, inthis elegant, aristocratic setting which wasunder constant renovation during Louis XIV’slong reign, were also the seeds of the newRococo style. In architecture, the style wasmarked by delicate interior decorations,including fancy curving ornamentation.

Within the palace, King Louis XIV wastreated as if he were a god. He chose the sunas his emblem and was known as the SunKing. To make sure there was always an audi-ence for the royal display of power andwealth, people were free to enter and wanderabout the palace, as long as they were prop-erly dressed. There they could gaze at the art-works, the tapestries, and the mirrors andeven watch the royal family eat their spectac-ular meals (Figure 20.3).

New Directions in French Painting

In painting, the dramatic action of the sev-enteenth century gave way to this new, care-free style. The constant movement of theBaroque lost its force in Rococo art, whichfavored greater control and elegance.Paintings made greater use of delicate colorsand curved, graceful patterns. When seen in

■ FIGURE 20.3 The elaborate decorations, gildedand painted ceiling, and architectural detail in theHall of Mirrors is typical of the palace interior.Identify familiar architectural features in this hall.

Jules Hardouin Mansart. Hall of Mirrors in the Palace at Versailles,Versailles, France. 1678–89.

MANCHESTER FACTORIES. One of the largest industrial centers in England,Manchester became a world center of thecotton and wool trade. The IndustrialRevolution brought economic growth aswell as damaging smoke from the factories.

Historical reporter.You are a reporter covering condi-tions of the Industrial Revolution.Write an article chronicling theconditions in a factory of the time.Comment on events of the periodsuch as working conditions, childlabor, or women’s rights.

Activity

Rococo PeriodSee more Time & Place events on theTime Line, page H11 in your Art Handbook

c.1700 1800

Chapter 20 Rococo Art 447

COTTON GIN. After cotton was picked,the fiber had to be separated by hand fromthe seed. Eli Whitney’s invention in 1793helped speed the process. The cotton ginhad revolving saws to pull cotton from theseed and ribs between the saws to preventthe seeds from passing through with thecotton fibers.

the palaces and châteaus for which they wereintended, these paintings added a final touchof gaiety and elegance.

Antoine Watteau (1684–1721)

The greatest of the Rococo painters wasAntoine Watteau (an-twahn wah-toh). Watteaubegan his career as an interior decorator and roseto become the court painter to King Louis XV. He is best known for paintings of characters orscenes from the theater as well as for paintingsthat show the French aristocracy at play.

Embarkation for Cythera■ FIGURE 20.4

In Embarkation for Cythera (Figure 20.4),Watteau demonstrates the elegance of theRococo style. The subject of this painting

comes from a play and shows a group ofhappy young aristocrats about to set sail fromCythera, the legendary island of romance.(For 200 years this painting has been knownby the wrong name! It has always been called“Embarkation for Cythera” but recent inter-pretations point out that it shows a departurefrom the mythical island.)

The soft, dreamlike atmosphere, luxuriouscostumes, dainty figures, and silvery colorsgive the picture its dreamy feeling, or mood.The figures move with graceful ease. Arrangedlike a garland, they curl over a small hill anddown into a valley bordering the sea. A simi-lar garland made of cupids playfully twistsaround the mast of the ship.

Like many of Watteau’s other works(Figure 20.1, page 444), which hint at thefleeting nature of happiness, the painting of

448 Unit Six Art of an Emerging Modern Europe

■ FIGURE 20.4 It is said that this painting depicts a happy occasion. Can you detect another mood inany of the members of the party?

Antoine Watteau. Embarkation for Cythera. 1717–19. Oil on canvas. 1.3 � 1.9 m (4�3� � 6� 41⁄2�). The Louvre, Paris, France.

Embarkation for Cythera, is tempered by atouch of sadness. One figure seems to sum upthis feeling: The woman in the center casts afinal backward glance as she reluctantly pre-pares to join her companions boarding theboat. With her friends, she has spent a carefreeday on the island paying homage to Venus, thegoddess of love, whose flower-covered statue isseen at the far right of the picture. The womanlingers for just a moment, but her companionreminds her to hurry—the dream is ending.

Jean-Honoré Fragonard(1732–1806)

Ignoring the growing signs of unrest that ledto the French Revolution, the upper class con-tinued to devote their lives to pleasure. Theyliked to frolic in parklike gardens, pamper theirpets, play on elegant swings, and engage in

idle gossip. All of these trivial pastimes arefound in a painting by Jean-Honoré Fragonard(jawn oh-no-ray frah-goh-nahr).

The Swing■ FIGURE 20.5

Fragonard, like Watteau, was a courtpainter. He painted pictures about love and romance using glowing pastel colorsapplied in a sure, brisk manner. These pic-tures reveal that Fragonard was a masterdesigner as well. In The Swing (Figure 20.5),he used axis lines and contour lines to tie theparts of his composition together.

The French Revolution brought a swift endto Fragonard’s popularity. All but forgotten,he died of a stroke while eating ice cream.Today his works are reminders of a bygoneera and an outdated, luxurious way of life.

ACHIEVING UNITY THROUGH THEUSE OF LINE

• Axis lines. The arrangement of thefigures, the ropes of the swing, thewater from the lion fountains, eventhe position of the telescope form aseries of parallel diagonal lines in thelower part of the picture.

• Contour lines. The sky and the land-scape are united with repeated,rounded contours; the clouds at theright repeat the curved contours ofthe trees at the left.

■ FIGURE 20.5

Jean-Honoré Fragonard. The Swing. c. 1765. Oil on canvas. 215.9 � 185.5 cm (85 � 73�). NationalGallery of Art, Washington, D.C. Board of Trustees,The Samuel H. Kress Collection.

LOOKING Closely ➤

Chapter 20 Rococo Art 449

Jean-Baptiste SiméonChardin (1699–1779)

Jean-Baptiste Siméon Chardin (jawn-bahp-teest see-may-ohn shahr-dahn) rejected thedelicately painted subjects of the court artists.He preferred subjects that were more in keep-ing with those painted by the Little DutchMasters. His works show peasants and mem-bers of the middle class going about their sim-ple daily chores.

Art about Common PeopleChardin’s mature work reveals that, in the

arrangement of simple objects, he saw thesymbols of common working people. Hepainted still lifes of humble everyday items

(Figure 20.6). Earthenware containers, copper kettles, vegetables, and meat were his subjects. Chardin took delight in showingslight changes of color, light, and texture. The way he painted these everyday objectsmade them seem important and worthy ofclose examination.

Toward the middle of his career, Chardin began to paint simple genre scenes. One such scene is The AttentiveNurse (Figure 20.7). This work exhibits agentle, homespun quality that is unforcedand natural. Chardin’s brush illuminatesbeauty hidden in the commonplace. Heshows you a quiet, orderly, and wholesomeway of life. You are welcomed into a com-fortable household where a hardworkingnurse is carefully preparing a meal.

450 Unit Six Art of an Emerging Modern Europe

■ FIGURE 20.6 Chardin selected simpleeveryday objects for this still life. What washis purpose in painting this kind of subject?How did his intentions in painting differfrom those of court artists such as Watteauand Fragonard?

Jean-Baptiste Siméon Chardin. Still Life with a Rib of Beef.1739. Oil on canvas. 40.6 � 33.2 cm (16 � 131⁄16�). AllenMemorial Art Museum, Oberlin College, Oberlin, Ohio.R. T. Miller Jr. Fund, 1945.

Look for more art from Frenchpainters in Web Links atart.glencoe.com.

Light filters in the room to fall softly on thefigure and the table in the foreground. The restof the room is partly hidden in the shadows. Thelight reveals the rich textures and creates thechanges of value on cloth, bread, and kitchenutensils. The colors are silvery browns andwarm golds, which add to the sense of calm andthe poetry of this common domestic scene.

In his old age, Chardin gave up oil paintingin favor of pastels because of his failing eye-sight. Other reasons have been suggested forChardin’s decision to work in pastels. Some his-torians have indicated that he used pastelsbecause they allowed him to work more quicklythan did oil paints. Because pastels require lesstime and effort for preparation, Chardin mayhave found them more relaxing to work with.Weakened by illness, he died in 1779.

Chapter 20 451

Reviewing Art Facts1. Identify What subject did French

Rococo artists consider most suitablefor their paintings?

2. Explain How did the style of Rococoart differ from that of Baroque art?

3. Recall Who was considered the great-est of the French Rococo painters?

4. Describe How did Fragonard tietogether the parts of his compositionThe Swing (Figure 20.5, page 449)?

Identify Cultural Connections The Rococo style placedimportance on pleasure and happiness of the individuals ofprivilege and wealth who were a part of the French societyof the time. The lavish Palace of Versailles has become asymbol for the attitudes of the Rococo style.

Activity Using the Internet or your school’s media center,study the architecture and artwork of Versailles. Comparethis with other major architectural sites that reflect the cul-ture of the times in which they were created. Can you findother major architectural sites that reflect their times?Create a short presentation of your findings for your class.

LESSON ONE REVIEW

■ FIGURE 20.7 This picture creates a quiet,peaceful mood in a simple domestic setting. Howdoes the use of light contribute to that mood?

Jean-Baptiste Siméon Chardin. The Attentive Nurse. c. 1738. Oilon canvas. 46.2 � 37 cm (181⁄8 � 141⁄2�). National Gallery of Art,Washington, D.C. Board of Trustees, Samuel H. Kress Collection.

Visit art.glencoe.com for study tools and review activities.

Vocabulary■ satire

Artists to Meet■ Sir Joshua Reynolds■ Thomas Gainsborough■ William Hogarth■ Sir Christopher Wren■ Francisco Goya

DiscoverAfter completing this lesson,

you will be able to:■ Identify the kind of paintings pre-

ferred in England and offer rea-sons to explain their popularity.

■ Identify and describe the best-known work of Sir ChristopherWren.

■ Discuss the development of Francisco Goya’s style.

rtists in England and Spain responded in different ways to theelegant and decorative Rococo style that emerged in France. Most

rejected the artificial subjects preferred by Watteau and Fragonard butadopted those artists’ delicate, light-washed painting techniques. InEngland, artists made use of this technique to paint portraits, scenes andevents from daily life, and still lifes.

As the century progressed, these paintings became more and more realis-tic. The century came to a close with a Spanish artist, Francisco Goya, whoturned away completely from the Rococo style to paint pictures that drewtheir inspiration from a new source: his own personal thoughts and feelings.

The Art Movement in EnglandUntil this time, England could boast of only a few outstanding painters

and sculptors. No doubt the Protestant Reformation was partly to blame.Reformers were against religious images, and this had a crushing effect on art.With the return of the fun-loving Stuarts to the English throne and the growthof a wealthy aristocracy, however, the visual arts gained in importance.

Portrait painting in particular grew in popularity. Instead of making useof English artists, however, wealthy people invited foreign portrait painterssuch as Hans Holbein to England. This practice continued until around themiddle of the eighteenth century. By then the talents of native Englishpainters were finally being appreciated.

Sir JoshuaReynolds (1723–1792)

Sir Joshua Reynolds (ren-uhldz) was one of a number ofEnglish artists who painted thefashionable portraits that theEnglish nobility desired. He wasespecially skillful in capturing oncanvas the sensitive and fleetingexpressions of children. Hisappealing portrait of the five-year-old daughter of the Duke ofHamilton (Figure 20.8) showsthat he could make his young sub-jects seem completely natural andat ease.

Art in England and Spain

■ FIGURE 20.8 This portraitshows a fashionable—but verynatural looking— five-year-old.Where has the artist used warmand cool colors in this painting?With what effect?

Sir Joshua Reynolds. Lady ElizabethHamilton. 1758. Oil on canvas. 116.8 �83.8 cm (46 � 33�). National Gallery of Art,Washington, D.C. Board of Trustees,Widener Collection.

LESSON TWO

452

A

Thomas Gainsborough(1727–1788)

Reynolds’s great rival was ThomasGainsborough (gainz-bur-oh), who began hiscareer by painting landscapes. Ultimately hebecame the favorite portrait painter of Englishhigh society. Gainsborough was admired forhis delicate brushwork and rich, glisteningpastel colors. His works showed the shiningsilks and buckles, fragile lace, and starchedruffles of fashionable clothing.

The Blue Boy■ FIGURE 20.9

A professional rivalry with Reynoldsresulted in one of Gainsborough’s best-knownpaintings, The Blue Boy (Figure 20.9). In alecture to the Royal Academy of Art, Reynoldshad stated that blue, a cool color, shouldalways be used in the background. He said itshould never be used in the main part of aportrait. When Gainsborough heard this, heaccepted it as a challenge and began planninga blue portrait. The finished portrait shows aprincely looking boy dressed in a shimmeringblue satin suit standing in front of a warmbrown background. The work was an imme-diate success in the eyes of most viewers—although Reynolds never publicly admittedthat Gainsborough had proved him wrong.

The story does not end here, however.Later, when Gainsborough was dying,Reynolds paid him a visit. What they said toone another is unknown. However, whenGainsborough died, Reynolds with tears in hiseyes, delivered another lecture to the RoyalAcademy, this time praising the rival who hadchallenged him.

William Hogarth (1697–1764)

Other artists in England at this time refusedto cater to the tastes of the aristocracy in themanner of Reynolds and Gainsborough.William Hogarth (hoh-gahrth) was one ofthese. He was more interested in painting the common people he found on Londonstreets and in taverns than he was in painting

portraits for wealthy patrons. Nothing gavehim more pleasure than exposing the immoralconditions and foolish customs of his time.

Hogarth used his art to tell a story, sceneby scene, picture by picture, with great witand attention to detail. His pictures were astage filled with colorful performers fromevery level of society: lords, ladies, lawyers,merchants, beggars, and thieves.

Chapter 20 Rococo Art 453

■ FIGURE 20.9 This child, though older than the subject ofReynolds’s portrait, also looks both fashionable and natural.How does the use of warm and cool colors here differ from theuse of warm and cool colors in Reynolds’s picture of LadyElizabeth Hamilton (Figure 20.8)?

Thomas Gainsborough. The Blue Boy. c. 1770. 177.8 � 121.9 cm (70 � 48�). TheHuntington Library Art Collections and Botanical Gardens, San Marino, California.

454 Unit Six Art of an Emerging Modern Europe

■ FIGURE 20.10 William Hogarth. Scene I from Marriage à la Mode, The Marriage Contract. 1742–1744. Oil on canvas. The

National Gallery, London, England.

The father of the groom, anobleman with gout, pointsproudly to his family tree.

3 ➤➤➤

The father of the bride, a wealthy mer-chant eager to have his daughter marryinto a noble family, studies the mar-riage agreement as if it were nothingmore than another business contract.

2The future bride and groom, theirbacks to each other, seem uninvolvedand uninterested in what is going onaround them. A lawyer flirts with theyoung woman, while her bored fiancéprepares to take a pinch of snuff.

1

The other five pictures in this seriesshow the progress of the marriagefrom this unfortunate start. It movesfrom boredom to unfaithfulness todeath. Each scene is painted with thesame brilliant, biting satire, the use ofsarcasm or ridicule to expose anddenounce vice or folly.

4 The paintings demonstrate Hogarth’suncanny ability to remember and usewhat he saw in the world around him.The gestures and expressions he portrayswere learned during long observations ofthe way real people behave in differentsituations.

5

n a series of six paintings entitled Marriage à la Mode, Hogarth criticized theaccepted practice of arranged marriages. In the first of this series, The MarriageContract (Figure 20.10), he introduces the main characters in his story.

I

Social Commentary in Art

Sir Christopher Wren(1632–1723)

Although it took English painters a longtime to gain acceptance in their native coun-try, this was not the case with architects. Infact, many of the most impressive buildings inLondon are due to the efforts of a singleEnglish architect: Sir Christopher Wren.

In 1666, the Great Fire of London burnedfor four days. It destroyed 89 churches, thecity gates, a large number of public buildings,and some 14,000 houses. For years after thisfire, Sir Christopher Wren was responsible fordesigning churches and other buildings toreplace those that had been destroyed. St.Paul’s Cathedral and 51 parish churches werebuilt according to his designs.

Revising Church ArchitectureIt was not easy to design churches to fit

comfortably within specified areas. Many ofthese areas were small and awkward, yetWren was able to design buildings ideallysuited for their settings. He often used a tall,slender steeple to crown these churches.Soaring proudly above surrounding buildingswhich threatened to hide the church, thissteeple became an inspiration for later archi-tects in England and North America.

The best known of Wren’s work is St. Paul’sCathedral (Figure 20.11). Before the fire, he hadbeen hired to restore the old cathedral, whichhad been built in the late eleventh century. Thefire, however, destroyed the building, and Wrenwas asked to design a new cathedral instead.

The façade of St. Paul’s is marked by a patternof light and dark values. This pattern is createdby the use of deep porches at two levels. Eachporch is supported by huge columns arranged inpairs. The top porch is narrower than the onebelow and draws your eye upward to the tympa-num and the great dome above. Two towersflank the façade and frame the dome.

Unity of DesignOne of the most impressive features of

St. Paul’s is its overall unity. All of the parts are joined together to form a symmetrically

balanced whole that is a striking reminder ofclassical structures such as the Parthenon. (SeeFigure 8.1, page 166.) Much of this unity is nodoubt due to the fact that this building is theonly major cathedral in Europe to be erectedunder the watchful eye of a single architect.

The London skyline is Wren’s legacy—andhis monument. The Latin inscription on histomb calls attention to this skyline with a sim-ple statement that reads in part: “If ye seekmy monument, look around.”

Chapter 20 Rococo Art 455

■ FIGURE 20.11 The deep porches on this cathedral create a patternof light and dark values. What characteristics does this cathedral havein common with classical structures?

Sir Christopher Wren. St. Paul’s Cathedral, London, England. 1675–1710.

Francisco Goya (1746–1828)

This discussion of eighteenth-century artends in Spain with the work of FranciscoGoya (frahn-seese-koh goh-yah), an artistwho eventually rejected the past and lookedto the future.

Early in his career, Goya adopted the Rococostyle to gain considerable fame and fortune.Appointed court painter to King Charles IV, he

painted portraits of the royal family and thearistocracy, using the same soft pastel colorsfavored by Watteau and Fragonard.

The Duchess of Alba■ FIGURE 20.12

Later in his career, Goya met and was com-pletely captivated by the most celebratedwoman of the day, the thirteenth Duchess ofAlba. While under her spell, Goya painted a por-trait of the duchess pointing confidently to theartist’s name scrawled in the sand at her feet(Figure 20.12).

In addition to being one of the wealthiestpeople in Spain, she was also one of the most controversial. At the time Goya paintedher, the duchess was in exile from Madrid forhaving once again embarrassed her queen,Maria Luisa. She had announced a great ballin honor of the queen and then sent spies toParis to learn what kind of gown the queenwas planning to wear. When the queenarrived at the Alba palace, she was greeted by a score of servant girls—each wearing the same gown as the queen!

In Goya’s portrait, the duchess gazesdirectly at the viewer with large eyes underblack eyebrows. She wears two rings on thefingers of her right hand. These bear thenames Goya and Alba and, like the inscriptionin the sand, are meant to illustrate the unionof artist and model. However, the fickleduchess soon turned her attention elsewherewhile the artist never forgot her. Before hedied in 1828, Goya turned over all his belong-ings to his son. Goya had only kept two of hismany paintings. His portrait of the duchesswas one of these. In a recent cleaning of thepicture, the word solo, or only was discoveredwritten in the sand before the artist’s name.(Goya died wishing it had been so.)

Goya the RebelGoya was satisfied to be a fashionable soci-

ety painter until he reached middle age. Then,following an illness and after witnessing thebrutality and suffering caused by war, his artchanged and he became Goya the Rebel.

456 Unit Six Art of an Emerging Modern Europe

■ FIGURE 20.12 The duchess points to the artist’s name in the sand,with the word solo, or “only” painted in front of it. What impressionof the duchess does this portrait convey?

Francisco Goya. The Duchess of Alba. 1797. Oil on canvas. 210.2 � 149.2 cm (823⁄4 � 583⁄4�).Courtesy of the Hispanic Society of America, New York, New York.

The Third of May, 1808■ FIGURE 20.13

Goya was in Madrid when the Frenchinvaded Spain. One of his most memorablepaintings commemorates an uprising of thepeople of Madrid after the French had occupiedtheir city. On May 2, 1808, people gathered inanger before the royal palace. They had heardthat the children of the king were to be takento France. A fight broke out, and Spanish civil-ians and French soldiers were killed. That nightand the next morning, French troops executedthe Spanish patriots they had taken prisoner.

Goya’s painting (Figure 20.13) captures thedrama of the event. The morning sky is almostblack. A lantern placed on the ground lights thescene. The patriots are lined up, about to beshot. The French soldiers lean forward, pointingtheir rifles like lances. Their faces are hiddenfrom view, but their faces are unimportant here.The soldiers are like robots—cold, unfeeling,unthinking. The wedge of light from the lantern

reveals the different reactions of the men facingdeath. The central target is a figure in white withhis arms raised. His pose suggests an earliersacrifice—Christ on the cross. To his right, amonk seeks refuge in prayer. One man staresblindly upward, another covers his ears, and athird buries his face in his hands.

Goya’s painting does not echo the tradi-tional view of war. Unlike his countrymanVelázquez (Figure 19.21, page 438), heplaced no importance on chivalry and honoror bravery and glory. To him, war meant onlydeath and destruction, and he used his art toexpress his feelings to others.

Goya’s Later YearsAs he grew older, Goya became more bitter

and disillusioned. Increasingly he turned awayfrom the subject matter found in the real worldbecause it could not be used to express histhoughts and feelings. Instead, he turned to hisdreams and visions for subject matter.

Chapter 20 Rococo Art 457

■ FIGURE 20.13 Repeated shapes and axis lines have been used to create a sense of movement. What is the direction of that movement?

Francisco Goya. The Third of May, 1808. 1814. Oil on canvas. Approx. 2.64 � 3.43 m (8�8� � 11�3�). The Prado Museum, Madrid, Spain.

Art of Personal InspirationThe drawings, paintings, and etchings Goya

produced were unlike anything that had beencreated before. For the first time, an artistreached deep into his own mind for inspira-tion. By doing this, Goya made it difficult forothers to understand exactly what he was try-ing to say. At the same time, he challengedthem to use their imaginations to arrive attheir own interpretations of his work.

One of Goya’s most unforgettable printsshows a giant sitting on the edge of the world(Figure 20.14). A small landscape in the fore-ground is dwarfed by the towering presenceof this giant. This could be Goya’s vision ofwar—a giant who could, with one swipe ofhis mighty hand, cause widespread destruc-tion and suffering. He glances up as if some-thing or someone has summoned him. Perhapshe is being instructed on what action to takewith regard to the unsuspecting world sleepingpeacefully in the moonlight.

Breaking with TraditionThe eighteenth century began with artists

such as Watteau and Fragonard creating worksthat emphasized the lightheartedness andfancy of court life. A more middle-class viewof life was presented in the works of Chardinand Hogarth. Goya’s works ranged from thecourtly Rococo style to the more realistic andfinally to the realm of his imagination.

By using his own visions and dreams as theinspiration for his art, Goya opened the doorfor others to follow. From that point on, artistsno longer felt bound by tradition. Like Goya,they could rely on their own personal visionsto move in any direction they wished. For thisreason, Goya is regarded as the bridge betweenthe art of the past and the art of the present.

458 Unit Six

■ FIGURE 20.14Like Goya’s otherlate works, thisprint challengesviewers to use theirimaginations andarrive at their owninterpretations.What mood do youthink this figurecreates? Whom orwhat do you thinkhe represents?

Francisco Goya. TheGiant. c.1818. Burnishedaquatint, first state.28.5 � 21 cm (111⁄4 � 81⁄4�). TheMetropolitan Museumof Art, New York, NewYork. Harris BrisbaneDick Fund, 1935. (35.42).

Reviewing Art Facts1. Explain What kind of painting grew

in popularity in eighteenth-centuryEngland? Why was it popular?

2. Identify Who was the favorite portraitpainter of English high society? Why?

3. Identify Name an English artist whowas not interested in catering to thetastes of the aristocrats. Tell what hepreferred to paint and how he gotacross his message to the viewer.

4. Recall For which type of work is SirChristopher Wren best known?

Recognize Artists Intentions The Spanish artist Goyarepresents a bridge between the art of the past and the artof the present. By using his visions and dreams as subjectmatter, Goya rejected tradition and opened the door forlater artists to create their own personal visions.

Activity Carefully study The Third of May, 1808(Figure 20.13). Compare this work with a much earlierRenaissance work, The Battle of San Romano by Uccello.How do the two works differ? How are they similar? Whichartist was more concerned with realism? Share your conclu-sions with your class or work group.

LESSON TWO REVIEW

Visit art.glencoe.com for study tools and review activities.

Materials• Magazines and newspapers• Pencil and sketch paper• Colored construction paper or mat board,

12 � 18 inches• Scissors and white glue

Create a self-portrait collage that expresses charac-teristics of your own unique personality, rather than aportrait that shows how you look. From magazinesand newspapers, cut pictures, phrases, and words thatsay something about you. Assemble these as a collagethat illustrates your “real inner self.”

InspirationExamine Goya’s print The Giant in Figure 20.14,

page 458. How does a picture like this differ from otherpictures of people, such as those created by Reynolds(Figure 20.8, page 452) or Gainsborough (Figure 20.9,page 453)?

Process1. Look through magazines and newspapers for pic-

tures, phrases, and words that say something aboutyou—your hopes, aspirations, and feelings. Tearthese out and set them aside.

2. Make several sketches showing the general outlineof your face viewed from the front or in profile.Redraw the best of these lightly to fill the construc-tion paper or mat board.

3. Cut the magazine and newspaper items into variousshapes and assemble these within and around yourface drawing. If you prefer, you can draw certainparts of your portrait. Do not draw the entire face.

4. Exhibit your self-portrait along with those createdby other students. Can you determine which stu-dent created which portrait? Are other studentsable to correctly identify your self-portrait?

Describe Can viewers readily identify your collage as aportrait? Are the features of this portrait recognizable?

Analyze Is the arrangement of colors, lines, shapes,and textures in your portrait harmonious or varied?Did you do this intentionally? If so, why?

Interpret Does your self-portrait present an accuratepicture of what you are like inside? Do you think others

can read the clues you have provided to learn moreabout your thoughts and feelings?

Judge A critic known to favor the expressive qualitiesis asked to judge your self-portrait. How do you thinkthis critic will respond to your work? Do you think acritic favoring the theory of imitationalism would beimpressed with your effort? Why or why not?

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Examining Your Work

Expressive Self-PortraitCollage

■ FIGURE 20.16 Student Work

For more studio lessons and student artworks, see art.glencoe.com.

Women were a favorite subject for Spanish painter Francisco Goya.

Spanish artist Francisco Goya (1746–1828) began his career as a court painter, painting portraits of

the royal family and the aristocracy. His painting The Duchess of Alba became one of his most famousartworks. Women were an important subject forGoya. From his most famous to lesser known art-works, women play a key role. He was fascinatedwith women, and painted them from all classes and all walks of life. Goya’s women might appear as witches or country sweethearts, warm and loving or coldly remote. He painted aristocrats,actresses, unknown housewives, old women, andyoung women.

Everything about his subjects is observed withdetailed accuracy—the way they stand and move,their makeup, hairstyle, and above all what theywear. Goya was an expert on fashion and knewexactly what political and social meanings a person’s dress could have.

Goya’s works reflect the many dimensions ofwomen as he saw them. He painted during a periodin history when the role of women in society waschanging. His paintings show women in a wide variety of circumstances, yet all were portrayed with sensitivity in his realistic, expressive style.

That is part of the magic and the attraction of Francisco Goya’s work: its endless vitality. His figures,men or women, are full of life—never limp, wooden,or uninteresting. That is why viewers never get boredlooking at them.

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Francisco Goya. The Family of Osuma. 1788. Goyatreats the Duchess with respect. Serene and noble,she gazes at us with the utmost composure.

460 Chapter 20 Rococo Art

TIME to Connect

Using art books, the Internet, and the library, find other paintings ofGoya that include female figures.

• Look at the whole picture, not just the woman’s face, but her clothing, the background, and objects in the scene. Can you sense howGoya felt about his subject?

• Next, view his portraits of men. Do you think Goya feels differently aboutthem? Write an essay giving your opinion on whether he treats men andwomen differently in his artworks.

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Goya. The Duchess of Alba.1795. Goya drew several pictures of the Duchess of Alba, although he never painted a portrait of his wife.

Standardized Test PracticeStandardized Test Practice

20 REVIEW

Reviewing Art FactsLesson One1. Explain why Louis XIV was called the Sun King.2. Did Rococo art place a greater emphasis on

religious subjects or scenes from aristocratic life? Why?

3. Describe how Watteau’s Embarkation for Cythera(Figure 20.4, page 448) typifies Rococo art.

4. What subject matter did Fragonard paint?5. What kinds of objects did Chardin typically

include in his still-life paintings?Lesson Two6. Which English artist painted scenes that exposed

the foolish customs of the time?7. What event gave Sir Christopher Wren the

opportunity to design more than 50 churchesin London?

8. What features cause the light and dark patternon the façade of St. Paul’s Cathedral?

9. How does Goya identify the main character inThe Third of May, 1808 (Figure 20.13, page 457)?

10. Why is Goya regarded as the bridge between theart of the past and the art of the present?

Thinking Critically1. EXTEND. Imagine a film that includes Watteau’s

Embarkation for Cythera (Figure 20.4, page 448).Outline an appropriate plot for this film. Explainwhy it is an important scene.

2. ANALYZE. Refer to Chardin’s painting TheAttentive Nurse (Figure 20.7, page 451). Describehow the art elements are used in the painting.Which elements are emphasized? Which are lessimportant?

Brainstorm a list of social problems thatare important to you as an individual. Inyour sketchbook, begin thumbnail sketchesof images and ideas related to each of theissues. After several minutes, stop andchoose one topic to be the subject of afuture piece of art. Write a proposal for theartwork in which you set goals and describethe media and techniques you would use.Keep notes and sketches in your portfoliofor a future project.

I [hurried] to [St.] Paul’s; and there walkedalong Watling Street, as well as I could, everycreature coming away laden with goods tosave and, here and there, sick people carriedaway in beds. Extraordinary goods carried incarts and on backs. At last [I] met my LordMayor in Cannon Street, like a man spent,with a [handkerchief] about his neck.… Hecried, ‘…What can I do? I am spent: peoplewill not obey me. I have been pulling down

houses, but the fire overtakes us faster thanwe can do it.’… So he left me, and I him, andwalked home; seeing people all distracted,and no manner of means used to quenchthe fire.

To make his account effective, the writerdraws upon all of the following EXCEPT

specific details and facts.

quotations from other writtenaccounts.

the reactions of other witnesses to theevent.

narrating events in the first person.

Chapter 20 Review 461

Read the following account of the Fire of London, and thenanswer the question. —from Samuel Pepys’ Diary, September 2, 1666