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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
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
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
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
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
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
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
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
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
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
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
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