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洛可可艺术_百度百科

术_百度百科网页新闻贴吧知道网盘图片视频地图文库资讯采购百科百度首页登录注册进入词条全站搜索帮助首页秒懂百科特色百科知识专题加入百科百科团队权威合作下载百科APP个人中心洛可可艺术播报讨论上传视频艺术形式收藏查看我的收藏0有用+10洛可可艺术（Rococo），是18世纪产生于法国、遍及欧洲的一种艺术形式或艺术风格，盛行于路易十五统治时期，因而又称作“路易十五式”，该艺术形式具有轻快、精致、细腻、繁复等特点。洛可可艺术形成过程中受到东亚艺术的影响，有人认为洛可可风格是巴洛克风格的晚期，即颓废和瓦解的阶段。洛可可艺术风格被广泛应用在建筑、装潢、绘画、文学、雕塑、音乐等艺术领域。中文名洛可可艺术外文名Rococo别名路易十五式风格年代路易十五统治时期流行地区产生于法国、遍及欧洲目录1起源2特征特点3发展4建筑5绘画6音乐7文学8服装9家具10参演电影起源播报编辑洛可可建筑洛可可 [1]（Rococo）一词由法语Rocaille（贝壳工艺）和意大利语Barocco（巴洛克）合并而来，Rocaille是一种混合贝壳与石块的室内装饰物，而Barocco（巴洛克）则是一种更早期的宏大而华丽的艺术风格，有人将洛可可风格看作是巴洛克风格的晚期，即巴洛克的瓦解和颓废阶段。洛可可风格最早出现在装饰艺术和室内设计中，路易十五登基后给宫廷艺术带来了一些变化。前任国王路易十四在位的后期，巴洛克设计风格逐渐被有着更多曲线和自然形象的较轻的元素取代，而洛可可艺术，即是大约自路易十四1715年逝世时开始的。在摄政时期，宫廷生活不再局限于凡尔赛宫，艺术风格亦随之而转变，由皇宫逐渐渗入整个法国上层社会，洛可可纤细和轻快的设计风格被视为是伴随着路易十五的统治过渡而来。可以认为，这个时期的一个标志是18世纪初欧洲瓷器使用的普及。之前人们一直是用笨重的银制餐具饮食，用大块的石头创作巨大的雕塑，而此后则是用易碎的瓷器来做餐具，也制作小巧玲珑的瓷塑像，从而反映了时期宫廷贵族的生活趣味。相较于前期的巴洛克与后期的新古典主义，洛可可反映出当时社会享乐、奢华以及爱欲交织的风气，此外，此派画家受到当时外来文化的启发，在创作中添加不少富有异国风情的元素。特征特点播报编辑洛可可的总体特征为轻快、华丽、精致、细腻、繁琐、纤弱、柔和，追求轻盈纤细的秀雅美，纤弱娇媚，纷繁琐细，精致典雅，甜腻温柔，在构图上有意强调不对称，其工艺、结构和线条具有婉转、柔和的特点，其装饰题材有自然主义的倾向，以回旋曲折的贝壳形曲线和精细纤巧的雕刻为主，造型的基调是凸曲线，常用S形弯角形式。洛可可式的色彩十分娇艳明快，如嫩绿，粉红，猩红等，线脚多用金色。发展播报编辑18世纪30年代，洛可可艺术在法国高速发展，并逐步受到中国艺术的影响。这种风格从建筑装潢扩展到家具、油画和雕塑领域。洛可可保留了巴洛克风格复杂的形象和精细的图纹，并逐步与大量其他的特征和元素相融合，其中就包括东方艺术和不对称组合等等。这种艺术形式随后从法国蔓延到德国、西班牙等地区，并与当地的这种风格相融合，18世纪的英国将洛可可风格视为“法国品味”，较少使用在建筑上，更多地运用在银器和陶瓷上。当时由意大利移民的艺术家，如Bagutti和Artari都以石膏作品为载体将洛可可风格带入英国，爱尔兰的法兰契尼兄弟也做了同样的尝试。随着拿破仑在法国的崛起，洛可可逐渐被踢出法国。建筑播报编辑洛可可艺术建筑一般而言，洛可可建筑大约是指室内装潢的艺术风格，洛可可建筑风格以贝壳和巴洛克风格的趣味性的结合为主轴，室内应用明快的色彩和纤巧的装饰，家具也非常精致而偏于繁琐，不像巴洛克风格那样色彩强烈，装饰浓艳。洛可可装饰的特点是：细腻柔媚，常常采用不对称手法，喜欢用弧线和S形线，尤其爱用贝壳、旋涡、山石作为装饰题材，卷草舒花，缠绵盘曲，连成一体。天花和墙面有时以弧面相连，转角处布置壁画。为了模仿自然形态，室内建筑部件也往往做成不对称形状，变化万千，但有时流于矫揉造作。室内墙面粉刷，爱用嫩绿、粉红、玫瑰红等鲜艳的浅色调，线脚大多用金色。室内护壁板有时用木板，有时作成精致的框格，框内四周有一圈花边，中间常衬以浅色东方织锦。洛可可建筑艺术的特征是轻结构的花园式府邸，逐渐摒弃了巴洛克那种雄伟的宫殿气质，在这里，个人可以不受自吹自擂的宫廷社会打扰，自由发展。例如，逍遥宫或观景楼这样的名称都表明了这些府邸的私人特点。尤金王子的花园宫就是一个节奏活泼的整体，由七幢对称排列的楼阁式建筑构成，其折叠式复斜屋顶从中间优美匀称地传至四个角楼的穹顶处。上面有山墙的单层正厅具有几乎是中产阶级的舒适，两个宽展的双层侧翼则显示出主人的华贵，却又没有王公贵族的骄矜。两个宽度适中的单层建筑介于塔式的楼阁之间，而楼阁的雄伟使整个建筑具有坚固城堡的特点——总之，极为不同的建筑思想，却又统一在一种优雅的内在联系中。正是这种形式与风格简直相互矛盾的建筑群体漫不经心的配置，清楚地体现出了洛可可艺术的精神。绘画播报编辑洛可可风格的绘画以上流社会男女的享乐生活为对象，描写全裸或者半裸的妇女和精美华丽的装饰，配以秀美的自然景色或精美的人文景观。洛可可画家喜欢选用清单鲜明的颜色和精致的曲线构图，喜欢用基路伯小天使和爱情神话等来点缀画作，使得画面变得优美而又神秘。洛可可的风格细致地表现在人像画中，画中人物不再是神灵、骑士或者圣人，而是宫廷的朝臣和贵族等等，颜色细致淡雅，人物纤细，部分画作显现出当时的美学开始脱离宗教和国家等倾向，逐渐摆脱端庄神圣、古板沉闷的气息，开始表现贵族男女游山玩水的田园诗式的风情。首位主要的代表画家是华多（1684~1721），他的作品《发舟西地岛》画面迷离，人物雍容华贵。比起后来的洛可可画家，华托的作品除了纯粹的装饰效果外，往往渗透着一股忧郁的气息。其后比较著名的洛可可画家包括布歇（1702~1770）、弗拉戈纳尔（1732~1806）等等，他们都深受华多的影响。音乐播报编辑洛可可的风格在音乐上远没有它在造型艺术上那样显著，约在1720~1775年间，洛可可风格的音乐与其他音乐风格同时流行，发展于18世纪前叶的法国，其特色为玲珑纤巧、轻快、刻意、华丽，与巴洛克时期夸张和宏大的风格形成对比。这种风格出现在法国的键盘音乐中，巴洛克晚期的作曲家如库普兰、拉莫、泰里曼、多曼尼高·史卡拉第以及古典乐派前期如约翰·斯塔米茨、利奥波德·莫扎特都运用了这种手法，后来，这种风格传到了德国，孕育了西方古典乐时期。文学播报编辑洛可可文学以轻松的文体大量出现，并着力于表现人的情感，尤其是爱情的魅力。经常将现实世界扩大或者缩小后加以描写，或者以镜中像的方式折射现实。例如伏尔泰的《小大人》、勒萨日的《吉尔·布拉斯》。这个时期的作家还酷爱写游记作品，让主人公在游历中学习人生、了解世界。洛可可文学产生了强烈刺激人们感官和心智的效果，可以描写与现实相悖的事物，以反讽的手法引入革新理念，打破现存的秩序和规范，追求自然、理性、平衡的新世界。服装播报编辑洛可可服装洛可可时装跟样式主义和西班牙时装的那种几何形状的严谨相反，深受生气勃勃的生命意识影响，这是与建筑和造型艺术的情况相同的。轮状细褶皱领过去曾跟平展的或者衬垫的衣领形成鲜明的对比，而现在不经僵硬地垂下来，后来又干脆让平披在肩上的花边领取代了。帽子都有宽边，可以按各人的气质制成宽式、高式或斜式，头发自由散披。如果缺少天生的头发，可以用假发。自路易八世起，特别是在法国，假发成了给人印象最深的特征。那种长假发在头顶部位蓬松鬈曲，然后分为两翼垂至肩上和胸前。男装仍继续采用那种下摆宽松的上衣，也可以紧贴腰身缝制。衣袖为花边袖口，或者是只有胳臂四分之三那么长的短袖，露出里面的镶了花边的衬衫。裤子呈袋状宽松地垂至长袜处，在那儿用玫瑰花饰带子系起来。1675年前后，男装出现了迄今仍然流行的三件套。上衣演变为长至膝盖的坎肩，外面再套装饰颇多的紧贴腰身缝制的外套，裤子是细长至膝的短裤，下面是丝织长袜和带扣襻的鞋子。洛可可女装放弃了西班牙钟式裙那种几何形状的严谨，可是保留了宽大的髋部和紧身的胸衣。在一条颜色不同的衬裙外面，套钟形的长裙，大多在前面打褶裥，身后拖着裙裾。洛可可女装变得爱卖弄风情，有褶裥、荷叶边、随意的花边和隆起的衬裙。一种穹顶形的鲸骨圈取代了古老的钟式裙，造成了巴洛克晚期那种典型的女性剪影效果，从过于宽大的裙子到瘦削的肩膀，再到发型高耸的头部，整个人显现出一个圆锥形。家具播报编辑洛可可家具从其装饰形式的新思想出发，特点是把截为弧形发展到平面的拱形。圆角、斜棱和富于想像力的细线纹饰使得家具显得不笨重。各个部分摆脱了历来遵循的结构划分而结合成装饰生动的整体。呆板的栏杆柱式桌腿演变成了“牝鹿腿”。面板上镶嵌了镀金的铜件以及用不同颜色的上等木料加工而成的雕饰，如槭木、桃花心木、乌檀木和花梨木等等。伴随着路易十五时代的终结，这种有史以来最华丽、最风行的家具风格才告结束。洛可可家具以其不对称的轻快纤细曲线著称，以其回旋曲折的贝壳形曲线和精细纤巧的雕饰为主要特征，以其凸曲线和弯脚作为主要造型基调，以研究中国漆为基础，发展流行一种既有中国风又有欧洲独自特点的涂饰技法。相对于路易十四时代庄严、豪华、宏伟的巴洛克艺术，洛可可艺术则打破了艺术上的对称、均衡、朴实的规律，在家具、建筑、室内等艺术的装饰设计上，以复杂自由的波浪线条为主势，室内装饰以镶嵌画以及许多镜子，形成了一种轻快精巧、优美华丽、闪耀虚幻的效果。中国的装饰风格在欧洲洛可可室内装饰艺术中，扮演了重要的角色。法国人从中国极柔软的曲线，中国瓷器以及桌椅橱柜等造型中吸取了灵感，墙面的曲线“也含有东方花鸟纹样的生命气息”。大自然中的贝壳同莨菪叶饰相缠绕形成涡形花纹，上面布满了花朵，轻盈飞舞有如流水般的曲面与曲线非常精致优美。洛可可家具则以华丽轻快、精美纤细的曲线著称。这种艺术风格，充分反映了法国统治阶级宫廷空虚与腐朽的享乐生活。同时，由于法国在欧洲的先进地位，使欧洲的其他国家也出现了这种艺术风格，以致形成了18世纪中期在欧洲占统治地位的“洛可可”式的艺术形式。欧洲各国的洛可可家具有其各自不同的特色：法国洛可可家具柔软优美，英国洛可可家具轻巧典雅，意大利洛可可家具精致柔丽，德国洛可可家具精巧华丽，美国洛可可家具简洁单纯，荷兰洛可可家具严谨端庄，俄国洛可可家具精密鲜明，斯堪的那维亚家具典雅优美。这些不同国家的洛可可家具遗产留传于后世较多，多为欧洲一些国家的博物馆中收藏，使后人得以欣赏研究这些丰富华美的家具遗产。1723年，路易十五开始亲政后，更热衷于享受生活。1745年路易十五将宫廷又迁回凡尔赛宫，恢复了以凡尔赛宫为中心的宫廷生活。18世纪是以女性为中心的沙龙文化全盛时期，这种椭圆形的沙龙活动，往往是少数较为知近人的社交生活，一般都是小型的房间。因此路易十五时期的椅、桌、柜等家具更加小型化、女性化。与室内装饰相呼应，适合壁面轻盈飞舞有如流水般的木雕曲面和曲线，烛台是花朵造型，每个弯曲处都异常精致优美。贴壁的小桌，遵循着曲形的草茎与贝壳所组成的复杂节奏，形成了雕塑的艺术品。沿壁面放置的沙发、椅背的高度及其装饰，也配合壁面的镶板，家具弹性的曲线非常轻快和优美。18世纪法国华丽轻巧的家具形成，也是由于有严谨的加工工艺。这时期家具制作有了专业化分工，出现了两个严格的行会组织：另一个是家具装饰行会，专门从事家具表面薄木拼贴镶嵌、青铜镀金饰件等装饰。凡加入行会组织的家具工匠，可由行会组织授予工艺技师或家具、细木工镶嵌技师等资格保证。在1744年-1751年间，同业行会规定凡有技师资格的工匠，出售家具必须把自己名字的代号刻印在家具上。这种严格的规定一直持续年法国革命时期，由于废除了同业行会而终止。因此，洛可可时期的许多家具师的名字，随着其作品的存在而流传下来。也正因为如此，法国路易十五到路易十六时期具才有可能保持着卓越的技术水平。参演电影播报编辑《绝代艳后》关于玛丽皇后，华丽至极。《加勒比海盗》注意女主演的服装。《茜茜公主》有大量新式洛可可服装。《下妻物语》洛可可的精神贯穿至终，应该算是代表作了吧。新手上路成长任务编辑入门编辑规则本人编辑我有疑问内容质疑在线客服官方贴吧意见反馈投诉建议举报不良信息未通过词条申诉投诉侵权信息封禁查询与解封©2024 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Rococo Movement Overview | TheArtStory

co Movement Overview | TheArtStory The Art Story Movements Artists Timelines Ideas The Art Story Artists Movements Ideas Blog About us Donate Contact Us Ways to support us About The Art Story a 501(c)3 Non-Profit Org Movements RococoRococoStarted: 1702 Ended: 1780 Rococo SummaryKey IdeasKey Artists Important Art The Embarkation for Cythera (1717)Pierrot (c. 1718-19)The Entrance to the Grand Canal (c. 1730)Soap Bubbles (1733-34)La Toilette de Vénus (The Toilet of Venus) (1751)Portrait of Madame de Pompadour (1756)The Swing (1767-68)Allegory of the Planets and Continents (1752)The Blue Boy (c. 1770)Self-Portrait with Straw Hat (1782)History and Ideas Beginnings The Venetian School School of Fontainebleau 1528-1630 The Era of Rococo Design Jean-Antoine Watteau François Boucher Madame de Pompadour Concepts, Styles, and Trends French Rococo Italian Rococo German Rococo English Rococo Later Developments Useful Resources "In my view, you must either do away with ornament - or make ornament the essence. It's not something you add. It's not icing on a cake. It's everything - or it's nothing." 1 of 6 "This vision is within our grasp." 2 of 6 "One makes use of pigments, but one paints with one's feelings." 3 of 6 Jean-Baptiste-Simeon Chardin"In order to concentrate on reproducing it faithfully I must forget everything I have seen and even forget the way such objects have been treated by others." 4 of 6 Jean-Baptiste-Simeon Chardin"Fools talk of imitation and copying, all is imitation." 5 of 6 Thomas Gainsborough"Painting and living have always been one and the same thing for me." 6 of 6 Elisabeth Vigée Le Brun Summary of RococoCenturies before the term "bling" was invented to denote ostentatious shows of luxury, Rococo infused the world of art and interior design with an aristocratic idealism that favored elaborate ornamentation and intricate detailing. The paintings that became signature to the era were created in celebration of Rococo's grandiose ideals and lust for the aristocratic lifestyle and pastimes. The movement, which developed in France in the early 1700s, evolved into a new, over-the-top marriage of the decorative and fine arts, which became a visual lexicon that infiltrated 18th century continental Europe. Key Ideas & Accomplishments Genre paintings were popular ways to represent the Rococo period's bold and joyous lust for life. This included fete galante, or works denoting outdoor pastimes, erotic paintings alive with a sense of whimsical hedonism, Arcadian landscapes, and the "celebrity" portrait, which positioned ordinary people in the roles of notable historical or allegorical characters.Rococo art and architecture carried a strong sense of theatricality and drama, influenced by stage design. Theater's influence could be seen in the innovative ways painting and decorative objects were woven into various environments, creating fully immersive atmospheres.Detail-work flourished in the Rococo period. Stucco reliefs as frames, asymmetrical patterns involving motifs and scrollwork, sculptural arabesque details, gilding, pastels, and tromp l'oeil are the most noted methods that were used to achieve a seamless integration of art and architecture.The term "rococo" was first used by Jean Mondon in his Premier Livre de forme rocquaille et cartel (First book of Rococo Form and Setting) (1736), with illustrations that depicted the style used in architecture and interior design. The term was derived from the French rocaille, meaning "shell work, pebble-work," used to describe High Renaissance fountains or garden grottos that used seashells and pebbles, embedded in stucco, to create an elaborate decorative effect.Key Artists François Boucher Overview, Artworks, and Biography Jean-Antoine Watteau Overview, Artworks, and Biography Jean-Honoré Fragonard Overview, Artworks, and Biography Jean-Baptiste Simeon Chardin Overview, Artworks, and Biography Tiepolo Overview, Artworks, and Biography Canaletto Overview, Artworks, and Biography Thomas Gainsborough Overview, Artworks, and Biography Élisabeth Louise Vigée Le Brun Overview, Artworks, and Biography Artworks and Artists of Rococo Progression of Art1717The Embarkation for CytheraArtist: Jean-Antoine Watteau This painting depicts a number of amorous couples in elegant aristocratic dress within an idealized pastoral setting on Cythera, the mythical island where Venus, the goddess of love, birthed forth from the sea. The gestures and body language are evocative, as the man standing below center, his arm around the waist of the woman beside him, seems to earnestly entreat her, while she turns back to gaze wistfully at the other couples. A nude statue of the goddess rises from a pedestal that is garlanded with flowers on the right, as if presiding over the festivities. On the left, she is doubly depicted in a golden statue that places her in the prow of the boat. Nude putti appear throughout the scene, soaring into the sky on the left, or appearing between the couples and pushing them along, and nature is a languid but fecund presence. Overall, the painting celebrates the journey of love. As contemporary critic Jeb Perl wrote, "Watteau's paired lovers, locked in their agonizing, delicious indecision, are emblems of the ever-approaching and ever-receding possibility of love." As art critic Holly Brubach wrote, "Watteau's images are perfectly suspended between the moment just before and the moment after... the people he portrays are busy enacting not one but several possible scenarios." His figures are not so much recognizable individuals, as aristocratic types, with smooth powdered faces, that together create a kind of choreography of color and pleasure. With this work, Watteau's reception piece for the Academy, he pioneered the fête galante, or courtship painting, and launched the Rococo movement. As Jonathan Jones wrote, "In the misty, melting landscapes of paintings ... he unequivocally associates landscape and desire: if Watteau's art looks back to the courtly lovers of the middle ages it begins the modern history of sensuality in French art." Oil on canvas - Musée du Louvre, Paris c. 1718-19PierrotArtist: Jean-Antoine Watteau This painting (formerly known as Gilles) depicts Pierrot, a traditional character in Italian commedia dell'arte. He is elevated on center stage in what appears to be a garden and he faces the viewer with a downcast expression as his white satin costume dominates, its ballooning midsection lit up. He seems almost like a two-dimensional cut-out figure. Other stock characters surround him but Pierrot remains separate as if he has stepped out of their scene. The negative space in the upper left further emphasizes Pierrot's isolation. As Jonathan Jones wrote, "Watteau makes the fiction of the picture manifest," as the character, "in his discomfort and alienation, rebels not only against his stock character role in the comedy, but his role in this painting. His stepping out of the play is also a stepping out of the fiction painted by Watteau." Watteau pioneered the artistic representation of theatrical worlds, a distinctive Rococo genre, and he also recast the character of Pierrot from a kind of bumbling, lovelorn fool into a figure of alienated longing. As Jones wrote, "representation of theatrical, socially marginal worlds, following Watteau, is central to French modern art, from the impressionists' cafe singers to Toulouse-Lautrec's dancers and prostitutes and Picasso's Harlequins." As the figure of Pierrot became a figure of the artist's alter ego, this painting influenced a number of later art movements and artists, including the Decadents, the Symbolists, and artists like André Derain, as seen in his Harlequin and Pierrot (c. 1924). The influence also extended to pop culture as shown in David Bowie's early performance in Lindsay Kemp's Pierrot in Turquoise (1967) where Bowie said, "I'm Pierrot. I'm Everyman. What I'm doing is theatre, and only theatre. What you see on stage isn't sinister. It's pure clown. I'm using myself as a canvas and trying to paint the truth of our time." Oil on canvas - Musée du Louvre, Paris c. 1730The Entrance to the Grand CanalArtist: Canaletto This noted landscape depicts the entrance to the Grand Canal in Venice, with a number of gondoliers and their passengers maneuvering horizontally across the canvas. Their asymmetrical placement creates movement as three gondolas extend upward in the center and draw the viewer's eye into the distance, further emphasized by the perspective of the buildings on the right and the church on the left. The subtle use of local colors give the piece a golden feel and a sense of the idyllic life of the times, which was informed by the Venetian school's love of Arcadian landscapes that heavily informed the Rococo aesthetic. Canaletto was a pioneer in painting from nature and conveying the atmospheric effects of a particular moment, which has led some scholars to see his work as anticipating Impressionism. As Jonathan Jones wrote, "the delicate feel for light playing on architecture...makes Canaletto so beguiling." At the same, his innovative use of topography, rendering a locale with scientific accuracy, influenced subsequent artists, as art historian John Russell noted, "he took hold of his native city as if no detail of its teeming life was too small or too trivial to deserve his attention." Venice was a noted stop for British aristocrats on the Grand Tour, and most of Canaletto's work was sold to this audience. The British art dealer Owen Swiny encouraged him to paint small, even postcard-sized, topographical views to sell to tourists, and the banker and art collector, Joseph Smith, became a noted patron, selling a large number of his works to King George III. In 1746 Canaletto moved to London where he painted scenes of London, such as his Westminster Bridge (1746). Ever since his work has retained its popularity and influence: it was featured in the David Bickerstaff film Canaletto and the Art of Venice (2017), and this painting was used in the video game Merchant Prince II (2001). Oil on canvas - Museum of Fine Arts, Houston, Texas 1733-34Soap BubblesArtist: Jean-Baptiste Simeon Chardin This painting depicts two children at play. An older boy, leaning forward, blows through a reed, expanding a luminous soap bubble. A younger child in shadow, wearing a cap with a plume, peers over the ledge, his gaze also focused on the shimmering bubble. The color palette, muted with various shades of rich brown and black, emphasizes the contrasting light and ruddy glow of the boy's hands and face, so that the viewer too becomes aware of the hushed absorption in childhood play. The paint applied with a thick impasto conveys the tactile textures of stone, fabric, and skin. The work creates a feeling of childhood innocence focused on an ephemeral joy, while also being allusive, as the artist's contemporaries would have registered the soap bubble as a symbol of life's transience. Influenced by Dutch Golden Age genre painters, Chardin's realistic genre scenes were his unique contribution to the Rococo period. Unlike most artists who focused on the aristocracy and its entertainments, he depicted domestic scenes, children at play, and still lifes, all reflecting the Rococo's homage to leisurely pastimes. As Jones also wrote, Chardin painted "the world of middle-class pleasures" and the "French aesthetic of the everyday ...appears for the first time in Chardin's paintings and made him a cult figure for modern French artists and writers." His work influenced Gustave Courbet, Paul Cézanne, Édouard Manet, and Vincent Van Gogh, among others. Oil on canvas - The Metropolitan Museum of Art, New York 1751La Toilette de Vénus (The Toilet of Venus)Artist: François Boucher This portrait depicts a nude Madame de Pompadour in the guise of Venus, the classical goddess of love, attended by three cherubs and two white doves. She sits on a chaise lounge, its back framed with gold rocaille topped with a statue of a reclining cherub. Blue drapes, luminescent with light and shadow, open to a partial view of a beautiful garden, frame the scene with an atmosphere of leisure. The figurative treatment is idealized, almost air-brushed, while the setting is ornately detailed and decorative, creating an overall effect that embodies the concept of luxury itself. Boucher transformed the Rococo period with his sensual depictions of the era's notable citizens, social celebrities, and past times, creating his own distinct, pictorial brand. A veritable "who's who of the time", Madame de Pompadour commissioned Boucher to paint this work for her private dressing room in the Chateau de Bellevue. The painting was a tribute to her, as she had played the title role of Venus in La Toilette de Venus (1750) at Versailles. As art historian Melissa Lee Hyde wrote, Boucher's portraits often pointed "to an interesting conflation of theatrical/performed identities and lived identities," showing "a passion for what we might call the art of appearance and an understanding of that art as a vehicle for fashioning and representing identity." Within a few decades, Neoclassicism repudiated Boucher's work for the same qualities that made it so popular among the aristocratic class. His work has only recently begun to be re-evaluated by art historians such as Melissa Lee Hyde and Jed Perl, and contemporary artists John Currin and Lisa Yuskavage have cited Boucher as a direct influence. Oil on canvas - The Metropolitan Museum of Art, New York 1756Portrait of Madame de PompadourArtist: François Boucher This full-length portrait of Madame de Pompadour emphasizes stylish elegance, as she reclines in an exuberant green silk dress with a pattern of pink roses across her bodice and neckline. The room's interior, framed by gold brocade draperies with an elaborate gold cartel clock displayed over the fireplace, is equally resplendent. The details are also symbolic, as the bookcase full of books, the books scattered on the floor, and the clock shaped as a lyre and decorated with laurel, symbolize the love of literature, music, and poetry. She conveys both an air of confidence and pleasurable relaxation, her pink high heels peeking from below her skirt, two beautiful roses lying at her feet. Yet the work also depicts her intellectual influence, an open book in her left hand, a writing quill and an envelope on the table to the right. Turning her gaze to the left was, at the time, a pose that represented being engaged in philosophical thought. As a result, the work is a kind of social iconography, each element, carefully chosen and stylistically unified to create an exemplary image. Described by art critic Suzy Menkes, as "one of the earliest and most successful self-image makers," Madame de Pompadour commissioned this portrait, along with others by Boucher, and requested to see them, while they were in progress, so she could direct how she wished to appear. As Menkes noted, Boucher's "flattering and decorative paintings" were an early artistic example of "the celebrity tabloid treatment." In 1756 Pompadour was appointed lady-in-waiting at the court, and art historian Elise Goodman suggests that the moment depicted here, noted by the 8:20 on the clock, was meant to commemorate, "her elevation, when, at the height of aristocratic self-confidence...she withdrew to her library-boudoir to luxuriate in her new position and enjoy the activities she loved." Boucher's images of Madame Pompadour so characterized the Rococo movement that the writers Jules and Edmond de Goncourt were to write, "In a letter on the taste of the French, which is part of a collection of manuscript ephemera dating from 1751...I found carriages a la Pompadour, cloth in the couleur Pompadour, ragouts a la Pompadour... there is not a single scrap pertaining to the toilette of a woman that is not a la Pompadour." Oil on canvas - Alte Pinakothek, Munich, Germany 1767-68The SwingArtist: Jean-Honoré Fragonard This iconic work depicts a fanciful woman flying on a swing in a verdant garden, her dress blooming like an extravagant pink flower, as a young dandy falls back into the bushes on the left, his face blushing with excitement to look up her skirt. In the shadows at the right an older man is pulling on the swing's ropes to propel the young woman forward. Beneath her are two embracing cherubs and at the left, another cupid stands on a pedestal holding his hand up to his lips in admonition. The image was scandalous for its time because of its densely layered sexual allusions. Fragonard's expressive brushstrokes create a swirling flow between figure and foliage, so that nature itself seems to be caught up in the excitement of the moment. At the same time, the artist used light and shadow to direct the viewer's eye toward discovering the work in stages. The viewer notices first the woman on the swing, then the young man, and, finally, the older man in shadow at the right. The effect is one of a kind of stage lighting, creating drama and narrative. Fragonard's work was rediscovered by the writers Edmund and Jules de Goncourt in L'Art du XVIIIe siècle (Eighteenth-Century Art) (1865), and his work subsequently influenced the Impressionists, particularly Pierre-Auguste Renoir and Berthe Morisot, who was also his granddaughter. The Swing has become an artistic and cultural icon. It was revisited by contemporary artists Yinka Shonibare and Kent Monkman in their own work. Balloon artist Larry Moss referred to it in his 3D installation of The Swing for his Masterworks series at the Phelps Art Center in 2013. Oil on canvas - Wallace Collection, London 1752Allegory of the Planets and ContinentsArtist: Tiepolo This gorgeously festive depiction of the sun's course across the sky is presented in an operatic splendor of swirling arabesques, color, and light. At left of center, the Greek sun god Apollo stands with the radiant orb behind him, calling up the sun horses on his right. On the cornice, groups of allegorical figures with representative animals denote Europe, Asia, America, and Africa, while the gods, symbolizing the planets, swirl around the sun god. Mars, the god of war, is reclining with a nude Venus, on a dark cloud beneath Apollo, while Mercury with his caduceus in hand flies down from the upper left. This painting was made for a dazzling staircase ceiling he created at the Würzburg Residenz in Germany for the prince-bishop Carl Phillip von Grieffenklau. Painted on an enormous vault, Tiepolo's trompe l'oeil treatment created a dramatic impression in contrast to the white marble Neoclassical staircase designed by Balthasar Neumann. Tiepolo's painting of the Europe section includes a portrait of the architect, as well as of von Grieffenklau. Additionally, the artist portrayed his son Giandomenico and the artist Antonio Bossi, both of whom worked with him on the project, and a self-portrait. This fresco remains the largest in the world, composed so that the painting's individual sections could be viewed from a particular stopping place, as if the perspective adjusted to the position of the viewer. Tiepolo's innovation was his arrangement of pastels in a complementary scheme, so that the tension in the color would emphasize the narrative movement and the dramatic poses of the figures to create a lively effect. The result was called sprezzatura, or a "studied carelessness." As art historian Keith Christiansen wrote, Tiepolo "celebrates the imagination by transposing the world of ancient history and myth, the scriptures, and sacred legends into a grandiose, even theatrical language." It was this quality of Tiepolo's imagination that influenced Francisco Goya throughout his career, both in his early tapestry designs and later in his etchings as he drew upon Tiepolo's mysterious and sometimes bizarre prints in the Capricci (c. 1740-1742) and the Scherzi di fantasia (c. 1743-1757). Oil on canvas c. 1770The Blue BoyArtist: Thomas Gainsborough This full-length portrait depicts a boy, wearing blue satin knee breeches and a lace-collared doublet as he gazes, unsmiling, at the viewer. Holding a plumed hat in his right hand, his other hand cocked on his hip, he conveys both self-confidence and a touch of swagger. Composed in layers of slashed and fine brushstrokes with delicate tints of slate, turquoise, cobalt, indigo, and lapis lazuli, the blue becomes resplendent, almost electric against the stormy and rocky landscape. Originally, the painting was thought to portray Jonathan Buttall, the son of a wealthy merchant, but contemporary scholarship has identified the model to most likely be the artist's assistant and nephew Gainsborough Dupont. As art critic Kimberly Chrisman-Campbell wrote, the work "is a kind of English Civil War cosplay popular for masquerade balls in the 18th century," depicting the boy in the outfit of a cavalier, worn by aristocratic Royalists of the 1630s. His posture and facial expression play the part as well, for cavaliers were defined not only by their stylish clothing but their nonchalant and swashbuckling attitude. Thus, the work, Gainsborough's most popular, is a tour de force, combining masterful portraiture with a costume study and his artistic reply to the works of Anthony van Dyck, famous for his portraiture of King Charles I's court and the cavaliers who supported him. Yet, by primarily using blue, traditionally thought to be more suited for background elements, Gainsborough also challenged traditional aesthetic assumptions. The work carries Rococo's traditional visual appeal and play with costumed figures, but Gainsborough also added innovative elements of realism, as seen in the buttons tightly lacing the doublet together, and prefigured Romanticism by portraying a solitary figure outlined against a turbulent sky. Gainsborough came to exemplify British Rococo with society portraits of his wealthy clients. The painting was immediately successful at its 1770 debut at the Royal Academy of Art in London and became so identified with British cultural identity that, when in 1921 the Duke of Westminster sold it to the American tycoon Henry Huntington, it caused a scandal. Friedrich Wilhelm Murnau's silent film Knabe in Blau (The Boy in Blue) (1919) was inspired by the painting, as was Cole Porter's song Blue Boy Blues (1922). Pop artist Robert Rauschenberg and contemporary artist Kehinde Wiley were inspired by the work, and artist Alex Israel referenced it in his Self Portrait (Dodgers) (2014‒2015). Shown at the Huntington Museum, paired with Thomas Lawrence's portrait of a girl in pink, Pinkie (1794), the work has taken on further cultural relevance, as both paintings have been used in the TV pilot for Eerie, Indiana (1991) and as set decorations on episodes of Leave It to Beaver (1957-1963). Oil on canvas - Huntington Library, San Marino, California 1782Self-Portrait with Straw HatArtist: Élisabeth Louise Vigée Le Brun This self-portrait emphasizes both aristocratic but casual elegance and artistic prowess. Dressed in shimmering silk, her white cuffs drawing attention to her extended right hand, her white collar emphasizing the daring cut of her neckline, she holds a palette and brushes in her left hand. The wide brimmed straw hat, encircled with vibrant flowers and sporting, becomes a focal point of the work's emphasis on the play of light, as the upper part of her face is softly shadowed, bringing forth her confident direct gaze, while sunlight illuminates the right side of her face and her upper torso. Two long crystal earrings play counterpoint, echoing light and shadow. The background is only sky, its robin's egg blue framing her face, and the overall effect is as art historian Simon Schama wrote, "a fetching but carefully calculated nonchalance." This work was influenced by Peter Paul Rubens' Le Chapeau de Paille (The Straw Hat) (1622-1625). After seeing it in Antwerp, Le Brun wrote, "it delighted and inspired me to such a degree that I made a portrait of myself at Brussels, striving to obtain the same effects." Women artists were confined to portraiture for the most part. A number of renowned female Rococo artists included Rosalba Carriera, Adélaïde Labille-Guiard, and Angelica Kauffman. The most well known was Vigée Le Brun, who, at the age of twenty-three, became the official painter for Queen Marie Antoinette. Le Brun's innovations were in portraiture, as Schama wrote, "[n]o one, it became quickly apparent...could compete with this young woman as an artist of artlessness, " and her "great breakthrough is to remake women, immemorially the prisoner of male ogling, into the unmistakable mistress of their own presence." Oil on canvas - The National Gallery, London Beginnings of RococoIn painting Rococo was primarily influenced by the Venetian School's use of color, erotic subjects, and Arcadian landscapes, while the School of Fontainebleau was foundational to Rococo interior design.The Venetian School The noted painters Giorgione and Titian, among others, influenced the Rococo period's emphasis on swirling color and erotic subject matter. Pastoral Concert (c. 1509), first attributed to Giorgione, though now credited by most scholars as one of Titian's early works, was classified as a Fête champêtre, or outdoor party, by the Louvre when it first became part of the museum's collection. The Renaissance work depicting two nude women and two aristocratic men playing music in an idealized pastoral landscape would heavily influence the development of Rococo's Fête galante, or courtship paintings. The term referred to historical paintings of pleasurable past times and became popularized in the works of Jean-Antoine Watteau.School of Fontainebleau 1528-1630 In 1530 King Francis I, a noted art patron, invited the Italian artist Rosso Florentino to the French court, where, pioneering the courtly style of French Mannerism, Rosso founded the School of Fontainebleau. The school became known for its unique interior design style in which all the elements created a highly choreographed unity. Rosso pioneered the use of large stucco reliefs as frames, adorned with decorative and gilded motifs that would heavily influence Rococo's emphasis on elaborated settings.Gilding was a key contribution of Fontainebleau, providing exquisite splendor to objects as seen in Benevento Cellini's famous Salt Cellar (1543), which Francis I commissioned in gold. Even simple elements of Rococo interiors became highly accentuated as seen in the popularity of cartel clocks, embedding regular clocks into intricate settings that resembled pieces of sculpture, and which seamlessly complemented the overall look and feel of their surrounding interiors.The Era of Rococo Design Rococo debuted in interior design when engraver Pierre Le Pautre worked with architect Jules Hardouin-Mansart on the Château de Marly (1679-1684), and later at Versailles in 1701 when he redesigned Louis XIV's private apartments. Le Pautre pioneered the use of arabesques, employing an s-shaped or c-shaped line, placed on white walls and ceilings. He also used inset panels with gilded woodwork, creating a whimsical, lighter style. Le Pautre was primarily known as an ornemaniste, or designer of ornament, which reflects the popular role at the time of artisans and craftsmen in developing the highly decorative style.During the reign of Louis XIV, France had become the dominant European power, and the combination of great wealth and peaceful stability led the French to turn their attention toward personal affairs and the enjoyment of worldly pleasures. When the King died in 1715, his heir Louis XV was only five years old, so the Regency, led by the Duc d' Orléans, ruled France until the Dauphin came of age. The Duke was known for his hedonistic lifestyle, and Rococo's aesthetics seemed the perfect expression of the era's sensibility. Taking the throne in 1723, Louis XV also became a noted proponent and patron of Rococo architecture and design. Since France was the artistic center of Europe, the artistic courts of other European countries soon followed suit in their enthusiasm for similar embellishments.Jean-Antoine Watteau Jean-Antoine Watteau spearheaded the Rococo period in painting. Born in Valenciennes, a small provincial village in Belgium that had recently been acceded to the French, his precocity in art and drawing led to his early apprenticeship with a local painter. Subsequently he went to Paris where he made a living producing copies of works by Titian and Paolo Veronese. He joined the studio of Claude Audran, who was a renowned decorator, where he met and became an artistic colleague of Claude Gillot, known for his decoration of commedia dell'arte, or comic theater productions. As a result, Watteau's work often expressed a theatrical approach, showing figures in costume amongst backdrop scenery, lit up with artificial light.In 1712 Watteau entered the Prix de Rome competition of the Académie Royale de Peinture et de Sculpture, and the Academy admitted him as a full member. His "reception piece" for the Academy, Embarkation for Cythera (1717), effectively launched the Rococo movement. The Academy coined the term Fête galante, or courtship party, to refer to the work, thus establishing the category that was to be a dominant element of Rococo painting. Fête galante paintings depicted the fête champêtre, or garden party, popular among the aristocratic class, where, dressed as if for a ball or wearing costumes, they would wine, dine, and engage in amorous pursuits within Arcadian gardens and parks. The artistic subject not only appealed to private patrons, but its mythologized landscapes and settings met the standards of the Academy which ranked historical painting, including mythological subjects, as the highest category.Claude Audren was the official Keeper of the Luxembourg Palace and, while working with him, Watteau copied Peter Paul Ruben's series of twenty-four paintings of the Life of Marie de' Medici (1622-25), which was displayed at the palace. Ruben's series, combining allegorical figures and mythological subjects with depictions of the Queen and the aristocratic court, continued to inform Watteau's work. Rubens had pioneered the technique of trois crayons, meaning three chalks, a technique using red, black, and white, to create coloristic effects. Watteau mastered the technique to such a degree that his name became associated with it, and it was widely adopted by later Rococo artists, including François Boucher.François Boucher Influenced by Rubens and Watteau, François Boucher became the most renowned artist of the mature Rococo period, beginning in 1730 and lasting until the 1760s. Noted for his painting that combined aristocratic elegance with erotic treatments of the nude, as seen in his The Toilet of Venus (1751), he was equally influential in decorative arts, theatrical settings, and tapestry design. He was appointed First Painter to the King in 1765, but is most known for his long time association with Madame de Pompadour, the official first mistress of King Louis XV and a noted patron of the arts. As a result of his mastery of Rococo art and design and his royal patronage, Boucher became "one of those men who represent the taste of a century, who express, personify and embody it," as the noted authors Edmond and Jules de Goncourt wrote.Madame de Pompadour Madame de Pompadour, born Jeanne-Antoinette Poisson, has been called the "godmother of the Rococo," due to her centrality in promoting the style and establishing Paris as the artistic capital of Europe. She influenced further applications of Rococo due to her patronage of artists such as Jean-Marc Nattier, the sculptor Jean Baptiste Pigalle, the wallpaper designer Jean-Baptiste Réveillon, and the gemstone engraver Jacques Guay. The King's official first mistress from 1745-1751, she remained his confidant and trusted advisor until her death at the age of 42 due to tuberculosis. Her role and status became the de facto definition of royal patronage.Rococo: Concepts, Styles, and TrendsFrench Rococo France was the center of the development of Rococo. In design, the salon, a room for entertaining but also impressing guests, was a major innovation. The most famous example was Charles-Joseph Natoire and Germain Boffrand's La Salon de la Princesse (1735-1740) in the residence of the Prince and Princess de Soubise. The cylindrical interior's white walls, gilded wood, and many mirrors created a light and airy effect. Arabesque decorations, often alluding to Roman motifs, cupids, and garlands, were presented in gold stucco and plate relief. Asymmetrical curves, sometimes derived from organic forms, such as seashells or acanthus fronds, were elaborate and exaggerated. The minimal emphasis on architecture and maximum emphasis on décor would become cornerstone to the Rococo movement.Painting was an essential part of the Rococo movement in France, and the noted painters who led the style, Antoine Watteau followed by François Boucher, influenced all elements of design from interiors to tapestries to fashion. Other noted artists included Jean-Baptiste van Loo, Jean-Marc Nattier, and François Lemoyne. Lemoyne was noted for his historical allegorical paintings as seen in his Apotheosis of Hercules (1733-1736) painted on the Salon of Hercules' ceiling at Versailles. A noted feature of French Rococo painting was the manner in which a number of noted artist families, such as the van Loos and the Coypels, maintained a consistent style and subject matter in their workshops.Italian Rococo Painting took the lead in Italian Rococo, exemplified by the works of the Venetian artist Tiepolo. Combining the Venetian School's emphasis on color with quadratura, or ceiling paintings, Tiepolo's masterworks were frescos and large altarpieces. Famed throughout Europe, he received many royal commissions, such as his series of ceiling paintings in the Wurzburg Residenz in Germany, and his Apotheosis of the Spanish Monarchy (1762-1766) in the Royal Palace in Madrid.Italian Rococo was also noted for its great landscape artists known as "view-painters," particularly Giovanni Antonio Canal, known simply as Canaletto. He pioneered the use of two-point linear perspective while creating popular scenes of the canals and pageantry of Venice. His works, such as his Venice: Santa Maria della Salute (c. 1740), were in great demand with English aristocrats. In the 1700s it became customary for young English aristocrats to go on a "Grand Tour," visiting the noted sites of Europe in order to learn the classical roots of Western culture. The trips launched a kind of aristocratic tourism, and Venice was a noted stop, famed for its hedonistic carnival atmosphere and picturesque views. These young aristocrats were also often art collectors and patrons, and most of Canaletto's works were sold to an English audience, and in 1746 he moved to England to be closer to his art market and lived there for almost a decade.Rosalba Carriera's pastel portraits, both miniature and full-size, as well as her allegorical works were in demand throughout Europe, as she was invited to the royal courts of France, Austrian, and Poland. She pioneered the use of pastels, previously only employed for preparatory drawings, as a medium for painting, and, by binding the chalk into sticks, developed a wider range of strokes and prepared colors. Her Portrait of Louis XV as Dauphin (1720-1721) established the new style of Rococo portraiture, emphasizing visual appeal and decorative effect.In architecture, Italy continued to emphasize the Baroque with its strong connection to the Catholic church until the 1720s when the architect Filippo Juvarra built several Northern Italian Palaces in the Rococo style. His masterwork was the Stupinigi Palace (1729-1731), built as the hunting lodge for the King of Sardinia in Turin. At the same time, Rococo interiors became popular in Genoa, Sardinia, Sicily, and Venice where the style took on regional variations particularly in furniture design. Italian Rococo interiors were particularly known for their Venetian glass chandeliers and mirrors and their rich use of silk and velvet upholstery.German Rococo Germany's enthusiasm for Rococo expressed itself exuberantly and primarily in architectural masterpieces and interior design, as well as the applied arts. A noted element of German Rococo was the use of vibrant pastel colors like lilac, lemon, pink, and blue as seen in François de Cuvilliés' design of the Amalienburg (1734-1739), a hunting lodge for the Holy Roman Emperor Charles VII in Munich. His Hall of Mirrors in the Amalienburg has been described by art historian Hugh Honour as exemplifying "easy elegance and gossamer delicacy."German design motifs while employing asymmetry and s- and c- curved shapes, often drew upon floral or organic motifs, and employed more detail. German architects also innovatively explored various possibilities for room designs, cutting away walls or making curved walls, and made the siting of new buildings an important element of the effect, as seen in Jacob Prandtauer's Melk Abbey (1702-1736)English Rococo England's employment of Rococo, which was called "French style," was more restrained, as the excesses of the style were met with a somber Protestantism. As a result, rocaille introduced by the émigré engraver Hubert-François Gravelot and the silversmith Paul de Lamerie, was only employed as details and occasional motifs. Around 1740 the Rococo style began to be employed in British furniture, most notably in the designs of Thomas Chippendale. His catalogue Gentleman's and Cabinet-makers' directory (1754), illustrating Rococo designs, became a popular industry standard.Rococo had more of an impact upon British artists such as William Hogarth, Thomas Gainsborough, and the Swiss Angelica Kauffman. In his The Analysis of Beauty (1753) Hogarth advocated for the use of a serpentine line, seeing it as both more organic and aesthetically ideal. Gainsborough first studied with Gravelot, a former student of Boucher, whose feathery brushwork and color palette influenced Gainsborough's portraiture toward fluidity of light and color. Though Swiss-born, Angelica Kauffman spent most of her life in Rome and London. From 1766 to 1781 she lived in London where influential Sir Joshua Reynolds particularly admired her portraiture. One of only two women elected to the Royal Academy of Arts in London, she played a significant role in both advancing the Rococo style and, subsequently, Neoclassicism.Later Developments - After RococoIn 1750 Madame de Pompadour sent her nephew Abel-François Poisson de Vandières to study developments in Italian art and archeology. Returning with an enthusiasm for classical art, Vandières was appointed director of the King's Buildings where he began to advocate for a Neoclassical approach. He also became a noted art critic, condemning Boucher's petit style, or "little style." Noted thinkers of the day, including the philosopher Voltaire, the art critic Diderot also critiqued Rococo as superficial and decadent. These trends, along with a rising revolutionary fervor in France caused Rococo to fall out of favor by 1780.The new movement Neoclassicism, led by the artist Jacques-Louis David, emphasized heroism and moral virtue. David's art students even sang the derisive chant, "Vanloo, Pompadour, Rococo," singling out the style, one of its leading artists, and it most noted patron. As a result, by 1836 it was used to mean "old-fashioned," and by 1841 was used to denote works seen as "tastelessly florid or ornate." The negative connotations continued into the 20th century, as seen in the 1902 Century Dictionary description "Hence rococo is used... to note anything feebly pretentious and tasteless in art or literature."Rococo design and painting would veer toward divergent paths, as Rococo design, despite the new trends in the capital, continued to be popular throughout the French provinces. In the 1820s under the restored monarchy of King Louis Philippe, a revival called the "Second Rococo" style became popular and spread to Britain and Bavaria. In Britain the revival became known as Victorian Rococo and lasted until around 1870, while also influencing the American Rococo Revival in the United States, led by John Henry Belter. The style, widely employed for upscale hotels, was dubbed "Le gout Ritz" into the 20th century. However, in painting Rococo fell out of favor, with the exception of the genre paintings of Chardin, highly praised by Diderot, which continued to be influential and would later make a noted impact on Paul Cézanne, Édouard Manet, and Vincent van Gogh.Edmund and Jules de Goncourt rediscovered the major Rococo painter Jean-Honoré Fragonard in L'Art du XVIIIe siècle (Eighteenth-Century Art) (1865). He subsequently influenced the Impressionists, especially Pierre-Auguste Renoir and Berthe Morisot, and has gone on to influence contemporary artists like Yinka Shonibare, Kent Monkman, and Lisa Yuskavage.Also rediscovered by the de Goncourt brothers, Watteau's commedia dell'arte subjects influenced Pablo Picasso, Cézanne, and Henri Matisse, as well as many poets such as Paul Verlaine and Guillaume Apollinaire, the composer Arnold Schoenberg, and the choreographer George Balanchine.The term Rococo and the artists associated with it only began to be critically re-evaluated in the late 20th century, when the movements of Pop Art and the works of artists like Damien Hirst, Kehinde Wiley, and Jeff Koons created a new context for art expressing the same ornate, stylistic, and whimsical treatments. Rococo has had a contemporary influence as seen in Ai Weiwei's Logos 2017 where, as art critic Roger Catlin wrote, "What looks like a fancy rococo wallpaper design in black and white and in gold is actually an arrangement of handcuffs, chains, surveillance cameras, Twitter birds and stylized alpacas - an animal which in China has become a meme against censorship." The movement also lives on in popular culture, as shown in Arcade Fire's hit song "Rococo" (2010).Useful Resources on RococovideosBookswebsitesarticlesvideos 72k viewsLandmarks of Western Art: From Rococo to RevolutionOur Pick Artist Specific Videos 3k viewsSoap Bubbles, probably 1733/1734, Jean Simeon ChardinNational Gallery of Art 15k viewsVigée Le Brun: Woman Artist in Revolutionary FranceThe Met Lectures/Talks 22k viewsMusic and Theatre in Watteau's ParisOur PickTalk by Georgia Cowart /

The Met 3k viewsPageantry of Venice: Canaletto's Portrayals of State FestivalsTalk by Dawson Carr /

Portland Art Museum 118k viewsCanaletto: view paintings of VeniceTalk by Francesca Whitlum-Cooper /

National Gallery 43k viewsColin B. Bailey presents Fragonard's 'Progress of Love'The Frick Collection 56k viewsSecrets of the Wallace: The Swing by Jean-Honoré Fragonard (1767)Our PickCarmen Holdsworth-Delgado /

The Wallace Collection 6k viewsThomas Gainsborough: The Substance of StyleBy Frederick Ilchman /

WGBHForum 27k viewsRococo: Chardin and the RayBy Waldemar Januszczak /

zczfilms 6k viewsRoyal Collection: Charles-Alexandre de Calonne by Elisabeth Vigée Le BrunBy Jennifer Scott /

The Royal Family View more videosBooksThe books and articles below constitute a bibliography of the sources used in the writing of this page. These also suggest some accessible resources for further research, especially ones that can be found and purchased via the internet.artworks Rococo: Art of the CenturyBy Victoria Charles and Klaus H. Carl Rococo to Revolution: Major Trends in Eighteenth-Century PaintingOur PickBy Michael Levey Rococo: The Continuing CurveBy Sarah D. Coffin RococoBy Eve Gesine Baur websites Würzburg ResidenceOur PickStaircase articles Watteau at the Royal Academy: the theatre of lifeOur PickBy Jonathan Jones /

The Guardian /

March 14, 2011 The Clown PrinceOur PickBy Holly Brubach /

New York Times /

October 19, 2008 Canaletto's Venice: a city for pleasure seekersBy Nick Trend /

The Telegraph /

October 13, 2010 How Canaletto and the Venetian artists light up the National GalleryBy Jonathan Jones /

The Guardian /

October 15, 2010 More Than Rococo Pinups Among Boucher's DrawingsBy Ken Johnson /

New York Times /

October 24, 2003 Saving One of Western Art's Most Iconic PaintingsBy Kimberly Chrisman-Campbell /

The Atlantic /

September 22, 2017 The Praise and Prejudices Vigée Le Brun Faced in Her Exceptional 18th-Century CareerBy Tiernan Morgan /

Hyperallergic /

May 12, 2016 Madame de Pompadour Was Far More Than a 'Mistress'By Kat Eschner /

smithsonian.com /

December 29, 2017 The Faces of Madame de PompadourBy Suzy Menkes /

New York Times /

December 3, 2002 View more articlesRelated Artists François Boucher Overview, Artworks, and Biography Jean-Antoine Watteau Overview, Artworks, and Biography Jean-Honoré Fragonard Overview, Artworks, and Biography Jean-Baptiste Simeon Chardin Overview, Artworks, and Biography Related Movements & Topics The Baroque Summary, History, Artworks Neoclassicism Summary, History, Artworks Romanticism Summary, History, Artworks Dutch Golden Age Summary, History, Artworks Share Do moreCite articleCorrect articlePrintContent compiled and written by Rebecca Seiferle Edited and revised, with Summary and Accomplishments added by Kimberly Nichols "Rococo Movement Overview and Analysis". [Internet]. . TheArtStory.org Content compiled and written by Rebecca Seiferle Edited and revised, with Summary and Accomplishments added by Kimberly Nichols Available from: First published on 25 Oct 2018. Updated and modified regularly [Accessed ] Copy to clipboard Related Movements The Baroque Neoclassicism Romanticism Dutch Golden Age All Movements Related Artists François Boucher Jean-Antoine Watteau Jean-Honoré Fragonard Jean-Baptiste Simeon Chardin All Artists Timelines Movements Timeline The Top 50 Timeline The Modern Sculpture Timeline AbEx Timeline All Timelines Ideas Modern Art - Defined Postmodernism - Defined Art Terms Art Influencers Full Section Overview The Art Story a 501(c)3 Nonprofit About Us Contact Us SUPPORT US ©2008-2024 The Art Story Foundation. All Rights Reserved | Privacy Policy | Sitemap

如何理解巴洛克和洛可可艺术？ - 知乎

如何理解巴洛克和洛可可艺术？ - 知乎首页知乎知学堂发现等你来答切换模式登录/注册艺术美术西方文化巴洛克风格洛可可艺术如何理解巴洛克和洛可可艺术？最近学艺术美学，对西方建筑和美术史感兴趣。以前也做过关于欧美艺术的课件，但对这两种风格不大分得清。 BAROCCO是一种欧洲艺术风格，指自17世纪初直…显示全部关注者255被浏览123,096关注问题写回答邀请回答好问题 81 条评论分享18 个回答默认排序ChrisLex工业设计工业设计话题下的优秀答主关注巴洛克和洛可可风格是我们非常容易混淆的两种风格。本回答主要讨论两者的异同点。先上结论：首先，巴洛克式和洛可可式之间的主要区别在于，洛可可式的作品比巴洛克式的风格更为精致和女性化。（1）巴洛克用色大胆，颜色鲜明，给人富丽堂皇的感觉；洛可可的色彩相对柔和，主要有白色、粉色、金色、粉黄、粉绿等小清新的颜色。（2）巴洛克倾向于富丽的装饰和雕刻，强调对称，给人以古典庄重之感；而洛可可风格喜欢意趣盎然的曲线，以纤巧、细致、浮夸的曲线和不对称的装饰为特点。其他的区别包括：（1）巴洛克风格起源于意大利，后来又转移到欧洲其他地区。洛可可式风格始于法国，（2）巴洛克是建筑风格，适用于外部建筑；而洛可可是装饰风格，是艺术和内部的一种表达（3）巴洛克式装饰通常用于教堂内部。洛可可式很少运用于教堂巴洛克出现的早一些，主要流行于公元1643-1715年（路易十四时期），洛可可流行于公元1723-1774年（路易十五时期）。时间上洛可可是在巴洛克之后,比巴洛克线条更轻快，更偏重欧洲宫廷风格。以下是这两种艺术形式的一些示例：巴洛克式埃涅阿斯·弗莱斯·伯恩斯（Feeneco Barocci），1598年马耳他圣约翰大教堂的主祭坛巴洛克用色大胆，颜色鲜明，主要有黄、红、蓝、绿、金、银等，给人富丽堂皇的感觉贝尼尼的《特蕾莎修女大狂欢》巴洛克一词最早来源于葡萄牙语（Barroco)，意为“形状怪异的珍珠”。巴洛克式的兴起源于反对严肃，拘束和理性的古典主义形式。这是一门充满激情的艺术。为了打破理性的宁静与和谐，巴洛克具有浪漫主义色彩，并强调了艺术家丰富的想象力。在建筑方面，巴洛克强调华丽，壮观，雄伟，炫耀。这点很好理解，因为太阳王路易十四就是巴洛克风格最忠实的推动者。洛可可洛可可的色彩相对柔和，主要有白色、粉色、金色、粉黄、粉绿等小清新的颜色洛可可式是从巴洛克风格演变而来的。洛可可最先出现于装饰艺术和室内设计中。路易十五登基之后，巴洛克设计逐渐被有着更多曲线和自然形像的较轻的元素取代。这是因为从路易十四后期，路易十五时期开始，整个欧洲都弥漫着奢侈，骄纵的浮华。衣服越穿越华丽，建筑越来越漂亮，并且不计成本。相较于前期的巴洛克，洛可可反映出当时的社会享乐、奢华以及爱欲交织的风气。值得注意的是，在法国高度发展的洛可可风格受到了中国风的影响。洛可可Rococo这个字是从法文Rocaille和coquilles合并而来。 Rocaille是一种混合贝壳与小石子制成的室内装饰物，而coquilles则是贝壳。原意为建筑装饰中一种贝壳形图案。绘画方面，相较于巴洛克，洛可可风格绘画中的主角不再是神，圣人或骑士，而是朝臣和贵族。所描述的内容也是上流社会的人们的奢靡生活，他们拥有细致而优雅的色彩和苗条的性格。锡瑟拉岛上的朝圣之旅，安东尼·瓦托，1717年奥托博伊伦大教堂Gatchina的洛可可式内饰很明显巴洛克风格比洛可可风格更沉重和更暗。但是，洛可可式是通过巴洛克艺术风格演变而来的一种艺术形式。----------------- 广告区：参考：Baroque Art vs. Rococo Art: Characteristics and Definition Rococo vs. Baroque in Architecture and Design Difference Between Baroque and Rococo | Compare the Difference Between Similar Terms 发布于 2021-03-26 10:47赞同 1112 条评论分享收藏喜欢收起陈涤手工高定皮具师关注搞笑手法讲解巴洛克和洛可可，让你秒懂，提升逼格！巴洛克巴洛克(Baroque)本来是意大利的古典主义者发起的（16下半叶~17世纪），后来巴洛克渐渐地背叛文艺复兴的精神，18世纪的评论家贬低这种背叛的奢华风格为“巴洛克”，巴洛克和印象派一样被人骂着骂着就成了一种风格。为什么会兴起巴洛克呢？简单说是民众要造反了，不想承认教皇和教会，所以教会盖这些令人心生敬畏的巴洛克教堂建筑，教堂需要配上令人心潮澎湃的巴洛克画，然后皇家像路易十四，也不甘落后，反正老子有的是钱，不能让教会压自己一头，就盖了凡尔赛宫，然后贵族就要模仿时尚领袖路易十四穿衣打扮，生活也巴洛克了，贵族没事还要再欣赏巴洛克音乐。所以16，17世纪就变得越来越巴洛克。具体事件就是是16、17世纪前后兴起宗教改革运动，罗马教廷卖赎罪券，民众对之日益不满，造反的人觉得：圣经是信仰的最高权威，不承认教皇和教会有解释教义的绝对权力，强调信徒因信称义（得救）。所以巴洛克是为宗教和君权而生。宏伟壮观，充满动感，精湛的透视变奏，戏剧性的构图，起伏波动，体现无限的空间，加以理想光的对比，使画面产生统一协调如舞台布景的效果是巴洛克绘画的特色。接下来我要说5个大家感觉熟悉，但是模棱两可的巴洛克代表画家第一个就是疯狂浪子——卡拉瓦乔（1571 ~ 1610）卡拉瓦乔深深影响了巴洛克画派，他使用的“酒窖光线法”（Tenbroso）让整个画面的光影对比达到了极致。伦勃朗那黑咕隆咚的画就是跟他学的。人生特点：性格暴烈，平民出身，坐牢、逃跑、作画、再坐牢、再逃跑、再作画便是他人生的节奏，37岁就死了！一生中还杀了个人。绘画特点：背景黑咕隆咚，光线照亮人物，绘画些宗教人物，注重写实，教会一次次把卡拉瓦乔请去作画，因为他孤独性格和悲惨的经历，卡拉瓦乔画的神都比较病态，搞得神不像神，太人性化，还有点穷穷的感觉，没有迷惑性。教会的宗旨是迷惑信众，让人觉得高大上，所以教会就让他一遍遍改，性格暴力的他肯定受不了，所以经常画15天的画，就带着剑去街上打15天的架！他的画里还有个特点是，年轻的时候喜欢把自己画成纸醉金迷的半裸小鲜肉，具体原因不能告诉你，嘻嘻嘻。卡拉瓦乔的脾气有多坏呢？请看链接卡拉瓦乔--历史上脾气最坏的画家_艺术百科_艺术资讯_有画网第二个西班牙宫廷御用画家是委拉斯凯兹（1599 ~ 1660），西班牙版韦小宝委拉斯凯兹是国王腓力四世的御用画家和好朋友，级别呢有点像康熙身边的韦小宝。生于小贵族，有一次为了追妹子，跑到人家去要跟女孩的老爹学画画，结果大展才能，后来成了皇室御用画家，当然，妹子也到手了，还成了国王的好友。为了让他去意大利深造，大天才鲁本斯代替他给国王画了两年画，好牛！他画的巴洛克主要表现在在主角的神态上，神态够巴洛克。他一生接触的都是达官显贵，国王，教皇这类的大人物，住在马德里的皇宫里，主攻半身人像画，就连画个平民也有贵族的高雅和威严，堪称17世纪的高级肖像照相机！教皇伊诺森特十世的肖像第三个是巴洛克画派的大天才——鲁本斯（1577 ~ 1640）鲁本斯真正掌握了巴洛克精髓的人物！弗兰德斯画家，生于平民家庭，但是一生过着王子般的生活，才能太高，人太聪明，平民的身份根本盖不住他的光芒！他画的画那叫史诗级别，场景洪大，就算是人也能画成神的感觉，和卡拉瓦乔正好相反，所以鲁本斯得到了重用，谁不希望画中的自己看上去像神呢？看下面《玛丽皇后在马赛港登陆》那一幅画，他画的画才是真正意义上的巴洛克画，真正的找到了巴洛克的根本，够浮夸，够宏大，够奢华！既迎合了天主教廷反改革的口味，也满足了欧洲的王公大臣们的英雄主义情结的需要。49岁时爱妻去逝，53岁时又与一位16岁的妙龄少女海伦·富尔曼结婚，仍然过着幸福生活。他除了是画家，也是外交官，身份地位，聪明才智不言而喻。第四个是倔强的老头——伦勃朗（1606 ~1669）伦勃朗是尼德兰画家，主要给阿姆斯特丹当地的小商人，小贵族画肖像，简单的说是肖像照！是卡拉瓦乔黑咕隆咚画法的忠实粉丝，青出于蓝而胜于蓝。本来富婆妻子活着的时候过的挺好，后来《夜巡》成了他人生中的转折点，事情是这样的，阿姆斯特丹城射手连队众筹了一次，让他画个集体画，他觉得戏剧性的故事性的画更好看些，就没呆板的画前一排后一排的那种集体画，然后有人不乐意了，同样的钱，把我画的那么小，把他画的那莫大，怎么回事？不公平。于是告上法庭，伦勃朗从此没了主顾。《夜巡》当时让伦勃朗声名狼藉，但现在却是名声大噪!画自画像是伦勃朗的最爱，不爱理财，倔强是他的败笔。人生路就是这样，一个不小心，再也爬不起来。虽然他后来又被启用过，但是伦勃朗越老越像卡拉瓦乔，更倔强，画的更粗糙（也有可能是已到境界，不想再细腻。）为了精神世界放弃了物质财富，最终的结果是潦倒而死。第五个是宁静美丽——维米尔（1632 ~ 1675）我最喜欢的画作当属维米尔的作品。无数的笔触却汇聚了宁静的感觉。同是荷兰画家，他画的画多为荷兰平民生活，很多画都是以他的工作室为同一场景，光线运用的非常纯熟，质感细腻到每个纹理，堪称巴洛克时期的一股清流。他的画中往往只有一两位人物，整个画面温馨、舒适、宁静，画面看上去是以微小的画点组合。，因为他创作的画太逼真，许多人猜测他一定是采用某种类似暗箱的光学技术进行创作的。看历史首先看主流，再看不能抹杀的清流巴洛克时期，鲁本斯这样给权贵服务的是主流，维米尔这样自娱自乐的是清流，他们都是历史的一部分，但要清楚主流才是巴洛克历史的主体。晓得巴洛克是怎么回事了吧，就是教会为从视觉和精神上让平民觉得自己无法超越，就是给去教堂的信众提供“刘姥姥进大观园”的感觉，皇室为了与教会抗衡也这么干，所以衍生出这么多的艺术作品，包括建筑，文学，绘画，音乐等巴洛克风格的东东了，好，都晓得了，那就接下来说洛可可。洛可可洛可可(Rococo)是巴洛克这个亚当演化出的夏娃，没巴洛克就没洛可可，是路易十五的情妇蓬巴杜夫人在18世纪的法国引领的一段贵族植物风，其中还夹杂着东方美和瓷器美。洛可可式建筑风格(Rococo Style)以欧洲封建贵族文化的衰败为背景，表现了没落贵族阶层颓丧、浮华的审美理想和思想情绪。他们受不了古典主义的严肃理性和巴洛克的喧嚣放肆，追求华美和闲适。主要是室内装饰，家具，服装，绘画，音乐等，为什么鲜有建筑呢？首先法国开始没落，另外洛可可是为贵族的小范围的享乐，巴洛克是为了搞大规模的精神镇压，所以力度肯定没法根巴洛克的力度比。所以一般就是在之前盖好的宫殿里搞搞田园式的小装修。话说那年，路易十四死了，他的巴洛克顺便遭到了嫌弃，路易十五的当红情妇蓬巴杜看出巴洛克过时了，转而用纤细轻快的嫩绿，粉红的小碎花设计低胸服装，取悦路易十五，皇上喜欢了，自然蓬巴杜也成了当时整个法国贵族效仿的时尚领袖。————————————要分清巴洛克和洛可可室内，先要把罗马柱摘掉（罗马柱上都有植物装饰），看的是墙面本来应该空白的地方用什么装饰。洛可可，满满的各种卷曲的植物+贝壳+小天使，部分不对称，模仿自然植物的繁琐。巴洛克室内装饰一般只是罗马柱头有植物装饰，不看罗马柱，剩下的繁琐装饰主要是各种线的组合，虽然也复杂，但是规律。————————————另外大家觉得分不清巴洛克和洛可可的主要原因是，它们经常是一起出现在同一建筑内。在这种奢靡的室内装饰下，出现了怎样的画家呢？弗朗索瓦·布歇(Francois Boucher，1703-1770)布歇深受蓬巴杜的喜欢，为她做了很多世俗情趣的油画，是一位将洛可可风格发挥到极致的画家。摒弃上帝，将调情艺术加入绘画中，画了很多对暧昧的神仙，不甘寂寞的乡间男女。当他走进王宫时发现贵族男女并不喜欢上帝而更宠爱希腊神话中的爱情故事。于是布歇竭力去迎合他们，不厌其烦地用画笔去描绘战神马尔斯与爱神维纳斯调情，赫拉克勒斯与翁法勒的拥抱，以及女神出浴、美人化妆之类的题材。这类谈情说爱的情节及白皙粉嫩的女子裸体被描绘得精致入微，形象似人似神，人体和谐匀称，令王公贵族倾倒。巴洛克时期的画主要是背景黑黑的威严感，洛可可时期的画主要是艳丽的调情，晓得了？凡是没有绝对，没有绝对的历史也没有绝对的人，多方面琢磨，才能学到更多知识。好的今天就到这吧，累死了。感兴趣历史和时尚的小朋友们，可以关注下，我很愿意分享些历史，时尚，设计方面的东东。期待和你的相识。O(∩_∩)O艺术与时尚的冷酷仙境编辑于 2017-09-07 12:59赞同 51222 条评论分享收藏喜欢

The Rococo - A Beginner's Guide to Art and Architecture

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An Introduction to the Rococo

The Helblinghaus in Innsbruck, Austria.

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Jackie Craven

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Doctor of Arts, University of Albany, SUNY

M.S., Literacy Education, University of Albany, SUNY

B.A., English, Virginia Commonwealth University

Dr. Jackie Craven has over 20 years of experience writing about architecture and the arts. She is the author of two books on home decor and sustainable design.

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Updated on January 09, 2019

Characteristics of Rococo Art and Architecture

Highly decorative walls and ceiling in an oval chamber, looking up toward an ornate chandelier.

Parsifall / Wikimedia Commons

Rococo describes a type of art and architecture that began in France in the mid-1700s. It is characterized by delicate but substantial ornamentation. Often classified simply as "Late Baroque," Rococo decorative arts flourished for a short period before Neoclassicism swept the Western world.

Rococo is a period rather than a specific style. Often this 18th-century era is called "the Rococo," a time period roughly beginning with the 1715 death of France's Sun King, Louis XIV, until the French Revolution in 1789. It was France's Pre-Revolutionary time of growing secularism and continued growth of what became known as the bourgeoisie or middle class. Patrons of the arts were not exclusively royalty and aristocrats, so artists and craftsmen were able to market to a wider audience of middle-class consumers. Wolfgang Amadeus Mozart (1756-1791) composed not only for Austrian royalty but also for the public.

The Rococo period in France was transitional. The citizenry was not beholden to the new King Louis XV, who was only five-years-old. The period between 1715 and when Louis XV came of age in 1723 is also known as the Régence, a time when the French government was run by a "regent," who moved the center of government back to Paris from the opulent Versailles. Ideals of democracy fueled this Age of Reason (also known as the Enlightenment) when society was becoming liberated from its absolute monarchy. Scale was downsized—paintings were sized for salons and art dealers instead of palace galleries—and elegance was measured in small, practical objects like chandeliers and soup tureens.

Rococo Defined

A style of architecture and decoration, primarily French in origin, which represents the final phase of the Baroque around the middle of the 18th cent. characterized by profuse, often semiabstract ornamentation and lightness of color and weight.—Dictionary of Architecture and Construction

Features

Characteristics of Rococo include the use of elaborate curves and scrolls, ornaments shaped like shells and plants, and entire rooms being oval in shape. Patterns were intricate and details delicate. Compare the intricacies of the c. 1740 oval chamber shown above at France's Hôtel de Soubise in Paris with the autocratic gold in the chamber of France's King Louis XIV at the Palace of Versailles, c. 1701. In Rococo, shapes were complex and not symmetrical. Colors were often light and pastel, but not without a bold splash of brightness and light. The application of gold was purposeful.

"Where the baroque was ponderous, massive, and overwhelming," writes fine arts professor William Fleming, "the Rococo is delicate, light, and charming." Not everyone was charmed by Rococo, but these architects and artists did take risks that others previously had not.

Painters of the Rococo era were free not only to create great murals for grand palaces but also smaller, more delicate works that could be displayed in French salons. Paintings are characterized by the use of soft colors and fuzzy outlines, curved lines, detailed ornamentation, and a lack of symmetry. The subject matter of paintings from this period grew bolder—some of it may even be considered pornographic by today's standards.

Walt Disney and Rococo Decorative Arts

Silver Candlesticks from Italy, 1761.

De Agostini Picture Library/Getty Images

During the 1700s, a highly ornamental style of art, furniture, and interior design became popular in France. Called Rococo, the lavish style combined the delicacy of French rocaille with Italian barocco, or Baroque, details. Clocks, picture frames, mirrors, mantel pieces, and candlesticks were some of the useful objects beautified to become known collectively as "decorative arts."

In French, the word rocaille refers to rocks, shells, and the shell-shaped ornaments used on fountains and the decorative arts of the time. Italian porcelain candlesticks decorated with fish, shells, leaves, and flowers were common designs from the 18th century.

Generations grew up in France believing in Absolutism, that the King was empowered by God. Upon the death of King Louis XIV, the notion of the "divine right of kings" came under question and a new secularism was unveiled. The manifestation of the Biblical cherub became the mischievous, sometimes naughty putti in paintings and the decorative arts of the Rococo time.

If any of these candlesticks look slightly familiar, it could be that many of the Walt Disney characters in Beauty and the Beast are Rococo-like. Disney's candlestick character Lumiere in particular looks like the work of French goldsmith Juste-Aurèle Meissonnier (1695-1750), whose iconic candélabre, c. 1735 was often imitated. It's not surprising to discover that the fairy tale La Belle et la Bête was retold in a 1740 French publication—the era of the Rococo. The Walt Disney style was right on the button.

The Rococo Era Painters

Les Plaisirs du Bal or Pleasures of the Ball (Detail) by Jean Antoine Watteau, c. 1717.

Josse/Leemage/Corbis /Getty Images

The three best-known Rococo painters are Jean Antoine Watteau, François Boucher, and Jean-Honore Fragonard.

The 1717 painting detail shown here, Les Plaisirs du Bal or The Pleasure of the Dance by Jean Antoine Watteau (1684-1721), is typical of the early Rococo period, an era of changes and contrasts. The setting is both inside and outside, within grand architecture and opened to the natural world. People are divided, perhaps by class, and grouped in such a way that they may never unite. Some faces are distinct and some are blurred; some have their backs turned toward the viewer, while others are engaged. Some wear bright clothing and others appear darkened as if they were escapees from a 17th century Rembrandt painting. Watteau's landscape is of the time, anticipating the time to come.

François Boucher (1703-1770) is known today as the painter of boldly sensuous goddesses and mistresses, including the goddess Diane in various poses, the reclining, half-naked Mistress Brune, and the reclining, naked Mistress Blonde. The same "mistress pose" is used for a painting of Louise O'Murphy, close friend to King Louis XV. Boucher's name is sometimes synonymous with Rococo artistry as is the name of his famous patron, Madame de Pompadour, the King's favorite mistress.

Jean-Honore Fragonard (1732-1806), a student of Boucher, is well-known for creating the quintessential Rococo painting—The Swing c. 1767. Frequently imitated to this day, L'Escarpolette is at once frivolous, naughty, playful, ornate, sensual, and allegoric. The lady on the swing is thought to be yet another mistress of another patron of the arts.

Marquetry and Period Furniture

Marquetry Detail by Chippendale, 1773.

Andreas von Einsiedel/Corbis Documentary/Getty Images

As hand tools became more refined in the 18th century, so, too, were the processes developed using those tools. Marquetry is an elaborate process of inlaying wood and ivory designs onto a piece of veneer to be attached to furniture. The effect is similar to parquetry, a way to create designs in wood flooring. Shown here is a marquetry detail from the Minerva and Diana commode by Thomas Chippendale, 1773, considered by some to be the English cabinet-maker's finest work.

French furniture made between 1715 and 1723, before Louis XV came of age, is generally called French Régence—not to be confused with the English Regency, which occurred about a century later. In Britain, Queen Anne and late William and Mary styles were popular during the French Régence. In France, the Empire style corresponds to English Regency.

Louis XV furniture could be filled with marquetry, like Louis XV style oak dressing table, or ornately carved and gilded with gold, like Louis XV carved wooden table with marble top, 18th century, France. In Britain, upholstery was lively and bold, such as English decorative art, walnut settee with Soho tapestry, c. 1730.

The Rococo in Russia

Catherine Palace Near St. Petersburg, Russia.

p. lubas/Moment/Getty Images

While elaborate Baroque architecture is found in France, Italy, England, Spain, and South America, the softer Rococo styles found a home throughout Germany, Austria, Eastern Europe, and Russia. Although Rococo was largely confined to interior decor and decorative arts in Western Europe, Eastern Europe was infatuated by Rococo stylings both inside and outside. Compared with the Baroque, Rococo architecture tends to be softer and more graceful. Colors are pale and curving shapes dominate.

Catherine I, Empress of Russia from 1725 until her death in 1727, was one of the great women rulers of the 18th century. The palace named for her near St. Petersburg was begun in 1717 by her husband, Peter the Great. By 1756 it was expanded in size and glory specifically to rival the Versailles in France. It is said that Catherine the Great, Empress of Russia from 1762 until 1796, highly disapproved of the Rococo extravagance.

The Rococo in Austria

Marble Hall in Upper Belvedere Palace, Vienna, Austria.

Urs Schweitzer / Imagno / Getty Images

Belvedere Palace in Vienna, Austria was designed by architect Johann Lukas von Hildebrandt (1668-1745). The Lower Belvedere was built between 1714 and 1716 and the Upper Belvedere was built between 1721 and 1723—two massive Baroque summer palaces with Rococo era decorations. Marble Hall is in the upper palace. The Italian Rococo artist Carlo Carlone was commissioned for the ceiling frescoes.

Rococo Stucco Masters

Inside Wieskirche, the Bavarian Church by Dominikus Zimmermann.

Religious Images/UIG/Getty Images

Exuberant Rococo style interiors can be surprising. The austere exterior architecture of Dominikus Zimmermann's German churches doesn't even hint at what is inside. The 18th-century Bavarian Pilgrimage Churches by this stucco master are studies in two faces of architecture—or is it Art?

Dominikus Zimmermann was born June 30, 1685 in the Wessobrunn area of Bavaria, Germany. Wessobrunn Abbey was where young men went to learn the ancient craft of working with stucco, and Zimmerman was no exception, becoming part of what became known as the Wessobrunner School.

By the 1500s, the region had become a destination for Christian believers in healing miracles, and local religious leaders encouraged and perpetuated the draw of outside pilgrims. Zimmermann was enlisted to build gathering places for miracles, but his reputation rests on only two churches built for the pilgrims—Wieskirche in Wies and Steinhausen in Baden-Wurttemberg. Both churches have simple, white exteriors with colorful roofs—enticing and non-threatening to the common pilgrim seeking a healing miracle—yet both interiors are landmarks of Bavarian Rococo decorative stucco.

German Stucco Masters of Illusion

Rococo architecture flourished in southern German towns in the 1700s, originating from the French and Italian Baroque designs of the day.

The craft of using the ancient building material, stucco, to smooth uneven walls was prevalent and easily transformed into an imitation marble called scagliola (skal-YO-la)—a material cheaper and easier to work with than creating pillars and columns from stone. The local competition for stucco artists was to use the pasty plaster to transform craft into decorative art.

One questions whether the German stucco masters were builders of churches for God, servants of Christian pilgrims, or promoters of their own artistry.

"Illusion, in fact, is what the Bavarian rococo is all about, and it applies everywhere," claims historian Olivier Bernier in The New York Times, "Although the Bavarians were, and remain, devoted Catholics, it is hard not to feel that there is something deliciously nonreligious about their 18th-century churches: more like a cross between salon and theater, they are full of amiable drama."

Zimmermann's Legacy

Zimmerman's first success, and perhaps the first Rococo church in the region, was the village church in Steinhausen, completed in 1733. The architect enlisted his older brother, the fresco master Johann Baptist, to meticulously paint the interior of this pilgrimage church. If Steinhausen was the first, the 1754 Pilgrimage Church of Wies, shown here, is considered the high point of German Rococo decoration, complete with an allegorical Door of Heaven in the ceiling. This rural Church in the Meadow was again the work of the Zimmerman brothers. Dominikus Zimmerman used his stucco- and marble-working artistry to build the lavish, ornate sanctuary within the somewhat simple, oval architecture, as he had first done in Steinhausen.

Gesamtkunstwerke is the German word that explains Zimmerman's process. Meaning "total works of art," it describes the architect's responsibility for both the exterior and interior design of their structures—the construction and decoration. More modern architects, such as the American Frank Lloyd Wright, have also embraced this concept of architectural control, inside and out. The 18th century was a transitional time and, perhaps, the beginning of the modern world we live in today.

The Rococo in Spain

Rococo Style Architecture on the National Ceramics Museum in Valencia, Spain.

Julian Elliott/robertharding/Getty Images

In Spain and her colonies the elaborate stucco work became known as churrigueresque after the Spanish architect José Benito de Churriguera (1665-1725). The influence of French Rococo can be seen here in the sculpted alabaster by Ignacio Vergara Gimeno after a design by architect Hipolito Rovira. In Spain, elaborate details were added throughout the years to both ecclesiastical architecture like Santiago de Compostela and secular residences, like this Gothic home of the Marquis de Dos Aguas. The 1740 renovation happened during the rise of Rococo in Western architecture, which is a treat for the visitor to what is now the National Ceramics Museum.

Time Unveiling Truth

Time Unveiling Truth (Detail), 1733, by Jean-François de Troy.

Fine Art Images/Heritage Images/Getty Images

Paintings with allegorical subject matter were common by artists who were not bound to aristocratic rule. Artists felt free to express ideas that would be seen by all classes. The painting shown here, Time Unveiling Truth in 1733 by Jean-François de Troy, is such a scene.

The original painting hanging in London's National Gallery personifies the four virtues on the left—fortitude, justice, temperance, and prudence. Unseen in this detail is the image of a dog, the symbol of faithfulness, sitting at the feet of the virtues. Along comes Father Time, who reveals his daughter, Truth, who in turn pulls the mask from the woman on the right—perhaps the symbol of Fraud, but certainly a being on the opposite side of the virtues. With Rome's Pantheon in the background, a new day is unmasked. Prophetically, Neoclassicism based on the architecture of ancient Greece and Rome, like the Pantheon, would dominate the next century.

The End of Rococo

Madame de Pompadour, the mistress muse of King Louis XV, died in 1764, and the king himself died in 1774 after decades of war, aristocratic opulence, and the blooming of the French Third Estate. The next in line, Louis XVI, would be the last of the House of Bourbon to rule France. The French people abolished the monarchy in 1792, and both King Louis XVI and his wife, Marie Antoinette, were beheaded.

The Rococo period in Europe is also a period when America's Founding Fathers were born—George Washington, Thomas Jefferson, John Adams. The Age of Enlightenment culminated in revolution—both in France and in the new America—when reason and scientific order dominated. "Liberty, equality, and fraternity" was the slogan of the French Revolution, and the Rococo of excess, frivolity, and monarchies was over.

Professor Talbot Hamlin, FAIA, of Columbia University, has written that the 18th century was transformational in the way we live—that the homes of the 17th century are museums today, but dwellings of the 18th century are still functional residences, practically built to a human scale and designed for convenience. "The Reason which had begun to occupy such an important place in the philosophy of the time," Hamlin writes, "has become the guiding light of architecture."

Sources

Bavaria's Rococo Splendor by Olivier Bernier, The New York Times, March 25, 1990 [accessed June 29, 2014]

Style Guide: Rococo, Victoria and Albert Museum [accessed August 13, 2017]

Dictionary of Architecture and Construction, Cyril M. Harris, ed., McGraw- Hill, 1975, p, 410

Arts and Ideas, Third Edition, by William Fleming, Holt, Rinehart and Winston, pp. 409-410

Catherine Palace at saint-petersburg.com [accessed August 14, 2017]

Architecture through the Ages by Talbot Hamlin, Putnam, Revised 1953, pp. 466, 468

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洛可可（艺术名词）_百度百科

艺术名词）_百度百科网页新闻贴吧知道网盘图片视频地图文库资讯采购百科百度首页登录注册进入词条全站搜索帮助首页秒懂百科特色百科知识专题加入百科百科团队权威合作下载百科APP个人中心洛可可是一个多义词，请在下列义项上选择浏览（共8个义项）展开添加义项洛可可播报讨论上传视频艺术名词收藏查看我的收藏0有用+10本词条由“科普中国”科学百科词条编写与应用工作项目审核。洛可可风格起源于18世纪的法国，最初是为了反对宫廷的繁文缛节艺术而兴起的。洛可可Rococo这个字是从法文Rocaille和coquilles合并而来。 Rocaille是一种混合贝壳与小石子制成的室内装饰物，而coquilles则是贝壳。洛可可后来被新古典主义取代。中文名洛可可风格外文名rococo起源国法国特点华丽，纤巧，精致兴起时间18世纪目录1历史发展2室内设计3油画4音乐5文学6参见历史发展播报编辑洛可可最先出现于装饰艺术和室内设计中。路易十五登基，给宫廷艺术家和一般艺术时尚带来了变化。在老国王在任的晚期，巴洛克设计逐渐被有着更多曲线和自然形象的较轻的元素取代。这些元素在尼古拉斯Pineau的建筑设计上有明显的表现。在摄政时期（1715-1723年，路易十五还是个孩子，政权由其叔摄政），宫廷生活不再局限于凡尔赛宫，艺术风格亦随之而转变，最初在皇宫，然后是整个法国上层社会。纤细和轻快的洛可可风格设计被视为是伴随着路易十五的过度统治而来。相较于前期的巴洛克与后期的新古典，洛可可反映出当时的社会享乐、奢华以及爱欲交织的风气。除此之外，此派画家受到当时外来文化的启发，在创作中添加不少富有异国风情的特色。1730年代，洛可可在法国高度发展，并受到中国风的影响。这种风格从建筑和家具蔓延到油画和雕塑，表现在让-安东尼·华托和佛朗索瓦·布歇的作品中。洛可可保留了巴洛克风格复杂的形像和精细的图腾。不过在这一点上，它已经开始与大量不同的特征融合，包括东方风格和不对称组合。这种艺术形式在法国迅速蔓延至德国和西班牙等地区，并与当地的风格融合。18世纪，英国一直视洛可可风格为“法国品味”，较少用于建筑上，主要表现在银器、陶瓷等。当时意大利移民的艺术家像Bagutti和Artari都以石膏作品尝试将洛可可风格带入英国。而在爱尔兰工作的瑞士人拉法兰契尼兄弟也作出同样的尝试。随着拿破仑在法国的崛起，洛可可被拿破仑从法国剔除出去。但到约1830年代，洛可可风潮正逐渐退去时，英国人才开始要“重振路易十四的歌德式风格”——亦即把洛可可搞错了，并且以大量的金钱，购买经过过分涨价的二手洛可可风格物品，其实当时这些物品在法国几乎无法出售。 [1]室内设计播报编辑在德国，斯都格的孤独城堡和奥拉宁堡的中国宫、巴伐利亚的维斯教堂和波茨坦的无忧宫都是欧洲洛可可风格建筑的例子。在欧陆，洛可可风格以抽象的火焰形、叶形或贝壳形的花纹、不对称花边和曲线构图，展现整齐而生动的、神奇的、雕琢的形式。洛可可风格设计，不论使用在室内设计方面或者家饰品设计，甚至建筑外观设计上，都令人无法忽视。框缘的建筑的部分中如画的、细致的、形状独特地表现于塑造性物料如木雕和雕塑中（如Wessobrunner School)的装潢）。墙、天花、家具、金属和瓷器制的摆设展现一种统一风格的和谐。相比起巴洛克品味带着丰富强烈的原色和暗沉色调，洛可可崇尚柔和的浅色和粉色调。原本有一些反建筑的意识在一七二零年代迅速地全部转变，并造就了洛可可风格在欧洲室内设计和装饰美学上大绽光芒的时代。其中最多姿多彩的德国洛可可就发源于天主教德国。一般而言，洛可可建筑是指纯粹室内风格。因为当时的富人贵族从凡尔赛搬回巴黎时，巴黎已经是一个已发展的城市。所以他们大都直接以新风格装潢原有的建筑，而较少重新兴建新的大型建筑物。 [1]油画播报编辑洛可可风格亦从建筑设计中的纯粹装饰艺术伸延至绘画上。洛可可画家选用清淡鲜明的颜色和精致的曲线构图，喜欢用基路伯小天使和爱情神话中等来点缀画中氛围，令画面变得优美而神秘。洛可可风格细致地表现在人像画中；画中人不再是神、圣人或骑士，而是宫廷的朝臣、贵族等，颜色细致、淡雅，人物纤细。一些画像亦显示当时美学开始离开宗教、国家等思想方向；不再表现人物的端庄神圣，开始表现得有点不纯洁和不道德。而洛可可的风景画则是田园诗式的，多数描写贵族的男男女女在悠闲地游山玩水。第一个主要代表画家是华托（1684–1721），华托的《发舟西地岛》画面迷离，人物雍容华贵；华托和其后的洛可可画家不同的是，他的画除了纯粹的装饰外，往往渗出一种忧郁气息。其后的洛可可画家包括布歇（1703-1770）、法戈纳（1732-1806）等，他们都深受华托的影响。 [1]音乐播报编辑洛可可风格在音乐上是非常特别而短暂的。约在1720-1775年，洛可可风格与其他的音乐风格同时流行。它发展于十八世纪前半期的法国，音乐特色是轻快、刻意、装饰华丽——与巴洛克时期那夸张和庞大的性质成对比。这种风格先出现在法国的键盘音乐中，巴洛克晚期的作曲家如库普兰（Couperin）、拉莫（Rameau）、泰勒曼（Telemann）、多美尼克·斯卡拉蒂（Domenico Scarlatti）以及古典乐派前期如约翰·斯塔米茨（Johann　Stamitz）和利奥波德·莫扎特（Leopold Mozart）等都运用了这种手法。后来，这种风格传到德国，并孕育了西方古典乐时期。 [1]文学播报编辑洛可可文学以轻松的文体大量出现，并着力于表现人的情感，尤其是爱情的魅力。经常将现实世界扩大或缩小后加以描写，或者以镜中像的方式折射现实。比如伏尔泰的《小大人》、勒萨日的《吉尔·布拉斯》。这个时期的作家还酷爱写游记式作品，让主人公在游历中学习人生、了解世界。洛可可文学产生了强烈刺激人们感官和心智的效果，刻意描写与现实相悖的事物，以反讽手法引入革新观念，打破现存秩序和规范，追求自然、理性、平衡的新世界。 [1]参见播报编辑巴洛克文艺复兴新手上路成长任务编辑入门编辑规则本人编辑我有疑问内容质疑在线客服官方贴吧意见反馈投诉建议举报不良信息未通过词条申诉投诉侵权信息封禁查询与解封©2024 Baidu 使用百度前必读 | 百科协议 | 隐私政策 | 百度百科合作平台 | 京ICP证030173号京公网安备110000020000

洛可可建筑风格_百度百科

筑风格_百度百科网页新闻贴吧知道网盘图片视频地图文库资讯采购百科百度首页登录注册进入词条全站搜索帮助首页秒懂百科特色百科知识专题加入百科百科团队权威合作下载百科APP个人中心洛可可建筑风格播报讨论上传视频18世纪20年代产生于法国的建筑风格收藏查看我的收藏0有用+10洛可可式建筑风格（Rococo Style），于18世纪20年代产生于法国并流行于欧洲，是在巴洛克式建筑的基础上发展起来的，主要表现在室内装饰上。洛可可风格的基本特点是纤弱娇媚、华丽精巧、甜腻温柔、纷繁琐细。中文名洛可可建筑风格外文名Rococo Style产生年代18世纪20年代流行于欧洲主要表现室内装饰基本特点纤弱娇媚、华丽精巧、甜腻温柔反映路易十五时代宫廷贵族生活趣味代表作巴黎苏俾士府邸公主沙龙背景欧洲封建贵族文化的衰败目录1风格简介2意义背景3词源含义4风格特点5风格历史6典型特征7风格比较▪哥特式风格▪巴洛克建筑8社会影响风格简介播报编辑洛可可式建筑风格（Rococo Style）以欧洲封建贵族文化的衰败为背景，表现了没落贵族阶层颓丧、浮华的审美理想和思想情绪。他们受不了古典主义的严肃理性和巴洛克的喧嚣放肆，追求华美和闲适。洛可可一词由法语ro-caille（贝壳工艺）演化而来，原意为建筑装饰中一种贝壳形图案。1699年建筑师、装饰艺术家马尔列在金氏府邸的装饰设计中大量采用这种曲线形的贝壳纹样，由此而得名。洛可可风格最初出现于建筑的室内装饰，以后扩展到绘画、雕刻、工艺品、音乐和文学领域。意义背景播报编辑英国塞特维那皇室家具--洛可可风格欧式家具(4张)洛可可艺术(Rococo art)是法国十八世纪的艺术样式，发端于路易十四（1643～1715）时代晚期，流行于路易十五（1715～1774）时代，风格纤巧、精美、浮华、繁琐，又称「路易十五式」。洛可可艺术风格是继巴洛克艺术风格之后，发源于法国并很快遍及欧洲的一种艺术样式。开始是指用贝壳、石块等建造的岩状砌石，源于中国的假山，玲珑剔透，华丽雕琢的艺术趣味，后指具有贝壳纹样曲线的主题，成为以室内装饰为主体的样式名称。洛可可特点是室内装饰和家具造型上凸起的贝壳纹样曲线和莨苕叶呈锯齿状的叶子， C形、S形和涡旋状曲线纹饰蜿蜒反复。创造出一种非对称的、富有动感的、自由奔放而又纤细、轻巧、华丽繁复的装饰样式。巴洛克那洋溢的生气、庄重的量感和男性的尊大感，都被洗练的举止和风流的游戏般的情调，以及艳丽而纤弱柔和的女性风格所取代。如果说17世纪的巴洛克风服饰是以男性为中心、以路易十四的宫廷为舞台展开的奇特装束，与此相对，18世纪的洛可可风服饰则是以女性为中心，以沙龙为舞台展开的优雅样式。　十八世纪被看成是「理性的时代」或「启蒙运动」的时代，哲学家从过去假设上帝存在进而推论所有事物的工作，转换为依据实验和观察的理性方法去推论世间的万象，几乎将神学从哲学中剔除，选择倾向世俗的路线，趣味从注重高尚的教化转向寻求轻浮的快感。艺术的风格，在音乐家莫札特、海顿，文学家蒲伯、伏尔泰，画家华铎、康斯博罗中，贯穿著一种共同主题，它把理性与优美趣味同轻松、明晰、秩序井然的材料相互配合起来。　路易十四常在凡尔赛宫开各种舞会，藉著繁琐的礼仪与无意义的职务折腾贵族们，再以富丽堂皇的宫廷装饰营造悠闲的环境，有利搞风流韵事，以便消耗贵族们的精力，使他们无暇去策划造反。因此艺术家授命编造一种理想生活的极乐世界情景，其唯一的目的是塑造出一个悠闲的、实际上是懒惰的社会快乐。　洛可可是相对于路易十四时代那种盛大﹑庄严的古典主义艺术的，这种变化和法国贵族阶层的衰落，与启蒙运动的自由探索精神（几乎取代宗教信仰），及中产阶级的日渐兴盛有关。　洛可可在形成过程中还受到中国艺术的影响，特别是在庭园设计室内设计、丝织品、瓷器、漆器等方面（如《中国人物小陶瓷》，麦尔，德国，1768）。由于当时法国艺术取得欧洲的中心地位，所以洛可可艺术的影响也遍及欧洲各国。　洛可可艺术的繁琐风格和中国清代艺术相类似，是中西封建历史即将结束的共同征兆。词源含义播报编辑从词源来看，rococo 一词与法语rocaille（岩状饰物）相关。早在17世纪，法语rocaille 一词常用以称谓岩洞，（也有一说即文艺复兴时代传到意大利的中国假山设计），和庭园中的贝壳细工，travail de rocaille （岩状工艺）为 travail 的同意语。洛可可即由「岩状工艺」和「贝壳工艺」引伸而来，指室内装饰、建筑到绘画、雕刻以至家具、陶瓷、染织、服装等各方面的一种流行艺术风格。　洛可可的另一种解释初见于《法兰西大学院词典》，指为「路易十四至路易十五早期奇异的装饰﹑风格和设计」。有人将「洛可可」与意大利「巴洛克」相关连，把这种「奇异的」洛可可风格看作是巴洛克风格的晚期，即巴洛克的瓦解和颓废阶段。风格特点播报编辑Rococo Style Room洛可可建筑风格的特点是：贝壳和巴洛克风格的趣味性的结合为主轴，以室内应用明快的色彩和纤巧的装饰，家具也非常精致而偏于繁琐，不像巴洛克风格那样色彩强烈，装饰浓艳。德国南部和奥地利洛可可建筑的内部空间显得非常复杂。洛可可装饰的特点是：细腻柔媚，常常采用不对称手法，喜欢用弧线和S形线，尤其爱用贝壳、旋涡、山石作为装饰题材，卷草舒花，缠绵盘曲，连成一体。天花和墙面有时以弧面相连，转角处布置壁画。为了模仿自然形态，室内建筑部件也往往做成不对称形状，变化万千，但有时流于矫揉造作。室内墙面粉刷，爱用嫩绿、粉红、玫瑰红等鲜艳的浅色调，线脚大多用金色。室内护壁板有时用木板，有时作成精致的框格，框内四周有一圈花边，中间常衬以浅色东方织锦。洛可可风格特色：1、洛可可建筑风格的特点是：贝壳和巴洛克风格的趣味性的结合为主轴，以室内应用明快的色彩和纤巧的装饰，家具也非常精致而偏于繁琐，不像巴洛克风格那样色彩强烈，装饰浓艳。德国南部和奥地利洛可可建筑的内部空间显得非常复杂。2、洛可可世俗建筑艺术的特征是轻结构的花园式府邸，它日益排挤了巴罗克那种雄伟的宫殿建筑。在这里，个人可以不受自吹自擂的宫廷社会打扰，自由发展。例如，逍遥宫或观景楼这样的名称都表明了这些府邸的私人特点。尤金王子的花园宫就是一个节奏活泼的整体，由七幢对称排列的楼阁式建筑构成，其折叠式复斜屋顶从中间优美匀称地传至四个角楼的穹顶处。上面有山墙的单层正厅具有几乎是中产阶级的舒适，两个宽展的双层侧翼则显示出主人的华贵，却又没有王公贵族的骄矜。两个宽度适中的单层建筑介于塔式的楼阁之间，而楼阁的雄伟使整个建筑具有坚固城堡的特点——总之，极为不同的建筑思想，却又统一在一种优雅的内在联系中。正是这种形式与风格简直相互矛盾的建筑群体漫不经心的配置，清楚地体现出了洛可可艺术的精神。3、洛可可风格的总体特征是轻盈、华丽、精致、细腻。室内装饰造型高耸纤细，不对称，频繁地使用形态方向多变的如“C”“S”或涡券形曲线、弧线，并常用大镜面作装饰，洛可可风格大量运用花环、花束、弓箭及贝壳图案纹样。同时洛可可风格善用金色和象牙白，色彩明快、柔和、清淡却豪华富丽。洛可可风格的室内装修造型优雅，制作工艺、结构、线条具有婉转、柔和等特点，以创造轻松、明朗、亲切的空间环境。洛可可装饰特点：1、洛可可装饰是细腻柔媚，常常采用不对称手法，喜欢用弧线和 S形线，尤其爱用贝壳、旋涡、山石作为装饰题材，卷草舒花，缠绵盘曲，连成一体。天花和墙面有时以弧面相连，转角处布置壁画。2、为了模仿自然形态，室内建筑部件也往往做成不对称形状，变化万千，但有时流于矫揉造作。室内墙面粉刷，爱用嫩绿、粉红、玫瑰红等鲜艳的浅色调，线脚大多用金色。室内护壁板有时用木板，有时作成精致的框格，框内四周有一圈花边，中间常衬以浅色东方织锦。3、洛可可风格的装饰多用自然题材作曲线，如卷涡、波状和浑圆体;色彩娇艳、光泽闪烁，象牙白和金黄是其流行色;经常使用玻璃镜、水晶灯强化效果。Rococo Hall, Ballroom风格历史播报编辑French Rococo chairs洛可可风格反映了法国路易十五时代宫廷贵族的生活趣味，追求纤巧、精美又浮华、繁琐，别称为「路易十五式」，一度风靡欧洲。洛可可风格的装饰多用自然题材作曲线，如卷涡、波状和浑圆体；色彩娇艳、光泽闪烁，象牙白和金黄是其流行色；经常使用玻璃镜、水晶灯强化效果。洛可可风格装饰的代表作是尚蒂依小城堡的亲王沙龙（1722，让·奥贝尔设计）、巴黎苏比斯饭店的沙龙（1732，热尔曼·博夫朗设计）和德国波茨坦无愁宫。而这种建筑风格的代表作是巴黎苏俾士府邸公主沙龙和凡尔赛宫的王后居室。洛可可艺术风格的倡导者是蓬帕杜夫人，她不仅参与军事外交事务，还以文化“保护人”身份，左右着当时的艺术风格。蓬帕杜夫人原名让娜·安托瓦内特·普瓦松，出生于巴黎的一个金融投机商家庭，后被路易十五封为侯爵夫人。在蓬帕杜夫人的倡导下，产生了洛可可艺术风格，使17世纪太阳王照耀下有盛世气象的雕刻风格，被18世纪这位贵妇纤纤细手摩挲得分外柔美媚人了。典型特征播报编辑Catherine_Palace_ballroom洛可可世俗建筑艺术的特征是轻结构的花园式府邸，它日益排挤了巴洛克那种雄伟的宫殿建筑。在这里，个人可以不受自吹自擂的宫廷社会打扰，自由发展。例如，逍遥宫或观景楼这样的名称都表明了这些府邸的私人特点。尤金王子的花园宫就是一个节奏活泼的整体，由七幢对称排列的楼阁式建筑构成，其折叠式复斜屋顶从中间优美匀称地传至四个角楼的穹顶处。上面有山墙的单层正厅具有几乎是中产阶级的舒适，两个宽展的双层侧翼则显示出主人的华贵，却又没有王公贵族的骄矜。两个宽度适中的单层建筑介于塔式的楼阁之间，而楼阁的雄伟使整个建筑具有坚固城堡的特点——总之，极为不同的建筑思想，却又统一在一种优雅的内在联系中。正是这种形式与风格简直相互矛盾的建筑群体漫不经心的配置，清楚地体现出了洛可可艺术的精神。风格比较播报编辑哥特式风格中世纪欧洲在12至15世纪达到鼎盛，其经济和社会产生了深刻的变革，其思想、文化和艺术也达到了空前的发展。这一时期的艺术风格，通常被称为“哥特式”风格。它乃“罗马式”艺术的更高发展，为中世纪天主教神学观念在艺术上的一种反映。在15世纪，人们普遍带有着文艺复兴的观念，希望回到古典时代。哥特风格的建筑的特征,是门窗向上突出，高耸云天的细长的尖塔、刻有想像的怪物，其局部装饰均富有强大的表现力，这种形式在这一时代的教会建筑中占有统治地位。哥特建筑的结构体系是把罗马教堂的十字交叉拱、骨架券以及从7世纪阿拉伯人所用的尖顶券加以发展而来，并成熟地应用了飞扶壁。它把罗马建筑中支承拱顶重量的坚实厚壁（罗马时代都在60厘米以上）极巧妙地运用垂直于屋顶的构柱、飞扶壁、尖券以及肋料拱共同承担，从而大大减小了墙垣的厚度，并又赋予极精美的艺术处理。这是一个富有创造性的结构体系，它把古罗马的结构体系中不够完善的地方，都改进了，罗马结构体系中存在的难题，都解决了。如：巴黎圣母院巴洛克建筑巴洛克建筑是17～18世纪在意大利文艺复兴建筑基础上发展起来的一种建筑和装饰风格。其特点是外形自由，追求动态，喜好富丽的装饰和雕刻、强烈的色彩，常用穿插的曲面和椭圆形空间。巴洛克一词的原意是奇异古怪，古典主义者用它来称呼这种被认为是离经叛道的建筑风格。这种风格在反对僵化的古典形式，追求自由奔放的格调和表达世俗情趣等方面起了重要作用，对城市广场、园林艺术以至文学艺术部门都发生影响，一度在欧洲广泛流行。意大利文艺复兴晚期著名建筑师和建筑理论家维尼奥拉设计的罗马耶稣会教堂是由手法主义向巴洛克风格过渡的代表作，也有人称之为第一座巴洛克建筑。手法主义是16世纪晚期欧洲的一种艺术风格。其主要特点是追求怪异和不寻常的效果，如以变形和不协调的方式表现空间，以夸张的细长比例表现人物等。巴洛克风格打破了对古罗马建筑理论家维特鲁威的盲目崇拜，也冲破了文艺复兴晚期古典主义者制定的种种清规戒律，反映了向往自由的世俗思想。另一方面，巴洛克风格的教堂富丽堂皇，而且能造成相当强烈的神秘气氛，也符合天主教会炫耀财富和追求神秘感的要求。因此，巴洛克建筑从罗马发端后，不久即传遍欧洲，以至远达美洲。有些巴洛克建筑过分追求华贵气魄，甚至到了繁琐堆砌的地步。巴洛克建筑风格也在中欧一些国家流行，尤其是德国和奥地利。17世纪下半叶，德国不少建筑师留学意大利归来后，把意大利巴洛克建筑风格同德国的民族建筑风格结合起来。到18世纪上半叶，德国巴洛克建筑艺术成为欧洲建筑史上一朵奇花。典型实例有意大利的圣卡罗教堂。社会影响播报编辑洛可可风格反映了法国路易十四时代宫廷贵族的生活趣味，曾风靡欧洲。这种风格的代表作是巴黎苏俾士府邸公主沙龙和凡尔赛宫的镜厅。新手上路成长任务编辑入门编辑规则本人编辑我有疑问内容质疑在线客服官方贴吧意见反馈投诉建议举报不良信息未通过词条申诉投诉侵权信息封禁查询与解封©2024 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The Rococo style – an introduction · V&A

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The Rococo style – an introduction

Rococo was perhaps the most rebellious of design styles. Often described as the final expression of the Baroque movement, it was exceptionally ornamental and theatrical – a style without rules. Compared to the order, refinement and seriousness of the Classical style, Rococo was seen as superficial, degenerate and illogical.

The Rococo first emerged in France during the 1720s and 30s as a style developed by craftspeople and designers rather than architects, which explains why it is found primarily in furniture, silver and ceramics.

Rococo takes its name from the French word 'rocaille', which means rock or broken shell – natural motifs that often formed part of the designs, along with fish and other marine decorations. The acanthus leaf (Acanthus mollis), or rather a heavily stylised version of it, was also a signature motif. Another key feature of the design is its curved asymmetric ornamentation, where its forms often resemble the letters 'S' and 'C', and where one half of the design does not match the other.

Left to right: Writing cabinet, probably Michael Kimmel, 1750 – 55, Dresden, Germany. Museum no. W.63-1977. © Victoria and Albert Museum, London; Vase, Chelsea porcelain factory, about 1758 – 68. Museum no. 828-1882. © Victoria and Albert Museum, London

Rococo flourished in English design between 1740 and 1770. It first appeared in England in silver and engravings of ornament in the 1730s, with immigrant artists and craftspeople, including Huguenot refugees from France, such as Paul de Lamerie, playing a key role in its dissemination.

Left to right: Basket, Paul de Lamerie, 1742 – 43, London, England, silver. Museum no. M.6-2001. © Victoria and Albert Museum, London; Chamber candlestick, Paul Crespin, 1744 – 45, London, silver. Museum no. M.2-1980. © Victoria and Albert Museum, London

Also important was the St Martin's Lane Academy – known today as the Royal Academy of Arts – which was organised in 1735 by the painter William Hogarth (1697 – 1764) from a circle of artists and designers who gathered at Slaughter's Coffee House at the upper end of St Martin's Lane, London. This artistic set, which included amongst others the book illustrator Hubert-Francois Gravelot (1699 – 1773) and painter Andien de Clerment (died 1783), and the drawing classes they held at the academy, were highly influential in introducing and promoting the Rococo style in England.

Design for a rococo interior, by John Linnell, about 1755, England. Museum no. E.263-1929. © Victoria and Albert Museum, London

Many felt the nation lacked the design and necessary skills to compete with imported French goods, which led to initiatives to improve design standards during the years when the Rococo was current in Britain. From 1742, the furniture designers and cabinet makers Matthias Lock and Henry Copland published a series of prints which introduced a distinctively British form of Rococo scrollwork. This style was widely adopted for woodcarving and other decorative work and subsequently dominated British Rococo design until the mid-1760s. For the first time in Britain most of the prints were of original designs rather than copies of continental production. However, British designers continued to imitate contemporary French work for silver, porcelain and furniture that were being made at the top end of the market.

Left to right: Prints from 'A New Book Of Ornaments With Twelve Leaves’, Matthias Lock and Henry Copland, 1752, London, England. Museum nos. E.2809-1886 and E.2810-1886. © Victoria and Albert Museum, London

Many pattern books of Rococo ornament of the type issued by Lock and Copland were published in England in the 1740s and 1750s. Their popularity stemmed from the complex and irregular three-dimensional forms of the Rococo style and its emphasis on variety and invention, which placed great demands on the design and modelling skills of British craftspeople. These designs were largely intended for craftspeople and designers and were hugely influential in disseminating the Rococo style. Rather than copying the entire design, woodcarvers would mine them for inspiration, cutting them up and adding their own ideas.

The most influential single set of pattern prints was put out as a book of furniture designs. The Gentleman and Cabinet Maker's Director by Thomas Chippendale the Elder, was published first in parts and then as a collected edition in 1754. This book broke new ground in both being a source of design ideas and pattern book for potential customers. The patterns had the greatest effect among the smaller furniture makers, mostly outside London.

Explore a selection of pattern prints from The Gentleman and Cabinet Maker's Directors in our slideshow below:

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Header image: A design for a nautical-themed frame, plate no.187 in The Gentleman and Cabinet-Maker's Director, Thomas Chippendale, 1762 edition, London. Museum no. 2594. © Victoria and Albert Museum, London

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CoursesSearchGet AI TutoringNEWDonateLog inSign upSearch for courses, skills, and videosMain contentEurope 1300 - 1800Course: Europe 1300 - 1800 > Unit 10Lesson 1: RococoA beginner's guide to the Age of Enlightenment A beginner's guide to Rococo artThe Formation of a French School: the Royal Academy of Painting and SculptureAntoine Watteau, Pilgrimage to CytheraWatteau, Pilgrimage to CytheraBoucher, Madame de PompadourThe Tiepolo FamilyVigée Le Brun, Self-Portrait with her Daughter, JulieVigée Le Brun, Self-Portrait with her DaughterVigée Le Brun, Self-PortraitVigée Le Brun, Madame PerregauxUnlocking an 18th-century French mechanical tableBernard II van Risenburgh, Writing tableConstruction of an 18th-century French mechanical tableThe inlay technique of marquetryFragonard, The SwingFragonard, The SwingFragonard, The SwingFragonard, The MeetingGreuze, The Village BrideArchitecture in 18th-century GermanyJoachim Michael Salecker, Cup with cover with Hebrew inscriptionsMaria Sibylla Merian, an introductionMaria Sybilla Merian's Metamorphosis of a Small Emperor Moth on a Damson Plum: Getty ConversationsRococo ArtArts and humanities>Europe 1300 - 1800>Rococo and Neoclassicism 18th century>Rococo© 2024 Khan AcademyTerms of usePrivacy PolicyCookie NoticeA beginner's guide to Rococo artGoogle ClassroomBy Dr. Beth Harris and Dr. Steven ZuckerThe Beginnings of RococoHyacinthe Rigaud, Louis XIV, 1701, oil on canvas, 114 x 62 5/8 in (The J. Paul Getty Museum)In the early years of the 1700s, at the end of the reign of Louis XIV (who dies in 1715), there was a shift away from the classicism and "Grand Manner" (based on the art of Poussin) that had governed the art of the preceding 50 years in France, toward a new style that we call Rococo. The Palace of Versailles (a royal chateau that was the center of politcal power) was abandoned by the aristocracy, who once again took up residence in Paris. A shift away from the monarchy, toward the aristocracy characterizes the art of this period.What kind of lifestyle did the aristocracy lead? Remember that the aristocracy had enormous political power as well as enormous wealth. Many chose leisure as a pursuit and became involved themselves in romantic intrigues. Indeed, they created a culture of luxury and excess that formed a stark contrast to the lives of most people in France. The aristocracy—only a small percentage of the population of France—owned over 90% of its wealth. A small, but growing middle class will not sit still with this for long (remember the French Revolution of 1789).Fragonard's The SwingJean-Honoré Fragonard, The Swing, 1767, oil on canvas, 81 x 64.2 cm (Wallace Collection, London) (photo: Steven Zucker, CC BY-NC-SA 2.0)Jean-Honoré Fragonard, The Swing, 1767, oil on canvas, 81 x 64.2 cm (Wallace Collection, London) (photo: Steven Zucker, CC BY-NC-SA 2.0)As with most Rococo paintings, the subject of Fragonard's The Swing is not very complicated. Two lovers have conspired to get an older fellow to push the young lady in the swing while her lover hides in the bushes. Their idea is that—as she goes up in the swing, she can part her legs, and her lover can get a tantalizing view up her skirt.Female figure (detail), Jean-Honoré Fragonard, The Swing, 1767, oil on canvas, 81 x 64.2 cm (Wallace Collection, London) (photo: Steven Zucker, CC BY-NC-SA 2.0)Female figure (detail), Jean-Honoré Fragonard, The Swing, 1767, oil on canvas, 81 x 64.2 cm (Wallace Collection, London) (photo: Steven Zucker, CC BY-NC-SA 2.0)The figures are surrounded by a lush, overgrown garden. A sculptured figure to the left puts his fingers to his mouth, as though saying "hush," while another sculpture in the background shows two cupid figures cuddled together. The colors are pastel pale pinks and greens, and although we have a sense of movement and a prominent diagonal line—the painting lacks the seriousness of a baroque painting.If you look closely you can see the loose brushstrokes in the pink silk dress—and as she opens her legs, we get a glimpse of her stockings and garter belt. It was precisely this kind of painting that the philosophers of the Enlightenment were soon to condemn. They demanded a new style of art, one that showed an example of moral behavior, of human beings at their most noble. Essay by Dr. Beth Harris and Dr. Steven ZuckerAdditional resources:The Swing at the Wallace CollectionFragonard on the Metropolitan Museum of Art's Heilbrunn Timeline of Art History18th century European dress on the Metropolitan Museum of Art's Heilbrunn Timeline of Art HistoryImages from Smarthistory of The Swing for teaching and learningQuestionsTips & ThanksWant to join the conversation?Log inSort by:Top VotedDavey9 years agoPosted 9 years ago. Direct link to Davey's post “Would this painting have ...”moreWould this painting have been considered to be obscene?AnswerButton navigates to signup page•CommentButton navigates to signup page(9 votes)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreAnswerShow previewShow formatting optionsPost answerLena9 years agoPosted 9 years ago. Direct link to Lena's post “Yes, however all of the F...”moreYes, however all of the French people loved it when it was unveiled because it was on the scandalous side and affairs were rampant in France during the time. It doesn't depict anyone in particular, but chances are, if you were a French aristocrat, you would certainly know someone who was having an affair. If you look at it long enough, you will see that this painting is extraordinarily naughty. I am too squeamish to be explicit, but notice the painting's center of focus--the lines of the painting head directly to one point-- and the shape of the vines from which the swing is hanging. You will get the picture. When I learned this, I was aghast. I am no expert, but this is all according to my French teacher who studied in Europe and learned from the best. I also think that he was an art history major. He knows his stuff.CommentButton navigates to signup page(13 votes)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreShow more...Donald Fishman9 years agoPosted 9 years ago. Direct link to Donald Fishman's post “How is Rococo related to ...”moreHow is Rococo related to the Baroque in art?AnswerButton navigates to signup page•CommentButton navigates to signup page(3 votes)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreAnswerShow previewShow formatting optionsPost answerSkye Reyneke6 years agoPosted 6 years ago. Direct link to Skye Reyneke's post “Rococo was applied to art...”moreRococo was applied to art and to interior decoration and structure whereas Baroque was applied to art, interiors and exteriors, where it was ornate and extravagant, especially when applied to palace or church architecture. Baroque was stiff, sombre and formal, Rococo was airy, warm, frivolous, light-hearted and somewhat tongue in cheek. Another main difference between the two styles is the colours used in Baroque paintings are bold, dramatic and making use of highlights, shadows to create lots of detail, whereas Rococo uses white, gold and softer colours, particularly pastels, in art to convey the dreamy, sensual nature of womenCommentButton navigates to signup page(5 votes)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreShow more...grace8 years agoPosted 8 years ago. Direct link to grace's post “what was the yeart rococo...”morewhat was the yeart rococo startedAnswerButton navigates to signup page•CommentButton navigates to signup page(2 votes)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreAnswerShow previewShow formatting optionsPost answerKlaus Eyting8 years agoPosted 8 years ago. Direct link to Klaus Eyting's post “This is a learning site s...”moreThis is a learning site so it deserves a decent answer. The Rococo period began in the early 1700s in Paris as a reaction to/against the formalism of the baroque. By the end of the century it had been largely replaced by neoclassicism. It's pretty much limited to the reign of Louis the 15th. Watteau and Francois Boucher, (who personally I can't stand), are good examples of the style.CommentButton navigates to signup page(6 votes)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreShow more...grace8 years agoPosted 8 years ago. Direct link to grace's post “when did the rococo start...”morewhen did the rococo start in what yearAnswerButton navigates to signup page•CommentButton navigates to signup page(2 votes)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreAnswerShow previewShow formatting optionsPost answerKlaus Eyting8 years agoPosted 8 years ago. Direct link to Klaus Eyting's post “I would say somewhere aro...”moreI would say somewhere around the beginning of the 18th century. No exact date really. It began it's decline with the advent of philosophers like Voltaire around 1760.CommentButton navigates to signup page(1 vote)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreLia Tawes2 years agoPosted 2 years ago. Direct link to Lia Tawes's post “How did rococo and neocla...”moreHow did rococo and neoclassicism impact the Enlightment period?AnswerButton navigates to signup page•CommentButton navigates to signup page(1 vote)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreAnswerShow previewShow formatting optionsPost answerJoe9 years agoPosted 9 years ago. Direct link to Joe's post “Is this the same Fragonar...”moreIs this the same Fragonard associated with perfume?AnswerButton navigates to signup page•CommentButton navigates to signup page(1 vote)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreAnswerShow previewShow formatting optionsPost answerSharon Ludke8 years agoPosted 8 years ago. Direct link to Sharon Ludke's post “No, it is strictly associ...”moreNo, it is strictly associated with the style of paintingCommentButton navigates to signup page(0 votes)Upvote Button navigates to signup pageDownvote Button navigates to signup pageFlag Button navigates to signup pagemoreLoading...

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