Read Book the Spiritual Rococo : Decor and Divinity from the Salons of Paris to the Missions of Patagonia

Total Page:16

File Type:pdf, Size:1020Kb

Read Book the Spiritual Rococo : Decor and Divinity from the Salons of Paris to the Missions of Patagonia THE SPIRITUAL ROCOCO : DECOR AND DIVINITY FROM THE SALONS OF PARIS TO THE MISSIONS OF PATAGONIA PDF, EPUB, EBOOK Gauvin Alexander Bailey | 454 pages | 28 Sep 2014 | Taylor & Francis Ltd | 9781409400639 | English | United Kingdom The Spiritual Rococo : Decor and Divinity from the Salons of Paris to the Missions of Patagonia PDF Book To get the free app, enter mobile phone number. Post was not sent - check your email addresses! This gown had the features of a bodice with large pleats flowing down the back to the ground over a rounded petticoat. The traditional oculus is replaced by the roundel relief of St. The sculpture was closely integrated with the architecture; it was impossible to know where one stopped and the other began. So, you could obtain the definition of the notification from each sentence in the publication. Davis to review? You will find different writing styles and stories that you can day dream about and enjoy. In the late 17th and early 18th century rocaille became the term for a kind of decorative motif or ornament that appeared in the late Style Louis XIV , in the form of a seashell interlaced with acanthus leaves. Published on: Binding: Paperback Most helpful customer reviews See all customer reviews It will certainly relieve you anywhere you need the book soft data to check out. Davis from the most effective writer and author is currently available right here. Customer reviews. It was the first appearance in print of the term "rocaille" to designate the style. The book takes us to every corner of the church, from the glittering gate that greets us upon entering to the choir, transepts, side chapels and beyond. Are you one of them? Wyld By Christopher Wilson. Barron and contributions by A. Chaimovich argues that the way mirrors were framed and presented alongside paintings that emphasized compositional hierarchy invited those reflected to be reminded of their own position and to feel the ever-watchful eyes of the Sun King. They are two authors often combine to make some pretty powerful stories. Waller, eds. Save searches from Google Scholar, PubMed. Sorry, your blog cannot share posts by email. It features an oval-shaped sanctuary, and a deambulatory in the same form, filling in the church with light from all sides. We get to see their relationship strain and ultimately grow stronger. More than exploring the international reach. The confraternity members funded the project, hired artists and architects, and oversaw the design. It's so simple, right? Calder is in the same family. Renew your subscription. Eiling, ed. It will be a great way to merely look, open, and check out guide Muscle Worshipers, By Eric Summers while because time. Their mouths and hands are their instruments of desire as they rub and lick biceps, pectorals, quads and necks, and are rubbed and licked in return by their partners, buddies and lovers. The fact both of these men had no idea how to do a relationship and wanted it, but were afraid to say so, was very endearing, because I so know the feeling. But the only way to ensure getting through a joyous wedding and avoiding the questions neither of them wants to answer is to convince everyone it's something more. Next page. Blake has some worries. Allegories of astronomy and geography. What are you doing when having extra time? Reviewing is among enjoyable as well as satisfying task to do in your downtime. Klassik und Experiment, A. A style that appeared in the early eighteenth-century was the robe volante , a flowing gown, that became popular towards the end of King Louis XIV's reign. Led by Christoph Willibald Gluck , this reaction ushered in the Classical era. Thoroughly interdisciplinary, The Spiritual Rococo not only integrates different art historical fields in novel ways but also interacts with church and social history, literary and post-colonial studies, and anthropology, opening up new horizons in these fields. We see two love stories in Making Nice. Proposed Chinese sofa by Thomas Chippendale — Thomas Gainsborough , The Blue Boy , They decide to keep their arrangement a secret, and as with all secrets, things get mucked up when a secret becomes common knowledge. It is a way that could enhance exactly how you forget and recognize the life. The mirror was also an actor, altering the reality of the room and perhaps the psychology of its viewers. The Spiritual Rococo : Decor and Divinity from the Salons of Paris to the Missions of Patagonia Writer Rococo features exuberant decoration, with an abundance of curves, counter-curves, undulations and elements modeled on nature. Label: Ebooks. Barron and contributions by A. William Hogarth helped develop a theoretical foundation for Rococo beauty. It also came to influence the other arts, particularly sculpture, furniture, silverware and glassware, painting, music, and theatre. Religious sculpture followed the Italian baroque style, as exemplified in the theatrical altarpiece of the Karlskirche in Vienna. Please enable Javascript on your browser to continue. The rococo decorative style, while associated with playfulness and freedom, was not without rules. He designed works for the royal families of Poland and Portugal. Once again, reviewing practice will certainly consistently offer useful perks for you. Not only were certain behaviours frowned upon but also every movement made by a man or woman of a high station was to be elegant and refined. Painting the modern garden By Kathleen Adler. Start 14 day Free Trial. Rococo sculpture was theatrical, colorful and dynamic, giving a sense of movement in every direction. What Watteau does make apparent in this scene is the status of the mirror in the early-eighteenth century. The characteristics of French Rococo included exceptional artistry, especially in the complex frames made for mirrors and paintings, which were sculpted in plaster and often gilded; and the use of vegetal forms vines, leaves, flowers intertwined in complex designs. For architects and designers such as Boffrand, even though the mirror needed to be carefully placed in order to prevent unappealing reflections, its capacity to reflect a clear vision of whatever lay in front of it was still considered one of its primary virtues. They are guys who would rather be pissed than talk. The control of bodily functions, he asserted, is a fundamental part of modesty and decorum, imperative in reflecting inner grace and good breeding. However Bailey traces a much more extensive trajectory, following the rococo from the Old World to the New, from its origins in France, to central Europe and Iberia, to Brazil, Chile, Argentina, and Paraguay. More informations. You could be great and correct adequate to obtain exactly how crucial is reading this Making Nice, By Elizah J. In this paper, I first situate the origins of the rococo mirror in the history of interior decoration. After a number of technological advances in glass production in the late-seventeenth century, mirrors, such as those sold by Gersaint, proliferated in the domestic spaces of the elite in eighteenth-century France. I was impressed by several coloured rectangles he had on the wall. Though the breadth of its scope necessitates a broad-brush approach, it nevertheless offers a valuable investigation of the truly global dissemination of French religious thought and the rococo style in the eighteenth century, and takes a refreshing approach to ecclesiastical material culture by seeking to place objects and decorative schemes as much within artistic as religious discourses. Never ever doubt with our deal, due to the fact that we will consistently offer what you require. Inhalt Introduction. I will say that the thing some people may struggle with here are communication issues — Ryan and Blake certainly have them. Just how? The period also saw the arrival of Chinoiserie , often in the form of lacquered and gilded commodes, called falcon de Chine of Vernis Martin , after the ebenist who introduced the technique to France. In one passage, the author, Madeleine de Puisieux, describes herself in front of a mirror while practicing her Italian. Photograph: Wikimedia commons public domain. While also making large-scale works, he became director of the Sevres Porcelain manufactory and produced small-scale works, usually about love and gaiety, for production in series. Restricted access to the most recent articles in subscription journals was reinstated on January 12, The Spiritual Rococo : Decor and Divinity from the Salons of Paris to the Missions of Patagonia Reviews If there ever is a church to reward careful looking, this is it; pulpits and picture frames dissolve into little dioramas of ruined temples, trees, grottoes, and figures; seaweed-like rocailles creep up over its paintings, which seem to respond by pulling back; and statues on the sides of altarpieces poke sceptres or fingers at their counterparts in the painting in an often witty dialogue between two- and three-dimensional realities. Venetian commodes imitated the curving lines and carved ornament of the French rocaille, but with a particular Venetian variation; the pieces were painted, often with landscapes or flowers or scenes from Guardi or other painters, or Chinoiserie , against a blue or green background, matching the colours of the Venetian school of painters whose work decorated the salons. Routledge Amazon. Some scholars believe that he designed the church, but that discriminatory laws against people of African descent prevented him from being formally recognized as the architect. Before entering the Rococo, British furniture for a time followed the neoclassical Palladian model under designer William Kent , who designed for Lord Burlington and other important patrons of the arts. DeepDyve requires Javascript to function. Export folders, citations. Shopbop Designer Fashion Brands. The discoveries of Roman antiquities beginning in at Herculaneum and especially at Pompeii in turned French architecture in the direction of the more symmetrical and less flamboyant neo-classicism.
Recommended publications
  • Rachel Feinstein: Maiden, Mother, Crone November 1, 2019 - March 22, 2020 the Jewish Museum, New York
    Rachel Feinstein: Maiden, Mother, Crone November 1, 2019 - March 22, 2020 The Jewish Museum, New York Exhibition Checklist All works by Rachel Feinstein St. Sebastian, 2012 Polymer resin, steel, wire, and wood 100 x 48 x 24 in. Private Collection, Greenwich, Connecticut Model, 2000 Mirror, wood, plaster, and enamel paint 90.75 x 40.5 x 52 in. Courtesy of the artist and Gagosian Gallery St. Michael, 2012 Polymer resin, steel, wire, and wood 102 x 56 x 30 in. Courtesy of the artist and Gagosian Gallery Crucifixion, 2003 Plaster, plywood, fabric and enamel paint 108 x 73 x 25 in. Hall Collection A small wooden Crucifixion group from around 1500 was the inspiration for this life-size abstraction. Feinstein has a deep interest in the high European craft of medieval Germany, but her multipart composition was roughly cut with a jigsaw from sheets of plywood. Its hand-hewn materiality reflects the urgency of its time; this was the first piece she made and exhibited after the September 11 terrorist attack, which she witnessed from her downtown New York apartment. The Walrus Is Paul, 2000 Wood and enamel paint 48 x 72 x 20 in. Private collection, New York Mr. Time, 2015 Powder-coated aluminum, vinyl, and working clock 91.5 x 73 x 22 in. Courtesy of the artist and Gagosian Gallery This sculpture is based on a drawing by the artist’s son, Francis Currin, made when he was ten years old. Like many of Feinstein’s works, Mr. Time leaves traces of its dramatic transformation from a small pencil drawing to a human- scale, three-dimensional metal object.
    [Show full text]
  • Architecture and the Mississippi Bubble (1716–1720)
    Armand-Claude Mollet. Floor plan and elevation of the Hôtel d’Évreaux (1718), Paris. Etching and engraving. From Jacques- François Blondel, Architecture françoise (1752 –1756). Typ 715.52.219 v.3, Houghton Library, Harvard University. Photo: Harvard University. 40 https://doi.org/10.1162/grey_a_00241 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/grey_a_00241 by guest on 02 October 2021 Building on Credit: Architecture and the Mississippi Bubble (1716–1720) JASON NGUYEN In June 1733, the Count of Évreaux ordered an appraisal of his Parisian mansion located along the fashionable Rue du Faubourg Saint-Honoré . The document tallied the current market cost of his house and possessions in order to assess the value of his estate (he owned the building until his death in 1753). 1 Designed by the architect Armand-Claude Mollet, the Hôtel d’Évreux had been built between 1718 and 1722, and was already deemed to be one of the most striking hôtels particuliers of its day. The architect located the main block of the house between an entry court - yard (for the loading and unloading of carriages) and a rear garden that backed onto the leafy terrains of the Champs-Elysées. 2 The front elevation included a central pediment with symbols of war, trophies in relief, and columns and Corinthian pilasters befitting a high nobleman. The appraisal included a description of all of these components, but also more detailed information: dimensions and descriptions for each room, the woodwork, mirrors, and textiles lining the walls. In the Grand Salon, the appraisers mentioned the oak paneling and the inset decorative trophies by the ornamental sculptor Michel Lange, who added the bundled instruments of war to assert the count’s regal status.
    [Show full text]
  • FINE EUROPEAN CERAMICS Including the Collezione Fiordalisi of Neapolitan Porcelain Thursday 7 December 2017
    FINE EUROPEAN CERAMICS Including the Collezione Fiordalisi of Neapolitan porcelain Thursday 7 December 2017 SPECIALIST AND AUCTION ENQUIRIES EUROPEAN CERAMICS Sebastian Kuhn Nette Megens Sophie von der Goltz lot 44 FINE EUROPEAN CERAMICS Including the Collezione Fiordalisi of Neapolitan porcelain Thursday 7 December 2017 at 2pm New Bond Street, London VIEWING ENQUIRIES CUSTOMER SERVICES PHYSICAL CONDITION OF Sunday 3 December Nette Megens Monday to Friday 8.30am LOTS IN THIS AUCTION 11am - 5pm Head of Department to 6pm PLEASE NOTE THAT ANY Monday 4 December +44 (0) 20 7468 8348 +44 (0) 20 7447 7447 REFERENCE IN THIS 9am - 4.30pm [email protected] CATALOGUE TO THE PHYSICAL Tuesday 5 December Please see page 2 for bidder CONDITION OF ANY LOT IS FOR 9am - 4.30pm Sebastian Kuhn information including after-sale GENERAL GUIDANCE ONLY. Wednesday 6 December Department Director collection and shipment INTENDING BIDDERS MUST 9am - 4.30pm +44 (0) 20 7468 8384 SATISFY THEMSELVES AS TO Thursday 7 December [email protected] THE CONDITION OF ANY LOT by appointment AS SPECIFIED IN CLAUSE 14 OF Sophie von der Goltz THE NOTICE TO BIDDERS SALE NUMBER Specialist CONTAINED AT THE END OF 24224 +44 (0) 20 7468 8349 THIS CATALOGUE. [email protected] CATALOGUE As a courtesy to intending Rome bidders, Bonhams will provide a £25.00 Emma Dalla Libera written indication of the physical Director condition of lots in this sale if a BIDS request is received up to 24 hours +44 (0) 20 7447 7447 +39 06 485900 before the auction starts. This +44 (0) 20 7447 7401 fax [email protected] written Indication is issued To bid via the internet please subject to Clause 3 of the Notice visit bonhams.com International Director European Ceramics & Glass to Bidders.
    [Show full text]
  • Bustelli's Creations
    Bustelli's creations Objekttyp: Chapter Zeitschrift: Mitteilungsblatt / Keramik-Freunde der Schweiz = Revue des Amis Suisses de la Céramique = Rivista degli Amici Svizzeri della Ceramica Band (Jahr): - (1997) Heft 111 PDF erstellt am: 04.10.2021 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch We must return to an earlier age for another vignette of the and most of the 18th centuries, troupes of the Commedia Commedia dell'Arte. In 1568, even before Italian comedians dell'Arte, but latterly more often players of the Théâtre journeyed to France, Hans Fugger of the renowned Augsburg Italien, roamed across the Continent, to Bohemia, Hungary family of bankers and merchants, had arranged for a and Poland, to Scandinavia, and via Flanders to England, company of four players, the troupe of Maestro Jacopo da from France to Spain and to Germany.
    [Show full text]
  • Reflecting the Sun: Mirrors, Masculinity, and Monarchy Under Louis Xiv
    REFLECTING THE SUN: MIRRORS, MASCULINITY, AND MONARCHY UNDER LOUIS XIV By ALEC MOORE A THESIS PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF THE ARTS UNIVERSITY OF FLORIDA 2018 1 © 2018 Alec Moore 2 To my dear sweet Lou-Lou Bae 3 ACKNOWLEDGMENTS I would like to thank my committee members Melissa Hyde, Elizabeth Ross, and Rori Bloom for their time, attention and patience in the completion of this thesis. I owe Melissa Hyde a particular debt of gratitude for advising me over the course of my time here at the University of Florida. Additionally, I would like to thank all those who supported me during my time here in Gainesville: Jennaca Taipulus, Sarah Sloan, Ivy Margosian, Mark Hodge, Chase Machado — and few I know I am forgetting — your comradery meant the world to me. Jennifer Jurgens is due a special “thank you” for her eternal commitment to keeping me sane. As always I would not have made it this far without the support of my family whose continued investment in my success made all the difference. 4 TABLE OF CONTENTS page ACKNOWLEDGMENTS .................................................................................................. 4 LIST OF FIGURES .......................................................................................................... 6 ABSTRACT ..................................................................................................................... 8 CHAPTER 1 INTRODUCTION .........................................................................................................
    [Show full text]
  • The Sarah Belk Gambrell Collection of European Porcelain
    THE SARAH BELK GAMBRELL COLLECTION OF EUROPEAN PORCELAIN Thursday, June 24, 2021 DOYLE.COM THE SARAH BELK GAMBRELL COLLECTION OF EUROPEAN PORCELAIN AUCTION Thursday, June 24, 2021 at 10am Eastern EXHIBITION Friday, June 18, Noon – 5pm Saturday, June 19, Noon – 5pm Sunday, June 20, Noon – 5pm Monday, June 21, 10am – 6pm And by Appointment at other times Safety protocols will be in place with limited capacity. Please maintain social distance during your visit. LOCATION Doyle Auctioneers & Appraisers 175 East 87th Street New York, NY 10128 212-427-2730 This Gallery Guide was created on (date) Please see addendum for any changes The most up to date information is available On DOYLE.COM Sale Info View Lots and Place Bids Doyle New York 1 2 Elizabeth I Silver-Mounted Rhenish Böttger Red Stoneware Coffee Pot and Cover Saltglazed 'Tigerware' Jug Circa 1710-15, designed by J.J. Irminger Circa 1580, the silver mount inscribed on the Of squared pear form, the conforming domed hinge 'PETER ELY, OBT. 1684', on the cover cover with pagoda knop, the scroll handle with 'GEO. GUNNING 1815 WATERLOO' and on the channeled sides and a studded exterior, the underside of the foot 'GIVEN BY KING squared curved spout issuing from the gaping CHARLES THE SECOND' and 'G.G. TO M.G. jaws of a scaly serpent, a double-scroll bridge 1834' support above, each side of the body lightly Globular with cylindrical neck and loop handle polished, on a flaring stepped square foot. mottled in brown, the repoussé cover caste with Height 7 3/4 inches, width 6 1/2 inches.
    [Show full text]
  • Body in Transition: Cut This Fat Off of Me! Research on the Visual History of the Body Image and an Attempt to Deconstruct the Hatred in Society Towards Fat
    BODY IN TRANSITION: CUT THIS FAT OFF OF ME! RESEARCH ON THE VISUAL HISTORY OF THE BODY IMAGE AND AN ATTEMPT TO DECONSTRUCT THE HATRED IN SOCIETY TOWARDS FAT by PELİN GÜRE Submitted to the Institute of Social Sciences in partial fulfillment of the requirements for the degree of Master of Arts Sabancı University Summer 2010 1 BODY IN TRANSITION: CUT THIS FAT OFF OF ME! RESEARCH ON THE VISUAL HISTORY OF THE BODY IMAGE AND AN ATTEMPT TO DECONSTRUCT THE HATRED IN SOCIETY TOWARDS FAT APPROVED BY: Assoc. Prof. Lanfranco Aceti ………………………. (Dissertation Supervisor) Selçuk Artut ………………………. Assoc. Prof. Wieslaw Zaremba ...……………………. DATE OF APPROVAL: …………………………. 2 © Pelin Güre 2010 All Rights Reserved 3 ABSTRACT Body in Transition: Cut This Fat off of Me! Research on the Visual History of the Body Image and an Attempt to Deconstruct the Hatred in Society Towards Fat Pelin Güre M.A., Visual Arts and Visual Communication Design Thesis Advisor: Assoc. Prof. Lanfranco Aceti Summer 2010 This study aims to investigate the issues of fat and obesity and analyze how one perceives his/her body image and how corpulence is perceived in the society. It discusses the changes on the representations of the body and how these changes reflect/affect different socially constructed body perceptions by looking at different images of the body from pre-historic times to modernity. Since my interest to research in such an area is based on my long term problematic relationship with obesity, the study first focuses on how do fat people understand and conceptualize their corporeal experiences. Traditional studies approach the issue of fat using either pathological discourses, which treat fatness as a disease, or psychosomatic discourses, which treat fatness as a symptom of a psychological disorder by recognizing corpulence as a medical or social problem.
    [Show full text]
  • Shepherd the French Hôtel - 80 - a Satirical Work Which by Contrast with the Imagined Ideal Was Designed to Show up the Faults and Injustices in English Law Systems
    THE FRENCH HÔTEL By sample Linda Student Dissertation submitted in partial fulfillment of the requirements for the degree of Bachelor of Arts in Architecture dissertation University of Nottingham 2005 Linda Student The French hôtel - i - THE FRENCH HÔTEL By Linda Student Chairperson of the Supervisory Committee: R. Quek sample School of Built Environment The French hôtel, explores the sociological foundations of noble domestic design in eighteenth century Paris, and its contribution to modern functional planning. It considers the representational strategies and dilemmas of French elites and their configuration in relation todissertation this extraordinary archetype. It covers the derivation and refinement of the Baroque hôtel, the Rococo hôtel, and the Neoclassical hôtel as well as debates on eighteenth century architectural theory. Linda Student The French hôtel - ii - ACKNOWLEDGMENTS Many people have helped in the writing of this dissertation, not all of them knowingly. In particular, though, I would like to thank the following for their various contributions, advice and encouragement. My tutor and mentor Raymond Quek, for his guidance, generosity in reading and making suggestions, samplehelpful advise and criticism, throughout the past year. My family, whose endless support and encouragement I would be lost without. Charlie, for always being there. My fellow students who have most kindly read and re-read my writing and whose comments have been invaluable. dissertation Linda Student The French hôtel - 1 - TABLE OF CONTENTS Acknowledgments
    [Show full text]
  • Gagosian Gallery in Los Angeles, Where It’S on View Through February 17
    Architectural Digest January 11, 2018 GAGOSIAN Rachel Feinstein's Latest Work Is A Dream Come True In November 2000, sculptor Rachel Feinstein began a journey that changed her art—and her life Shax Riegler Rachel Feinstein in Nymphenburg with the piece called Ottavio after it emerged from its first firing in the kiln. Like a character in a fairy tale, during a 2000 trip artist Rachel Feinstein fell under the spell of Bavaria’s picturesque towns, sublime landscapes, fantastical castles, and rococo churches. Further enchantment ensued in Munich at Nymphenburg, the legendary porcelain factory on the grounds of the royal family’s once- upon-a-time summer palace. There she succumbed to her own maladie de porcelaine, the fabled “porcelain sickness” that possessed so many aesthetes in the 18th century. Feinstein, whose work has included architectural stage flats, period room–inspired installations, and immersive environments, found herself drawn to the exuberant figurines modeled by Franz Anton Bustelli in the 1750s. But rather than the graceful, colorful characters themselves, the swelling, curvaceous pedestals upon which they stood were what moved her. The artist working at Nymphenburg. She shapes a pair of shoes alongside one of Franz Anton Bustelli’s commedia dell’arte figures, which inspired the project. Ottavio, glazed and awaiting shipment to the Gagosian Gallery in Los Angeles, where it’s on view through February 17. “What’s so fabulous is how one curve gives into another,” notes Feinstein, who envisioned replicating Bustelli’s organic forms at life size. “They practically killed me, because every time I would get something perfect from one side, I’d go to the other side and find it didn’t look right and have to fix the whole thing.
    [Show full text]
  • Gardner's Art Through the Ages
    Napoleonic Europe 1800-1815 1 Goals • Understand the origins and spread of the luxurious and decorative style known as Rococo. • Understand the main styles of Neoclassicism and Romanticism in the early 19th century Europe and America. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 2 28.1 Rococo: The French Taste • Examine the luxurious artistic expressions of salon culture which culminated in the style known as Rococo. • Understand the completeness of the style, in decorations, accessories, paintings and sculpture, interiors, and architecture. • Examine the extreme development of the Rococo style in Germany. • Examine the development of the Rococo style, its materials, colors, and design elements. 3 GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES-JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740. 4 Mansart and LeBrun, Hall of Mirrors, Palace of Versailles, c 1680 Johann Balthasar Neumann, Kaisersaal (Imperial Hall), Residenz, Wurzburg, Bavaria, Germany, 1719-1744 Tiepolo The Marriage of the Emperor Frederick and Beatrice of Burgandy, 1751-52 FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century.9 Art of the French Salons • Examine the artistic expressions of salon cultural style known as Rococo. 10 ANTOINE WATTEAU, L’Indifférent, ca. 1716. Oil on canvas, approx. 10” x 7”. Louvre, Paris. 11 Louis XIV, 1701, English Baroque, 9’ x 6’ French Rococo, 10” x 7” 12 ANTOINE WATTEAU, Return from Cythera, 1717–1719.
    [Show full text]
  • Three Revolutionary Architects: Boullee, Ledoux, and Lequeu
    TRANSACTIONS OF THE AMERICAN PHILOSOPHICAL SOCIETY HELD AT PHILA DELPHIA FO R PROMO TING USEF UL KNO WLEDGE NEW SERIES-VOLUME 42, PART 3 1952 THREE REVOLUTIONARY ARCHITECTS, BOULLEE, LEDOUX, AND LEQUEU EMIL KAUFMANN THE AMERICAN PHILOSOPHICAL SOCIETY INDEPENDENCE SQU ARE PHILADELPHIA 6 OCTOBER, 1952 COPYRIGHT 1952 BY THE AMERICAN PHILOSOPHICAL SOCIETY PREFACE 1 am deeply indebted to the American Philosophical Columbia University, Prof. Talbot F. Hamlin, Prof. Society for having made possible the completion of this James Grote Van Derpool; Mr. Adolf Placzek, Avery study by its generous grants. 1 wish also to express my Library, and Miss Ruth Cook, librarian of the Archi­ sincere gratitude to those who helped me in various ways tectural Library, Harvard University, Cambridge, Mass. in the preparation of this book, above all to M. Jean For permission to reproduce drawings and photo­ Adhemar, Bibliotheque Nationale, Paris, Dr. Leo C. graphs 1 am indebted to the Cabinet d'Estampes, Bibl. Collins, New York City, Prof. Donald Drew Egbert, Nationale, Paris (drawings of Boullee and Lequeu), Princeton University, Prof. Paul Frankl, Inst. for Ad­ Archives photographiques, Paris (Hotel Brunoy), Bal­ vanced Study, Princeton, Prof. Julius S. Held, Colum­ timore Museum of Art, Baltimore, Md. (portrait of bia University, New York, Architect Philip Johnson, Ledoux), Cooper Union Museum for the Arts of Deco­ Museum of Modern Art, New York, Prof. Erwin ration, New York (etchings by Le Geay). Panofsky, Inst. for Advanced Study, Princeton, Prof. The quotations are in the original orthography. The Meyer Schapiro, Columbia University, New York, Prof. bibliographical references conform with the abbrevia­ John Shapley, Catholic University of America, Wash­ tions of the World List of Historical Periodicals, Ox­ ington, D.
    [Show full text]
  • READINGS: ROCOCO Background: in 1715 the French Greeted a New King for the First Time in Seventy-Two Years. Louis XV, a Boy Only
    READINGS: ROCOCO Background: In 1715 the French greeted a new king for the first time in seventy-two years. Louis XV, a boy only five years old, succeeded his great-grandfather Louis XIV, the Sun King, who had made France the preeminent power in Europe. For the next eight years the late king's nephew, the duc d'Orléans, governed as regent. His appetite for beauty and vivaciousness was well known, and he set aside the piety enforced by Louis XIV at Versailles. France turned away from imperial aspirations to focus on more personal -- and pleasurable -- pursuits. As political life and private morals relaxed, the change was mirrored by a new style in art, one that was intimate, decorative, and often erotic. THE ROCOCO STYLE Louis XIV's desire to glorify his dignity and the magnificence of France had been well served by the monumental and formal qualities of most seventeenth-century French art. But members of the succeeding court began to decorate their elegant homes in a lighter, more delicate manner. This new style has been known since the last century as "rococo," from the French word, rocaille, for rock and shell garden ornamentation. First emerging in the decorative arts, the rococo emphasized pastel colors, sinuous curves, and patterns based on flowers, vines, and shells. Painters turned from grandiloquence to the sensual surface delights of color and light, and from weighty religious and historical subjects -- though these were never ignored completely -- to more intimate mythological scenes, views of daily life, and portraiture. Similarly, sculptors increasingly applied their skills to small works for the appreciation of private patrons.
    [Show full text]