Written by: Raina Tian
Rococo emerged in early 18th century Paris as France’s reaction to Baroque. The construction of the Palace of Versailles led artists to criticize the extravagance and melancholy nature of Baroque and its often religious themes. After the end of the reign of Louis XIV, the center of affluence returned to Paris as nobility returned from Versailles. The emergence of Rococo served to satisfy the needs of the nobility as they sought a new style of decoration for salons in homes. As salons served as the center of entertainment and influence for the nobility, the Rococo style spread throughout France and later to Germany and Italy. In Germany, Rococo once again became a style of religious architecture as the original French Rococo merged with the existing southern German Baroque styles. The fusion of Rococo and Baroque maintained the dramatism present in buildings such as the Amalienburg and the Residenztheater. By the mid-18th century, Rococo spread to Italy but focused in the city of Venice as an architectural style. Artists such as Antoine Watteau represented the transitionary period between Baroque and Rococo art. He is recognized as the father of fete galante, painting outdoor scenes of garden parties and festivals. His graceful, but melancholy style retained some of the characteristics of Baroque, but often he included mythological figures rather than religious figures. Watteau, as one of the early Rococo artists, popularized the movement. Francois Boucher translated the lighthearted style of Rococo into the female figure, as much of his work consisted of studies of the female nude. His interpretation of Rococo embodied itself in his emphasis of intricate details such as the costumes of women and decorative depictions of the sky. Jean-Honore Fragonard created the iconic palette and attitude of the Rococo movement with The Swing which depicted a young woman in a pastel pink dress on a swing, delicately tossing her shoe. The pastel palette and light-hearted gesture were motifs repeated throughout Rococo art. Rococo initially began in interior design, but quickly became a multi-faceted movement as artists adopted and extended its tendencies to painting and sculpture. However, through all of these, a sense of lightness and elegance persists. Most commonly, Rococo was utilized in the salons of wealthy nobles. The curves of the furniture sought to emulate natural form and movement with layers of curves and counter curves. This was often achieved through ocean and leafy motifs such as curling leaves and delicate shells. The asymmetrical result of these natural forms contrasted with the symmetrical nature of Baroque art. Mirrors and mirrored walls created an illusion of openness and space. Porcelain was utilized in both home furnishings and sculpture, as it was physically lighter compared to marble and more versatile for daily use. Furniture with lighter woods was more easily moved in preparation for social events while porcelain in sculpture was seen as more delicate and light in appearance. Both paintings and sculpture shared common subjects from nature and mythology, but the innocence of cherubs meshed with themes of love to introduce a touch of religion. Paintings were characterized by rich brushwork and pastel and gold-based palettes. This translated into portraits and landscapes of forests and seas as they embodied fluidity. Rococo eventually declined in France by the 1750s as many began to criticize it for the excessive ornamentation which originally began as a criticism of the extravagance of Baroque. Although Rococo persisted in southern Germany and Italy for a period afterwards, Rococo in France was wholly replaced in the 1760s by Neoclassicism.
0 Comments
Written by: Alex Broening
Like many influential and revolutionary artists, Manet refused to comply with standards set by others even at a young age. In January of 1832, Manet was born into a wealthy family, his father being a well-recognized judge, and his mother being of royal descent. His father’s expectation was for Manet to enter the Navy. Manet eventually capitulated and took the Navy exam but failed. Returning to his artistic aspirations, and now supported by his father, Manet joined Thomas Couture in his studio in Paris. Even at such an early age, Manet was something of a revolutionary, deeming the Ecole des Beaux-Arts to be teaching outdated modes of art. Indeed, Manet was not entirely incorrect, as Couture encouraged his mentees to explore their own style and direction of art regardless of the style of the day. After studying for six years, Manet set up his own studio in Paris, and proceeded to travel around Europe, to the Netherlands, Germany, and Austria. In his travels, he met Edgar Degas, who would remain a friend and inspiration for the rest of Manet’s life. Manet’s art began to evolve, partly as a result of his travels, and soon began to reflect modern life rather than history. Manet and other artists received much criticism, both from the public, and from the harsh critics. Manet was deeply hurt by this criticism of his art, especially of "Le Déjeuner sur l'Herbe", which, shockingly for the time, depicted a prostitute in the nude. Also upsetting to Manet was his rejection from the Salon – what was considered the pinnacle of artistic achievement in Europe. Despite his revolutionary nature, Manet still desired recognition for his work, and his rejection was upsetting to him. Manet continued to produce controversial works, including Olympia in 1863, which was not well received by the Parisian public. His scandals continued into his personal life in addition to his art. Manet married Suzanne Leenhoff in 1863, however, the two had been involved for more than 10 years, and had had an illegitimate child 9 years prior to their marriage. While some speculation surrounded the affair, it had little effect on his life. Manet began meeting with other artists of the time, including Cézanne, Degas, Renoir, Sisley, and Pissarro. Together they formed a group of the first modern artists, sharing ideas and inspiration. The group had massive impact on the development of art at that period of time. Avant-garde movements such as Manet’s version of realism, and the development of impressionism by Monet and Renoir centered in, and found their base of support in this group of friends, firmly cementing their place in history. After further rejections from the Salon and other exhibitions, Manet set up a tent to exhibit his work, but received further criticism and negative publicity. Manet’s work and style continued to evolve, reflecting elements of the emerging impressionist movement. In the middle of his work, Manet also joined the National Guard during the Franco-Prussian War in 1870. Even as his health declined, Manet continued to work, painting the daily lives of Parisians. His paintings of café concerts – a symbol of the culture and society of the Paris of the time – where especially popular, including one of his most famous paintings, "A Bar at the Folies-Bergere", finished in 1881. Manet continued to paint a variety of subjects, including portraits, flowers, landscapes, and still-lifes until his death in 1883. Toward the end of his life, Manet’s work grew to be more widely appreciated, finally earning a second place at the Salon, and the “Légion d'honneur,” a special award granted by the French Government. Manet’s work essentially spawned and fed the creation of a whole new type of art. Bold and inspired, Manet truly deserves to be called the father of Modernism. |
ContributorsJACQUELINE YU is the co-founder of the MLWGS art history online magazine. She is an incredible artist and devotes much of her time to both participating in, experiencing, and appreciating art. Archives
April 2019
Categories |