The main representatives of Rococo in art. General characteristics of the Rococo style
There are countless movements in the visual arts. Most often, a new style arises on the basis of an existing one, and for some time they develop in parallel. For example, Rococo in the painting of Western Europe was formed on the basis of pompous and magnificent Baroque.
However, the emergence of a new style, as often happens, was initially met with criticism. Rococo was accused of lack of taste, frivolity and even immorality. Nevertheless, it is impossible to deny his contribution to the further development of fine art.
The birth of a new direction
In France XVII century, it became fashionable to decorate parks with stylized grottoes with stucco decorations, which were shells with intertwined plant stems. Over time, this decorative element became the dominant ornamental motif, although it underwent significant changes.
By the beginning of the next century, it was difficult to recognize a familiar shell in it; rather, it resembled a bizarrely curved curl. Therefore, the French word rocaille acquired a broader meaning. Now it meant not only a stone or a shell, but everything fanciful and writhing.
Louis XV inherited the throne in 1715, which is why the Rococo style of painting is sometimes called after him. Indeed, the chronological framework of the king’s reign and the development of the new stylistic direction coincide. And since France at the beginning of the 18th century. was an undisputed trendsetter, the Rococo craze soon spread throughout Europe.
Style Features
Baroque art, which originated in Italy in the 17th century, was distinguished primarily by its majesty. However, it never became widespread in France, although some of its features can be traced in the Rococo style. For example, both directions are decorative and rich, the only difference is that rocaille pomp is graceful and relaxed, and baroque is energetic and tense.
Interestingly, the previous styles initially arose in architecture, and then spread to sculpture, decoration and painting. With Rococo it was the other way around. This trend first developed in the interior design of aristocratic boudoirs and living rooms. It influenced the development of applied art and practically did not affect the architecture of exteriors.
Rococo in painting is a depiction of gallant scenes from the life of the aristocracy. There is no place for harsh realities, religious motives, glorification of strength and heroism. The canvases depict romantic courtship with a touch of eroticism against the backdrop of pastoral landscapes. Another one characteristic feature style - lack of a sense of the passage of time.
The ideological basis of French Rococo
Hedonism, with its desire for pleasure as the highest good and meaning of life, along with individualism, became the main philosophy of the French aristocracy of the 18th century. He also determined emotional basis Rococo style in painting, expressed in playful grace, sweet whims and lovely little details.
It is no coincidence that the favorite allegory of Rococo became the mythical island of Cythera - a place where pilgrims seeking sensual pleasures flock. This piece of land in the middle of the Aegean Sea actually exists.
Here, according to ancient Greek mythology, the beautiful Aphrodite was born. It was here that the cult of the goddess of love arose, which later spread throughout Greece. Worshipers of Aphrodite came to the island to make sacrifices at the sanctuary built in her honor.
In the Rococo era, Cythera symbolized paradise for lovers who went to an imaginary island to the temple of Venus. Sophisticated eroticism, eternal holidays and idleness reigned there. On Kiefer, the women are young and beautiful, and the men are exceptionally gallant.
From the palace to the private living room
The trend towards intimate interior design emerged already at the beginning of the 18th century. Aristocratic salons and boudoirs of private houses, where women played the main role, became centers for the formation of a gallant culture and corresponding rules of behavior.
An entire army of French jewelers, furniture makers, tailors, painters and decorators was ready to satisfy any requests of capricious customers. Rococo fashion was primarily dictated by the queen and the favorites of Louis XV: and the Marquise de Pompadour.
Wall lamps and panels, as well as pictorial compositions over window and door openings, were the main types of fine art. Now, in addition to the royal court and church prelates, the new aristocracy and representatives of the third estate commissioned decorative paintings for their living rooms from artists.
Genres and plots
Despite the new ideas, Rococo painting did not completely reject the traditional themes developed in the past. For example, continued to be used mythological stories, only now, from the entire ancient pantheon, cupids and nymphs were mainly painted, and Venus was more likely to resemble a society lady demonstrating the delights of a naked body in a piquant setting.
Over time, pastoral appeared - a new genre of chamber painting intended for residential interiors. Pastoral paintings in the Rococo style represented idyllic rural landscapes, against the background of which shepherdesses and shepherds in rich outfits play pipes, read or dance. Despite the innocent activities, the whole atmosphere is shrouded in a light veil of eroticism.
Pioneer of gallant style
Watteau Jean-Antoine is considered the founder of Rococo painting. The artist began by imitating Flemish painters, but over time he truly found his own style, depicting gallant scenes. His paintings are characterized by a special artistic depth, and not just an image of idle aristocrats flirting in the lap of nature.
Antoine Watteau painted two canvases based on the popular plot of an allegorical journey to the island of lovers. One of them, “Pilgrimage to the Island of Kythera,” is exhibited at the Louvre, and the other is in Berlin, at Charlottenburg Palace. Both of them are striking examples of the Rococo style.
Theatricality, characteristic in general for art XVIII century, is especially noticeable in the works of Watteau. For example, in the construction of a composition (“Shepherds”, “On the Champs Elysees”). There is always a foreground here - a peculiar stage area, and the groups of figures are arranged in the same way as in the theater.
Boucher's multifaceted creativity
Of course, Watteau was not the only artist working in a new direction. Francois Boucher is another prominent representative of French Rococo, whose work most fully reflected the frankly frivolous hedonism inherent in that era. He carried out orders from Louis XV, the Marquise de Pompadour, in particular, he painted the famous portrait of his favorite.
Boucher also created sets for operas, engravings for Moliere’s books, cardboards for tapestries, sketches for Sevres porcelain, in a word, he worked in different directions visual arts.
Antoine Watteau, without knowing it, left his mark on the work of Boucher, who in his youth copied his drawings. Boucher later studied Baroque technique in Rome and became a professor French Academy arts, received all-European fame.
His work covers all the themes characteristic of Rococo painting: mythology, country fairs, allegories, Chinese scenes, scenes from fashionable Parisian life, pastorals, portraits and landscapes.
Representatives of Rococo in painting
Fragonard Jean Honoré, one of the greatest French artists of the 18th century, created canvases with playful and erotic motifs. These are, for example, “Swing”, “Sneak Kiss”, “Two Girls”, “Odalisque”, etc.
His paintings, full of sensual bliss, are distinguished by subtle light and shadow effects, a light painterly manner, and decorative coloring. Fragonard's style changed over time. If the painting “Latch” shows a classical style, then in the portraits painted in the 1760s, a romantic influence is noticeable.
Another prominent representative of Rocaille painting was Nicolas Lancret, who did a lot to spread French taste in Europe. His paintings were readily bought by Catherine II, Frederick II of Prussia, not counting private collectors - admirers of the Rococo style.
Paintings by famous artists of that time are presented in exhibitions today largest museums peace. Although critics evaluate the aesthetics of Rococo differently, it is nevertheless impossible to deny the originality of this style, which has no prototypes in history.
Introduction
Characteristics and features of the Rococo style
Ceiling, floor and walls
Furniture elements and its features
Rococo and modernity
Accessories
Architectural "images" of Rococo
Palace of Versailles
Conclusion
Bibliography
Introduction
The Rococo style was the brilliant completion of the Baroque style. As a legacy from the previous century, the 18th century received a special aesthetic consciousness, in which a highly developed artistic taste became more important than many other human qualities. Taste presupposed the ability not only to distinguish beauty and know how to recreate it, but also the ability to deeply enjoy creation. If Baroque requires the whole gamut of emotions - from joy to tragedy, then for those enjoying Rococo - only exquisitely subtle and graceful ones.
“Graceful” is the key word of this era. It is then that there is a departure from life into the world of fantasy, theatrical play, mythical and pastoral plots with the obligatory touch of eroticism. Therefore, even the products of outstanding masters, although decorative and graceful, are somewhat superficial.
It is no coincidence that it was during this era that the fashion for “Chinese” or chinoiserie came into being. Movable screens appear in interiors, visually changing the space; tapestries with images of flowers, pagodas, people in Chinese clothes; famous Chinese porcelain, exquisite orchids, thin-trunked trees, aquarium fish, as well as elegant lacquered furniture by Chinese craftsmen, as if created for Rococo.
The inspiration for the Rococo style was the Italian J. O. Meissonnier, in whose works bizarre asymmetrical forms first appeared, in particular the motif of a capriciously curved shell (rocaile - hence the French rococo). Although this style is called the “Louis XV style,” unlike Baroque, it was not a purely courtly art. Most Rococo buildings are private houses of the French nobility and country palaces. The rooms in them were not arranged in a suite (as in the 17th century), but formed asymmetrical compositions. The main hall (salon) was usually located in the center. The corners of the rooms are rounded, all the walls are decorated with carved panels, gilded ornaments and mirrors, which seem to expand the space, giving it uncertainty. The rooms become smaller and lower, creating an atmosphere of intimacy characteristic of boudoirs. The coloring is dominated by delicate pastel colors. The most popular color combinations are white with blue, green or pink and, of course, gold.
It was in the Rococo era that the idea of the interior as an integral ensemble first appeared: the stylistic unity of the building, the decor of walls and ceilings, furniture, etc. And never before has the interior matched the character so accurately way of life. All interior items are made with great attention to comfort and the little things in life.
Let's take a closer look at the features of this architectural style, which is the goal of our work.
Objectives: 1. study and analyze the literature on this topic;
Identify the characteristic features of the Rococo style;
Characterize the influence of this style on the development of architecture.
Characteristics and features of the Rococo style
Rococo (French rococo, from French rocaille - decorative shell, turtle, rocaille) is an art style that arose in France in the first half XVIII century during the reign of Regent Philippe d'Orléans, uncle of Louis XV. This style system partly continues the features inherited from the Baroque, but greatly modifies them. The Rococo style arose in France during the crisis of absolutism, discouraging the hedonistic moods characteristic of the aristocracy and the attraction to escape from reality into the illusory and idyllic world of theatrical play.
Rococo is the product of exclusively secular culture, the court, and the French aristocracy. However, it managed not only to leave a mark on art, but also to influence its subsequent development.
The world of miniature forms found its main expression in applied art - in furniture, dishes, bronze, porcelain, and in architecture, mainly in the nature of the decor, which acquired a mannered, refined, emphatically sophisticated and complicated appearance. What was important in the interior now was not lush and majestic, but pleasant and comfortable. Houses that were built during this period, as a rule, are strictly classical in appearance. Inside there are walls divided with panels, niches, densely decorated with paintings, stucco moldings, gilding, small plastic, decorative fabrics, bronze, porcelain, mirrors.
The philosophy of the Rococo style was determined by women - the king's favorites: the Marquise de Pompadour, Madame Dubary, Maria Leshchinskaya. Rococo considers the main holiday in life to be refined pleasure and love. Hidden pavilions, Chinese houses, cozy grottoes. The intimacy and coziness of Rococo rooms was created due to much smaller sizes and special decoration. The characteristic features of Rococo are sophistication, great decorative loading of interiors and compositions, graceful ornamental rhythm, great attention to mythology, erotic situations, and personal comfort. The style received its highest development in architecture in Bavaria. Subsequently, the Rococo style gave way to neoclassicism.
The center of the formation of the new culture of the 18th century was not the palace’s ceremonial interior, but the salon. Instead of huge baroque ceremonial halls, small elegant rococo salons appear. The Rococo style did not introduce any new constructive elements into architecture, but used the old ones, without restricting itself to any traditions when using them and with the main goal of achieving decorative showiness. Rococo architecture strives to be light, welcoming, playful; she does not care about the appropriateness of the forms of the parts of the structure, but disposes of them as she pleases, at the behest of a whim, avoiding strict symmetry.
For Rococo, small rooms with rounded corners or oval in plan are typical. In the creations of this architecture, straight lines and flat surfaces almost disappear, or at least are disguised by figural processing. The walls are divided by thin rods into separate panels arranged in two rows. The bottom row played the role of a panel. The columns are sometimes extended, sometimes shortened and twisted in a helical manner, their capitals are distorted by flirtatious changes and enlargements. Instead of columns and capitals, thin relief frames appear - panels, ribbon weaves, ornamental decorations, grotesques. Tall pilasters and huge caryatids support minor projections with a strongly protruding cornice.
Rococo architects tried to smooth out the angle between the wall and the ceiling with the help of a hollow - a smooth semicircular transition, which was decorated with a thin ornamental relief. As in Baroque times, much attention was paid to ceiling lamps, but during this period the ceilings again became flat. A distinctive feature of Rococo is a small stylized thin relief ornament in the form of interlacing, grotesques, curls, convex shields irregularly surrounded by the same curls, masks, flower garlands and festoons, and rocaille - an ornament in the form of turtles. Rocaille becomes the main decorative motif. Ornamentation is used everywhere - in the framing of windows, doors, wall spaces inside the house, in lampshades.
The Rococo style sought to visually destroy the structure of the house. Large-scale paintings and huge mirrors were used for these purposes. To visually expand the space of small rooms, mirror surfaces were placed opposite one another, and to increase the amount of daylight - opposite the window. To remove the feeling of massive walls and ceilings and add lightness to the interiors, the windows were located almost in the same plane as the wall.
Despite this lack of rationality in the use of architectural elements and capriciousness, the Rococo style left many monuments that still attract with their originality, luxury and cheerful beauty. These are the Palace of Versailles in France, the Dresden Zwinger in Germany, the Winter Palace and other Rastrelli houses in Russia. Rococo takes us to the era of rouge, whitewash, flies and powdered wigs.
At that time, Paris was already overpopulated and very densely built up, so architects were not given too many opportunities to create architectural masterpieces. The main concern and attention was surrounding the interior of the premises, as well as interior items and accessories. It was in the Rococo era that for the first time the idea of the interior as an integral ensemble appeared: the stylistic unity of the house, the decor of walls, ceilings, and furniture.
Due to some historical features and the worldview of that time, the Rococo style left its most noticeable mark not in large monumental forms, but in interior items and accessories. Rococo is a style based on detail. fashionable word becomes bagatelle (French trifle, trinket). It was in the Rococo era that for the first time the idea of the interior as an integral ensemble appeared: the stylistic unity of the house, the decor of walls, ceilings, and furniture. The combination of openwork forms, complex ornaments and transparent, light colors gave rise to a festive, truly enchanting spectacle. All Rococo art is built on asymmetry, which creates a feeling of concern, playful mockery, and inventiveness.
Ceiling, floor and walls
At the beginning of the 18th century, Baroque motifs gave way to the Regency style - fractional ornamentation and complex curved shapes appeared in the decoration of rooms. Towards the middle of the century, the Regency came into its own with Rococo in all its exquisite pomp.
In the interior architecture, thin relief carved and stucco frames, interlaces, patterns, curls, torn cartouches, cupid-head masks and grotesques combined with rocailles appear. Rocaille - a sea shell - is the main motif that gave the name to the style; it is used literally everywhere: shelves, walls, furniture, small accessories.
All Rococo architecture and decoration is aimed at hiding structural features and destroying planes. For example, the plane of the wall from the ceiling in Rococo is separated by a paduga - a smooth, semicircular transition that plastically connects both. This inconspicuous transition is decorated with a thin ornamental relief. In modern conditions, this is very easy to implement using drywall, which can be easily bent in any direction. The part of the wall that remained was masked with paintings that destroy the plane, and with mirrors they completely destroyed it. Moreover, the mirrors must be positioned so that one reflects on the other.
In the original, the walls were covered with silk fabrics in conjunction with curtains on the windows and drapes on the doors. Then it was the turn of cotton fabrics and paper trellises. The tapestries were originally imported from China or India, but were later replaced by English and French ones, although preserving the oriental flavor. The walls were sometimes divided in height into two parts. This division was carried out by panels in the form of “mirrors”, or by color. For example, the top is monochromatic (pale blue, lilac, pink, gray with gold and silver), and the bottom is covered with a trellis with an ornament.
The premises themselves are predominantly oval or round in plan. Most window and door openings, mirrors and decorative panels above the doors were also round or oval. For additional decoration of walls, door and window openings, oval medallions with garlands and bows, ornaments from garlands, letters, fruits, volutes and scrolls, vignettes and so on were used, covered with gilding or painted in White color.
The ceiling is monochromatic, but with the obligatory ornamental decor: gypsum stucco, decorative elements that are painted white or covered with gold. Cornices, borders, corners, and lampshades were decorated. In the center of the ceiling is a dome, decorated with decorative cornices or painted blue.
A little about color. If baroque interiors were glorified by their diversity of bright colors, then during Rococo, muted colors became a priority, pastel colors: pearl, silver, pale ocher, mother-of-pearl and therefore the like. In fashion were combinations of white and blue, white and light green or pink flowers.
Furniture elements and its features
The main element of the interiors was the fireplace, which was very beautifully decorated and built, as a rule, low. Candelabra, clocks, and other decorations were placed on the marble slabs of the fireplaces. Mirrors were placed in beautiful frames on the upper sections of the walls. But it is worth noting that mirrors were also hung on other parts of the walls. Quite often, the mirror was placed opposite the window, on both sides of the fireplace, which was placed against blank walls. This solution made it possible to simultaneously enjoy the view of a blazing fireplace, as well as the winter view from the window. The decoration of the ceilings and walls corresponded to the shape and decor of the furniture, including the colors of the drapery and upholstery fabrics. It was during the Rococo period that the idea of an interior arose; from that time on, the interior was considered an integral space, which was designed in a single style.
One of the inspirers of the Rococo style, which became recognized, was the Italian Just-Aurelius Meyssonnier. He settled in 1723 in Paris. In his specialties, he was a sculptor, architect and jeweler, and he was also the author of many designs for products that were related to decorative and applied arts. It was in these products that the wonderful forms that were so characteristic of Rococo first appeared, such as the example of an asymmetrical shell. Motifs of such shells were used in the 16th century, and at the end of the 17th century the shape of the shells became even more decorative. The Rococo period detailed it and turned it into a climbing pattern, which consisted of various shoots, plants and flowers that spread out asymmetrically.
The sophistication of manners, as well as the female cult, was most reflected in the shapes of pieces of furniture. New items appeared that were intended mainly for women: corner cabinets, desks, secretaries with inclined folding boards, cardboard boxes, dressing tables with folding mirrors, round and rectangular bedside tables, as well as various work tables. The most favorite pieces of cabinet furniture were secretaries and chests of drawers. Secretaries had many hidden compartments. During the Rococo era or the era of love affairs, the custom of writing sentimental letters and memoirs was in fashion. Therefore, hidden compartments of secretaries were designed to store such letters.
Chest of drawers (translated from French means convenient) was at that time the personification of comfort. Only the top lid remained flat, which, as a rule, was made of marble, but the edges of the lid were processed in waves. The walls were curved in all directions and due to this they took on the shape of swelling walls (the Russians called such forms of chests of drawers “pot-bellied”). The panel cladding was done using light exotic rocks that were brought to Europe in the 17th century. The most popular were red and pink trees, amaranths, rosewoods, palms and others. As for European tree species, pear, apple, nut, lemon, and maple trees were most often used. Craftsmen from France rarely used burning and dyeing, preferring mainly the natural colors of wood.
At this time, albums of engravings were published with samples of furniture of the new style, the authors of which were Jules Oppenor, Claude Gillot and Just Aurelius Meyssonnier. However, the Regency style was most clearly evident in the works of Charles Cressant. His furniture is refined and sophisticated. Cressan perfects the inlay technique - marquetry. The wood was pre-dried and kept for a long time. When the kits were glued on, the outer surfaces were dampened with a sponge and water, and the inner surfaces were quickly coated with hot glue. After this, the set was very quickly put into place, and then tapped with a hammer or pressed with a special press. Sometimes, when sets were glued to curved surfaces, bags of hot sand were used.
Marquetry motifs included baskets with ribbons and flowers, plant branches, bouquets and others. Decoration was done over the entire surface, without taking into account the design of the product. Chests of drawers usually had two or three drawers, which were made invisible with the help of ornaments.
In the furniture production of the Rococo style, carving was not often used, and at the same time the role of bronze greatly increased. Bronze climbing stems and flowers formed not only overlays, but also handles. The inconspicuous edging of the objects created a very durable metal frame. Sometimes, instead of facing, the surface of chests of drawers was finished with colored varnishes, including decoration with bronze overlays or gilded carvings.
Changes also affected the shapes of seating furniture. Changes have taken place towards elegance and convenience. Functional and comfortable furniture appeared that corresponded to the true purpose, and not just the purposes of representation. New varieties of products were introduced: canapés (these were sofas that looked like three connected armchairs), bergeres (deep armchairs), and chaise lounges. The contours of the products became wavy, the legs and arms acquired a smooth fluidity, and curved even more. The shapes of the chairs corresponded to the nature of women's suits (that is, wide leggings), namely: the armrests in free-standing chairs began to unfold widely. Couches, chaise lounges, and armchairs took on completely new types of forms and often bore fancy names: duchesse, shepherdess, marquise and others.
Upholstered furniture, which was decorated with exquisite fabrics that were beautiful not only in color, but also in design, fit perfectly into the overall interior. In accordance with the norms of life, the products were placed in small groups in different places of the premises, thus, as it were, “centers of gravity” were formed for the people who gathered in such rooms. Separate groups were tables, sofas, chairs and armchairs.
Furniture in the style of the gallant century is in fashion at the moment. Many furniture manufacturers literally copy the works of ancient masters. Whole series of living, dining and bedroom sets go on sale under the name of Louis XV.
So, in the 18th century, the pomp, grandeur, and spatial scope of Baroque give way to the elegance and “femininity” of Rococo. Under Louis XV, the interiors were much more comfortable, different a huge amount skillfully selected objects, decorated, like the walls of the rooms, with ornaments with rocaille elements. The color scheme is dominated by pastel colors.
Gradually, lush and pompous baroque furniture takes the place of more inventive and sophisticated ones. Classic ornamental motifs are replaced by light floral arabesques. The composition of the decor is symmetrical and is based on a freer solution of straight and curved lines. The main thing is the desire to dissolve details in the overall volume of objects.
Rococo and modernity
This style is still in demand today. IN modern interior In the Rococo style, it is advantageous to use spotlights, which allow you to create an additional illusion of open space. To create an unreal and romantic atmosphere, it would be a good idea to hide the lighting around the perimeter of the room. You can use argon lamps, mounted on a special guide tape and hidden in wide ceiling cornices. Ceiling decor in hallways, living rooms and dining rooms should be dense and complex, while in bedrooms and children's rooms, on the contrary, modest. Place chandeliers in the center of the lampshade or dome; it is good if they are bronze, with crystal pendants or candle-shaped bulbs. The floor in the rooms can be covered with tiles or parquet. Skirting boards are straight or curved according to the profile. The height of the skirting boards is arbitrary.
The Rococo style, unlike many other historical styles, is entirely suitable for almost all rooms. Naturally, it will fit more organically into the living room, bedroom, and bathroom. But Rococo will fit into a study, a library, and even a kitchen. This is a picturesque, romantic and cozy style. The rooms must be strictly symmetrical in plan. This legacy of classical styles should also be taken into account when placing furniture. The center of the interior is a low fireplace, covered with a slab of white and colored marble, decorated with luxurious bronze overlays. Above the fireplace there must be a large mirror in a gilded frame, and on the mantelpiece there are luxury items: gilded bronze clocks, candelabra, porcelain vases and more. In Rococo, seating furniture was divided into “furniture”, which was placed along the walls, and “movable”, which was located where society usually gathered.
The set of items necessary for furnishings mainly consisted of a set of upholstered furniture: chairs, armchairs, canapé sofas, a fireplace screen and a screen. The most suitable furniture for preservation is a lacquered chest of drawers with a wave front. Ordinary rectangular cabinets, and even more so chests, are inappropriate in a Rococo style interior. A boudoir requires a flirty dressing table. For the bedroom - a romantic bed, preferably with a canopy.
Much attention worth paying attention to lighting. It is so convenient for them to create an intimate, romantic or cozy atmosphere. The main types of lamps are chandeliers, floor lamps and sconces. It would be good if the wall sconces were in the form of plaster shells, flowers and bowls.
Accessories
A room in the Rococo style should resemble a box of valuables. Therefore, ignoring accessories and trying to stylize the interior as rococo are mutually exclusive things. Porcelain figurines, boxes, vases can be placed literally anywhere: on mantelpieces, tables, special console supplies, in wall cabinets. Dishes should be light and sophisticated. Materials - glass, porcelain, majolica, processing - gold, silver, varnish, painting. Do not refuse products made of gilded bronze: candelabra, sconces, chandeliers, wall and table clocks. Gilded bronze was also used in the form of overlays for furniture, porcelain, earthenware, stone and bone.
The internal framing of Rococo interiors was complemented by trellises, fabrics, and embroidery. Patterned fabrics, velvet, lace, and fabrics woven with silver and gold threads have become fashionable in tapestries. A very important detail in the interior is curtains. These should be two- or three-layer curtains. Canvases made of jacquard, brocade or silk fabrics can be used as materials. For light “French” curtains, the best color is white, the fabric is thin silk. Make wide use of lambrequins and tiebacks, which should be consistent in style with the main types of curtains.
The appearance of Chinese objects in Europe was caused by a passion for oriental art. Sometimes entire interiors were decorated in chinese style. Chinese art has become the subject of passionate collecting. Next to Chinese porcelain, lacquer panels that decorate walls or cleverly mounted in European furniture, paintings, silk fabrics depicting scenes from Chinese life, pagodas, palm trees, umbrellas, and parrots are becoming popular. This pseudo-Chinese art was called “chinoiserie” (French - chinoiserie - Chinese).
When describing Rococo, one cannot ignore Meissen porcelain. The credit for the discovery of hard porcelain in Europe goes to Johann Friedrich Boettger. Following his order, the first European manufactory was launched in Meissen, which brought unprecedented world fame. The Germans even invented special furniture - a display cabinet for storing and displaying dishes. In addition to beautifully shaped vases and vessels, business card Meissen porcelain becomes fine plastic - figurines that depict gallant scenes are refined. Subtly and masterfully modeled, full of dynamics and at the same time extremely flexible, they accurately give an idea of the era that gave birth to them, the charm of the graceful and frivolous Rococo style.
Thus, this is a style “for those who understand,” for lovers of the elegant, light, sometimes frivolous, and partly theatrical. That is why the use of elements of Rococo art allows you to give the interior of a modern apartment unique charm. Boudoir, bedroom, living room, bathroom - any room can be stylized in the Rococo spirit, which does not require huge areas, but, on the contrary, imparts an intimate charm to luxury and fills the house with festive lightness.
Architectural "images" of Rococo
Architecture was losing its tendency towards grandiose ensembles imitating Versailles. In place of the 17th century manor castle there is a city house, a hotel, a small mansion of the French aristocracy, the elite of the bourgeoisie, and wealthy moneylenders immersed in the green gardens. In the mansions and hotels of the largest French Rococo architects: Robert Decotte, Gabriel, Boffrand, Oppenord, Delmer, Meissonnier, there is no unity of solution of external volume and internal space characteristic of classicism; architects often retreated from logical clarity and rational subordination of parts to the whole. But the representativeness and severity of the 17th century palace in the hotel facades was preserved. Only a number of minor changes softened the severity architectural image. The sculptural detail used to decorate the facade becomes more convex and acquires a self-sufficient meaning, no longer subordinate to the main architectural lines. The flat pilasters of the large order are replaced by convex semi-columns, giving the wall a more picturesque appearance.
The Hotel Soubise in Paris, built for the Prince de Soubise in 1705 - 1709, is considered to be a striking example of Rococo. designed by Pierre Alexis Delmer (1675-1745). Like other mansions, it is fenced off from the adjacent streets by a high wall with a luxurious entrance gate. In its exterior, the hotel is strict and classic; only a few structural elements: convex sculptural details and semi-columns decorating the façade of the building distinguish it from the architectural monuments of the previous era. But it should be noted that Rococo architecture in France is characterized by the fact that the main attention of the architect was focused not on the exterior, but on the interior, so the main changes affected, first of all, the internal layout of buildings.
A much more vivid, full-scale example of the flourishing of rocaille art in architecture is given to us by Germany (the largest representatives of rococo here are the architects Balthasar Neumann and Knobelsdorff), and, above all, in areas not in demand by the French tradition. It was in Germany that such unique phenomena as the summer pleasure residence and Rococo church architecture were formed - areas that did not receive any distribution in France, although it was in them that all the formal characteristics and aesthetic possibilities of the style showed themselves especially convincingly and exhaustively. Finally, the German region today preserves the largest number of Rococo monuments, giving the most consistent and complete picture of this art.
The most successful example of German Rococo is the royal residence of Sans Souci, built by the architect Wenzelaus Knobelsdorff (1699-1753) in the Berlin suburb of Potsdam for King Frederick II of Prussia. The name Sans Souci is translated from French as “no worries.”
In contrast to the magnificent Baroque residences, this is an intimate, chamber-like, almost pavilion-type building, which is a small one-story building consisting of an oval hall covered with a low dome and two side wings. The park facade of the palace with a protruding semi-rotunda in the center is decorated with figures of caryatids and atlases supporting the cornice. Located along the entire façade in pairs between the tall windows, the Sans Souci atlases only enliven the surface of the wall. Here sculpture becomes “decor” in the most literal sense of the term. The huge windows and doors of the park facade, making the wall almost transparent and the staircases and terraces smoothly running down into the park, create a feeling of unity. The roof of the palace is surrounded by an elegant balustrade with pedestals placed at some distance from each other, on which vases and statues are placed; Everywhere there is an ornament consisting of curls reminiscent of plant leaves, flower garlands, and shells. This architectural monument is distinguished by its lightness, playfulness, lack of strict symmetry, straight lines, flat surfaces, and strict orders. The palace rises spectacularly on a multi-stage terrace descending to a park skillfully planned by Knobelsdorff. The axial, regular composition of the park, dating back to the Baroque era, is combined here with more intimate, landscape areas.
Another significant monument of the era is the Amalienburg Palace near Munich (Bavaria), built by the architect Francois Cuvillier (1695-1768), who came from France, and is even more modest in size than the residence of the Prussian king. This small building is an example of strict and restrained French taste.
Palace of Versailles
rococo interior art architectural
The Rococo Palace of Versailles was built by Louis XIII as a hunting palace. From 1661, the “Sun King” Louis XIV began to expand the palace in order to use it as his permanent residence, since after the Fronde uprising, living in the Louvre began to seem unsafe to him.
Architects André le Notre and Charles Lebrun renovated and expanded the palace in the Baroque and Classicist styles. The entire façade of the palace on the garden side is occupied by a large gallery (Gallery of Mirrors, Gallery of Louis XIV), which makes a stunning impression with its paintings, mirrors and columns. In addition to it, the Battle Gallery, the palace chapel and the palace theater also deserve mention.
All accounts related to the construction of the palace have survived to this day. The amount taking into account all expenses is 25,725,836 livres (1 livre corresponded to 409 g of silver), which in total amounted to 10,500 tons of silver or 456 million guilders for 243 g of silver.
Conversion to modern value is almost impossible. Based on a silver price of 250 euros per kg, the construction of the palace consumed 2.6 billion euros. Based on the purchasing power of the then guilder as 80 euros, construction cost 37 billion euros.
Putting the cost of building the palace in relation to the state budget of France in the 17th century, the modern sum is 259.56 billion euros. These expenses were spread over 50 years, during which the construction of the Palace of Versailles, completed in 1710, took place.
The site of the future construction required a huge amount of excavation work. Recruiting workers from surrounding villages was difficult. Peasants were forced to become “builders.” To increase the number of workers on the construction of the palace, the king banned all private construction in the surrounding area. Workers were often imported from Normandy and Flanders. Almost all orders were carried out through tenders; contractors' expenses exceeding those initially named were not paid. In times of peace, the army was also involved in the construction of the palace. Finance Minister Jean-Baptiste Colbert kept an eye on frugality. The forced presence of the aristocracy at court was an additional precaution on the part of Louis XIV, who thus ensured complete control over the activities of the aristocracy. Only at court was it possible to obtain ranks or posts, and those who left lost their privileges.
What today seems to many to be incredible luxury and wastefulness was built as cheaply as possible, which is why many fireplaces subsequently did not work, windows did not close, and living in the palace in winter was extremely uncomfortable. The aristocracy, with the exception of close relatives of the royal family, had to live in narrow closets under a roof.
The landscape park of the Palace of Versailles is one of the largest and most significant in Europe. It consists of many terraces, which decrease as they move away from the palace. Flower beds, lawns, a greenhouse, swimming pools, fountains, as well as numerous sculptures represent a continuation of the palace architecture.
From all of the above, we can conclude: the Rococo style, which manifested itself much more clearly in the architecture of Germany, characterized by lightness, playfulness, a desire for small forms, the absence of strict symmetry, straight lines, strict orders, is opposed to Baroque with its heavy pomposity and cold pomp.
Conclusion
Rococo art, taking advantage of the achievements of previous eras (especially Baroque), does not introduce fundamentally new structural elements into architecture, but only improves existing ones. The style is characterized by lightness, grace and flirty notes. Rococo demonstrates the hedonistic mood of the aristocracy of the time, the desire for escape from reality in illusory world theatrical game.
Decor and ornaments hide the design of furniture and architecture in general. Buildings in the Rococo style are even more decorative and luxurious than in the Baroque era.
The Rococo philosophy was determined by the king's favorites: the Marquise de Pompadour, Maria Leshchinskaya, Madame DuBarry. The main values of time are celebration, refined pleasure and love.
Most Rococo buildings are private houses of the aristocratic elite of France and country palaces. The mansion was separated from the city by a high fence. The rooms were arranged asymmetrically and were small with low ceilings. The interiors were richly decorated with sculptures, carvings, paintings and a huge number of mirrors. The premises are cozy. The intimacy is created by the small size of the rooms and special decoration. Exotic motifs (most often oriental) become relevant in Rococo.
Logically continuing Baroque, Rococo rejects heavy forms and gives preference to lightness and grace.
In comparison with previous eras, color schemes also change. Dark colors with gold trim give way to bright ones: Rococo architecture surprises with pink, green and blue details combined with white. Calm pastel colors are also relevant.
The Rococo style is rich in fancy ornaments. He does not think about the appropriateness of forms, their organic combination or symmetry. The shapes are chosen randomly. But, despite the illogicality and disorder, the style left a significant mark on the history of architecture and influenced its further development.
The construction of such palaces required considerable sums, but Rococo did not skimp on rich decoration and decoration, as a result of which quality suffered: non-working fireplaces and faulty windows were not uncommon at that time.
In Rococo, straight lines and flat surfaces disappear. They change shapes and sizes, decorated with paintings, gilding, decorative fabrics, mirrors, stones, asymmetrical modeling and sculptural figures. The decor takes on a mannered, sophisticated and distinctly complex look. The rooms resemble jewelry boxes. In the interior, what is important is not pomp and majesty, but comfort.
The most outstanding architectural monuments of Rococo are Berlin's Charlottenburg Palace, the Petit Trianon in Versailles and the ensemble of three squares in the city of Nancy.
Bibliography
1.Bazin J. Baroque and Rococo. - M.: VESTA, 2008.
.Vlasov V.G. Styles in art. - St. Petersburg: Terra, 2005.
.General history arts in six volumes. T.4. Art of the 17th - 18th centuries / Ed. Yu.D. Kolpinsky and E.I. Rotenberg. - M.: Art, 2005.
.Gnedich P.P. The World History arts - M.: Higher School, 2006.
.Danilova G.I. World artistic culture: from the 17th century to the present. 11th grade - M.: Bustard, 2008.
.Daniel S.M. Rococo: from Watteau to Fragonard. - St. Petersburg: ABC-classics, 2007.
.Dmitrieva N.A. A Brief History of Art. - M.: Bustard, 2009.
.Emokhonova L.G. World artistic culture: textbook for 11th grade. - M.: Academy, 2008.
.Western European artistic culture./ Ed. V.N. Prokofiev. - M.: Nauka, 2008.
.World history artistic culture: Schoolchildren's Handbook. - M.: Bustard, 2006.
.Livanova T.N. History of Western European culture. - M., 2009.
.Livshits I. Art of the 18th century. - M.: AST Publishing House, 2006.
.Lyubimov L.D. Art of Western Europe. - M.: Higher School, 2007.
.New encyclopedic Dictionary. Art. In 10 volumes. - St. Petersburg: ABC-classics, 2008.
.Kholodova L.P. Concepts of modern architectural theory. - Ekaterinburg: Architecton, 2008.
.Shelegovich I.M. Artistic phenomenon Rococo in the context of the stylistic evolution of European architecture of the 18th century. - St. Petersburg, 2003.
.studio.lifehouse.ru. Architecture styles.
.en.wikipedia. Architectural style.
Tutoring
Need help studying a topic?
Our specialists will advise or provide tutoring services on topics that interest you.
Submit your application indicating the topic right now to find out about the possibility of obtaining a consultation.
The Rococo style in France is associated with the completion of the later forms of Baroque and the emergence in a number of countries of an artistic and stylistic movement called “Rococo” or “Rocaille style” (Rococo - from French word rocaille, that is, shell-shaped; in the art of this movement, one of the favorite decorative motifs resembled the shape of a whimsically curved shell.). The heyday of the Rococo style dates back to the 1730s and 1740s; An excellent example of this style in fine art is the picturesque and sculptural decor of the interiors of the Soubise Hotel in Paris. This ensemble was created in the second half of the 1730s by the joint efforts of many outstanding masters - the architect Beaufran, the sculptors both Adam and Lemoine, the painters Boucher, Tremoliere, Vanloo and Natoire. One of the best interiors of the mansion is the oval Hall on the top floor, the so-called Princess Salon. Large arched windows facing the courtyard alternate with doors and mirrors of the same shape and height. The use of mirrors in the composition of the interior does not make it grandiose, as was the case in the Mirror Gallery of Versailles, where the mirrors were located directly opposite the windows. In the oval hall, reflections complicate the interior, creating an imaginary spatial pattern, and the illusion of many asymmetrical openings makes the Princess Salon look like a garden gazebo. White color predominates in the interiors; Exquisite light colors - pink and soft blue - enhance the impression of lightness and grace. Above the arches of the doors and windows there are gilded stucco cartouches, cupids, intertwining branches and decorative panels of Natoire, connected into a whimsical garland. This wavy light pattern hides the border between the walls and the ceiling, and garlands stretching to the central rosette of the ceiling complete the decorative system. Natoire's painting, dedicated to the love story of Cupid and Psyche, becomes part of the pattern, an element of graceful decoration. The smooth wave-like rhythms of the architectural ornament of the interior also transfer into the compositions of the paintings, connecting the figures with decorative pattern. B.R. Vipper, State Publishing House "Art" Moscow 1963 Volume Four Art of the 17th - 18th centuries
Rococo hedonism is manifested in the deliberate sensuality of the plots, the affectation of movements, the sophistication of proportions and the sweetish tenderness of color shades - pink, greenish, blue. This direction of painting became widespread in interior decoration; it reflected the typical features of the noble culture of the 18th century.
The interiors of the Soubise Hotel, like other mansions of the first half of the century, represent an exquisite and organic ensemble of architecture, painting, sculpture and applied art. The fine stucco decorations of the sculptor Erpen are combined with the door picturesque panels Tremoliere and Boucher, elegant bronze plates decorate the doors and marble fireplaces, light green and crimson fabrics covering the walls are embroidered with gold patterns. Carved wooden Rococo furniture, sketches for which were made by the famous decorators Meissonnier and Oppenord, are light and varied, their forms are whimsical like decorative ornaments, the curved supports seem unstable.
Heavy and pompous furniture of the 17th century. is replaced by more comfortable chaise lounges, armchairs and sofas, small chests of drawers and console tables. They are covered with exquisite carvings of scrolls, shells and bouquets, paintings depicting Chinese and pastoral motifs, and inlays. Just as the pattern in rocaille porcelain left a free field of “reserve”, in furniture bronze overlays like a light garland often frame an unadorned surface made of precious woods different shades. In the whimsical design and ornamentation, clarity of outline eludes, miniature and sophistication correspond to the character of the interior. One of the most famous furniture makers of this time was Jacques Caffieri.
Late Baroque architecture, more dynamically complicated, decoratively overloaded and less majestic and monumental than in the 17th century, received widespread development in those countries where the prerequisites for the elimination of absolutism and the transition to capitalism had not yet matured. For example, in Italy the Baroque tradition continued to exist throughout the first two-thirds of the 18th century. not only in architecture, but also in painting and sculpture.
In Germany and Central Europe, late Baroque architecture and monumental art were still largely associated with the old clerical-feudal culture. The brilliant exception, as mentioned above, was Venetian art, mainly painting, which completed the festive and cheerful traditions of this wonderful school. In other areas of Italy and Central Europe, realistic tendencies manifested themselves only with difficulty and very timidly within the framework of the mainstream. Baroque art in Russia had a special character. The originality of Russian Baroque was most fully embodied in architecture. The pathos of establishing a powerful Russian noble power on the rise, which had taken its rightful place in the world, the construction of St. Petersburg, which became one of the most beautiful cities in the world, and the growth of new cities predetermined the mainly secular nature of Russian Baroque. Tapestries were also typical for the Rococo interior, executed at the tapestry manufactory and the manufactory in Beauvais based on cardboards by Jean Berin, Claude Audran, Jean Francois de Troyes, Francois Boucher and other painters. Their subjects are gallant scenes and pastorals, hunting and seasons, Chinese motifs (“chinoiserie”). The latter is due to the abundance of fabrics and porcelain brought from the East. Light colorful harmonies and light graceful patterns are characteristic of carpets of this time, intended for decorating rocaille interiors. The authors of cardboards for trellises were most often masters of decorative panels. Among the decorators of the mid-18th century. the carver Jean Verberkt (Versailles interiors) and the painter Christophe Huet (interiors of the castle in Champ) stand out.
In France, a number of brilliant ensemble solutions were created, such as, for example, the Place de la Concorde in Paris, which represent a kind of rethinking in the spirit of classicism of the principles of planning an urban ensemble. In general, in France, the process of overcoming Baroque traditions was associated during the first half of the century with the emergence of interest in a more intimate interpretation of the architectural image of a separate mansion, the owners of which were more concerned about the elegant conviviality and comfort of the building than about its solemn representativeness. All this led to the 1720s. to the formation of the principles of Rococo, that is, an art more intimate than Baroque. However, in Rococo architecture a complete architectural system similar to Baroque and Classicism was not formed. Rococo in architecture manifested itself mainly in the field of decoration, flat, light, capricious, whimsical, refined, gradually transforming the representative architectural decor of Baroque, full of spatial dynamics, into its opposite. V. Brodsky Art of France VI-XVI centuries. "General History of Art". Moscow 1964.
Rocaille painting and sculpture, which retained their connection with the architectural design of the interior, were largely decorative in nature. However, the desire for a more intimate art, designed to decorate the leisure time of a private person sensitive to the “elegant” and possessing “exquisite taste,” determined the creation of a painting style that was more differentiated in shades of mood, in the subtleties of plot, composition, coloristic and rhythmic solutions. Rococo painting and sculpture avoided appealing to dramatic stories, did not strive for detailed knowledge real life, to the formulation of significant social problems. The openly hedonistic, sometimes gracefully cutesy nature of Rococo painting predetermined its narrowness and limitations.
Very soon, by the 1740s, Rococo painting degenerated into a thoughtless and superficial art, expressing the tastes and moods of the elite of the old world doomed to disappear. By the middle of the 18th century. a sharp line has emerged between art expressing the worldview of the masters of old France, unsure of the future and living according to the peculiar aphorism of Louis XV, and the pathos of representatives of the third estate, sometimes with excessive didactic straightforwardness, asserting the significance of ethical and aesthetic values art associated with the ideas of reason and progress. Characteristic in this regard is Diderot's appeal to the artist from his Essay on Painting. Of course, as usual, art in its real development did not fit into a rigid scheme of aesthetic and ethical programs. Only in some of its, artistically not the most perfect manifestations, it literally followed the corresponding recipes.
On early stage formation of Rococo, in conditions of a clear demarcation that had not yet occurred artistic movements, it was possible for such a thing to appear great artist like Watteau. His work not only laid the foundations of Rococo as a style movement, but was also one of its most striking artistic incarnations. At the same time, its aesthetic content decisively went beyond its rather narrow artistic and ideological framework. It was Watteau, who was the first to turn to the genre of so-called gallant celebrations, and created an exquisitely elegant, intimate manner of performing these subjects. But, in contrast to the thoughtless festive elegance of such typical Rococo masters as Lancret or the gallantly grivoise Boucher, who worked in the second third of the 18th century, Watteau’s art is characterized by a subtle rendering of spiritual shades inner world human, restrained sad lyricism. Watteau's work became an important stage in the transition from the outdated pomp and grandiosity of the official traditional style French classicism late 17th century to art more closely connected with the spiritual world of an individual.
In other European countries, for example in some regions of Germany and Austria, Rococo became widespread in the field of palace and garden architecture. Some features of the Rococo style also appeared in the art of the Czech Republic in the 1740s - 1750s. Moments similar or close to the Rococo style made themselves felt in the decor of architectural interiors and in the applied arts of other European countries. Although 18th century Sometimes called the Rococo Age, this art did not gain widespread dominance. Despite the breadth of its influences, it only acquired the significance of a truly leading style in a few countries. Rococo was not a style of the era even in the sense in which it is sometimes said in relation to Baroque in the art of the 17th century. It was rather the most important and characteristic stylistic direction, occupying a dominant position in the art of a number of leading countries of Western and Central Europe in the first half of the 18th century.
- (French rococo, from rocaille, rocaille - a decorative motif in the shape of a shell), style direction in European art of the 1st half of the 18th century. Rococo is characterized by hedonistic moods, a retreat into the world of illusory and idyllic theatrical play, and a predilection for idyllic-pastoral and sensual-erotic plots. Originating in France, Rococo in the field of architecture was reflected mainly in the nature of the decor, which acquired emphatically elegant, sophisticatedly complicated forms; spreading in the architecture of other European countries (buildings by Georg Knobelsdorff, Balthasar Neumann, partly by Matthaus Daniel Pöppelmann), Rococo often acted as a local version of the late Baroque.
Rococo painting, rich in subtle tints of color and at the same time somewhat faded in color (paintings and murals by François Boucher, Giovanni Antonio Guardi, Nicola Lancret, Giovanni Pellegrini, Jean Honore Fragonard) had a predominantly decorative character. Rococo painting, closely associated with the interior of the hotel, was developed in decorative and easel chamber forms. In the paintings of lampshades, walls, door panels (dessudéporte), and in tapestries, landscapes, mythological and modern gallant themes predominated, depicting the intimate life of the aristocracy, the pastoral genre (shepherd scenes), an idealized portrait depicting the model in the image mythological hero. The image of man was lost independent meaning, the figure turned into a detail of the ornamental decoration of the interior.
Rococo artists were characterized by a subtle culture of color, the ability to build a composition with continuous decorative spots, achieving overall lightness, emphasized by a light palette, preference for faded, silvery-bluish, golden and pink shades. Simultaneously with the development of Rococo painting, the role of realistic direction; Portrait, still life, everyday genre, and landscape reached their peak. One of the founders of the Rococo style was the talented painter Antoine Watteau, who gave the most perfect embodiment of the principles of this style. Emotionality and melancholic dreaminess give the characters in Watteau’s paintings a special sophistication. The master's immediate followers, who for the most part turned Watteau's style into a refined and superficial fashion, were the artists Nicolas Lancret, Jean Baptiste Pater, Quiar and other painters. The artist’s student became the greatest master of rocaille art itself historical genre Lemoine Francois Boucher, a master of entertaining love stories, an excellent colorist and draftsman. Boucher's painting dictated the laws of a whole galaxy of masters (Charles-Joseph Natoire, the Vanloo brothers, Antoine Coypel, partly Elisabeth Vigée-Lebrun, and others) and this influence lasted until the Great French Revolution of 1789. Among the significant masters of Rococo were artists of various talents, who turned to a variety of genres of painting: François-Hubert Drouet, Louis Toquet, Louis-Michel Vanloo, Maurice Quentin de Latour, Jean-Marc Nattier, Jean Baptiste Perroneau. The last major Rococo painter was Jean Honore Fragonard, a subtle portrait and landscape painter, like Watteau, who did not fit into the framework of a simply fashionable style.
Rococo sculpture in France is less significant and original than painting. Portrait busts and small sculptural groups or statues of bathers, nymphs, and cupids became widespread in the art of Rococo and the entire 18th century; they were placed in the park and decorated with gazebos, salons, and bathhouses. The largest Rococo sculptors: Jean Baptiste Lemoine, Etienne Maurice Falconet, Augustin Pajou, Claude Michel Claudion. Rococo sculpture in other European countries was also dominated by reliefs and statues intended for decorating interiors, small figurines, including those made of terracotta and porcelain (products of the German sculptor, master of porcelain sculpture Johann Joachim Kaendler). Whimsical elegance of decoration, frequent borrowing of exotic decorative motifs chinese art, masterly identification of the expressive capabilities of the material are inherent in rocaille decorative and applied art.
Rococo (“bizarre”, “capricious”; French rococo from rocaille - fragments of stones, shells) is a style movement that dominated European art during the first three quarters of the 18th century; represented not so much an independent artistic phenomenon as a phase, a certain stage of the pan-European Baroque style. The term “rococo” arose in France at the end of the 18th century, during the heyday of classicism, as a contemptuous nickname for all mannered and pretentious art of the 18th century: a curved, capricious line, reminiscent of the outline of a shell, is its main feature. Rococo art is a world of fiction and intimate experiences, decorative theatricality, sophistication, sophisticated sophistication; there is no place for heroism and pathos in it - they are replaced by a game of love, fantasy, and charming trinkets. The heavy and pathetic solemnity of the Baroque is replaced by an intimate, fragile decorativeness. The slogan of the short, short-lived “century” of Rococo became “art as pleasure,” the purpose of which was to excite light, pleasant emotions, entertain, caress the eye with a bizarre pattern of lines, exquisite combinations of light elegant colors, which was especially expressed in the architectural decoration of interiors, with the new requirements of which Rococo painting was also adapted.
The most common form of painting has become a decorative panel, mostly oval, round or intricately curved; The composition and design is based on a softly curving line, which gives the work the pretentiousness and elegance required for this style. In their coloristic quests, the rocaille masters came from Rubens, Veronese and the Venetians, but preferred not their saturated, rich colors, but pale halftones: red becomes pink, blue becomes blue, lemon yellow, faded blue, pink, lilac colors appear, even fictional - like “the color of the thigh of a frightened nymph.” One of the founders of the Rococo style was the talented Antoine Watteau, who gave the most perfect embodiment of the principles of this style. Emotionality and melancholy dreaminess give the characters of Watteau’s images a special sophistication, which is no longer achieved by the master’s immediate followers, who turned his motives and manner into a refined and superficial fashion (Lancret, Pater, Quillard).
The greatest master of the rocaille art itself was Francois Lemoine's student Francois Boucher, a master of entertaining love stories, an excellent colorist and draftsman. Boucher's painting dictated laws to a whole galaxy of masters (Natoire, the Vanlot brothers, Antoine Coypel, etc.) and this influence lasted in France until the Revolution of 1789. Among the significant masters of Rococo were artists of various talents, who turned to a variety of genres of painting: J. M. Nattier, Drouet, Tocquet, Louis-Michel Vanloe, Latour, Perroneau. The last major Rococo painter was Jean Honoré Fragonard, a subtle portrait and landscape painter, like Watteau, who did not fit into the framework of a simply fashionable style.
Rococo sculpture is less significant and original than painting. Portrait busts and small sculptural groups or statues of bathers, nymphs, and cupids became widespread in the art of Rococo and the entire 18th century; they were placed in the park and decorated with gazebos, salons, and bathhouses. The largest Rococo sculptors: J. B. Lemoine, Pigalle, Pajou, Falconet, Clodion.
It is characteristic of Rococo architecture that the main attention of the architect was focused on the interior. In France, the classicism of the 17th century continued to dominate in the interpretation of the facade. Only a number of minor changes softened the severity of the architectural image. The sculptural detail used to decorate the facade becomes more convex and acquires a self-sufficient meaning, no longer subordinate to the main architectural lines. The flat pilasters of the large order are replaced by convex semi-columns, giving the wall a more picturesque appearance. Rococo building plans are mostly asymmetrical and are often built on round, oval and octagonal rooms; a sharp right angle is avoided even between the wall and the ceiling, and the connection line is masked with a relief ornament, the motionless plane of the wall is crushed, deepened, thereby giving the rooms an even more elegant, bizarre shape. The walls are painted in light, airy colors and decorated with picturesque panels, carved panels, and mirrors in elaborate gilded frames. The largest French Rococo architects: Robert Decotte, Gabriel, Boffrand, Oppenor, Delmer, Meissonnier.
France was the legislator of Rococo aesthetics; European countries were unevenly captured by this trend. Rococo became most widespread in Germany, especially in Prussia at the court of Frederick II. The architect Knobelsdorff created one of the most famous rocaille ensembles (Sans Souci) in Potsdam. Largest representatives Rococo in Germany - architects Balthasar Neumann and Knobelsdorff, painters Zick, Maulberch, Dietrich, sculptor Donner. In Russia, Rococo developed under the direct influence of visiting French and German masters (Tocquet, Roslin, Falconet); under this strong influence such masters as Rastrelli (in small architectural forms) emerged in Russia,
