who is considered the founder of the french rococo style of painting? a. jean-antoine watteau b. jean-honore fragonard c. johann balthasar neumann d. jean-luc kaisersaal
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Rococo Style
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Who is considered the founder of the French Rococo style of painting?
a.
Jean-Antoine Watteau
b.
Jean-Honore Fragonard
c.
Johann Balthasar Neumann
d. Jean-Luc Kaisersaal
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Jean-Antoine Watteau
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Which of the following paintings is considered the epitome of French Rococo painting?
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Terms in this set (10)
Who is considered the founder of the French Rococo style of painting?
a.
Jean-Antoine Watteau
b.
Jean-Honore Fragonard
c.
Johann Balthasar Neumann
d. Jean-Luc Kaisersaal
Jean-Antoine Watteau
Which of the following paintings is considered the epitome of French Rococo painting?
What does the word Rococo describe?
a.
a fun, joyous, and casual style
b.
a classically influenced style
c.
a fanciful, refined, and playful style
a fanciful, refined, and playful style
Who is the artist most closely associated with Parisian Rococo?
a.
Jean-Antoine Watteau
b. Francois Boucher c.
Johann Balthasar Neumann
d.
Jean-Honore Fragonard
Francois Boucher
In what building can you see the image above?
a. Kaiser Hall b. Kaisersaal c. Keyser Salon d. Kaiser Nacht Kaisersaal
What is an arabesque?
a.
an architectural decoration with straight lines
b.
an architectural decoration painted in gold
c.
an architectural decoration with flowing lines and swirling shapes
d.
a French salon decorated in Rococo style
an architectural decoration with flowing lines and swirling shapes
What happened when Jean-Antoine Watteau submitted the above piece to the Royal Academy of Painting?
a.
The Academy was so impressed that it honored him with an award.
b.
The Academy was so impressed that it created a new category of subject matter to accommodate the painting.
c.
The Academy was so impressed that it presented the painting to the queen.
d.
The Academy scoffed at the painting, and refused to consider it artwork.
The Academy was so impressed that it created a new category of subject matter to accommodate the painting.
What is Boucher most well-known for?
a. mythological scenes b. perfect detail c. perspective d. tenebrism mythological scenes
Which of the following is a characteristic feature of the Rococo arabesque style?
a. reverse S-shape b. S-shape c. U shape d. X-shape S-shape
What classic Rococo features can be seen in the image above?
a.
delicately curved forms
b.
white-and-gold color scheme
c. luxury d. all of the above all of the above
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A synthetic plastic resin used as a binder for artists' paints. Also used in the plural to refer to the paints themselves.
Rococo
Rococo
From Wikipedia, the free encyclopedia
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It has been suggested that be merged into this article. (Discuss)
For other uses, see Rococo (disambiguation).
Rococo
Ballroom ceiling of the Ca Rezzonico in Venice with illusionistic painting by Giovanni Battista Crosato (1753); Chest of drawers by Charles Cressent (1730); Kaisersaal of Würzburg Residence by Balthasar Neumann (1749–51)
Years active 1730s to 1760s
Country France, Italy, Central Europe
Rococo (/rəˈkoʊkoʊ/, also US: /ˌroʊkəˈkoʊ/), less commonly Roccoco or Late Baroque, is an exceptionally ornamental and theatrical style of architecture, art and decoration which combines asymmetry, scrolling curves, gilding, white and pastel colors, sculpted molding, and frescoes to create surprise and the illusion of motion and drama. It is often described as the final expression of the Baroque movement.[1]The Rococo style began in France in the 1730s as a reaction against the more formal and geometric Louis XIV style. It was known as the "style Rocaille", or "Rocaille style".[2] It soon spread to other parts of Europe, particularly northern Italy, Austria, southern Germany, Central Europe and Russia.[3] It also came to influence the other arts, particularly sculpture, furniture, silverware, glassware, painting, music, and theatre.[4] Although originally a secular style primarily used for interiors of private residences, the Rococo had a spiritual aspect to it which led to its widespread use in church interiors, particularly in Central Europe, Portugal, and South America.[5]
Contents
1 Etymology 2 Characteristics
3 Differences between Baroque and Rococo
4 France 5 Italy 6 Southern Germany 7 Britain 8 Russia 9 Decline and end
10 Furniture and decoration
11 Painting 12 Sculpture 13 Porcelain 14 Music 15 Fashion 16 Gallery 16.1 Architecture 16.2 Engravings 16.3 Painting
16.4 Rococo era painting
17 See also
18 Notes and citations
19 Bibliography 20 Further reading 21 External links
Etymology[edit]
Integrated rococo carving, stucco and fresco at Zwiefalten Abbey (1739–45)
The word was first used as a humorous variation of the word .[6][7] Rocaille was originally a method of decoration, using pebbles, seashells and cement, which was often used to decorate grottoes and fountains since the Renaissance.[8][9] 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. In 1736 the designer and jeweler Jean Mondon published the , a collection of designs for ornaments of furniture and interior decoration. It was the first appearance in print of the term "rocaille" to designate the style.[10] The carved or molded seashell motif was combined with palm leaves or twisting vines to decorate doorways, furniture, wall panels and other architectural elements.[11]
The term rococo was first used in print in 1825 to describe decoration which was "out of style and old-fashioned." It was used in 1828 for decoration "which belonged to the style of the 18th century, overloaded with twisting ornaments." In 1829 the author Stendhal described rococo as "the rocaille style of the 18th century."[12]
Capital of the Engelszell Abbey, from Austria (1754-1764)
In the 19th century, the term was used to describe architecture or music which was excessively ornamental.[13][14] Since the mid-19th century, the term has been accepted by art historians. While there is still some debate about the historical significance of the style, Rococo is now often considered as a distinct period in the development of European art.
Characteristics[edit]
Rococo features exuberant decoration, with an abundance of curves, counter-curves, undulations and elements modeled on nature. The exteriors of Rococo buildings are often simple, while the interiors are entirely dominated by their ornament. The style was highly theatrical, designed to impress and awe at first sight. Floor plans of churches were often complex, featuring interlocking ovals; In palaces, grand stairways became centrepieces, and offered different points of view of the decoration.[1] The main ornaments of Rococo are: asymmetrical shells, acanthus and other leaves, birds, bouquets of flowers, fruits, musical instruments, angels and Chinoiserie (pagodas, dragons, monkeys, bizarre flowers and Chinese people).[15]
Jean
Jean-Honoré Fragonard, (born April 5, 1732, Grasse, France—died August 22, 1806, Paris), French Rococo painter whose most familiar works, such as The Swing (1767), are characterized by delicate hedonism. Fragonard was the son of a haberdasher’s assistant. The family moved to Paris about 1738, and in 1747 the boy was apprenticed to a lawyer, who, noticing his appetite for drawing, suggested that he be taught painting. François Boucher was prevailed upon to accept him as a pupil (c. 1748), and in 1752, Fragonard’s elementary training completed, Boucher recommended that he compete for a Prix de Rome scholarship, which meant study
Jean-Honoré Fragonard
French painter
By F.J.B. Watson • Last Updated: Apr 1, 2022 • Edit History
Born: April 5, 1732 Grasse France
Died: August 22, 1806 (aged 74) Paris France
Awards And Honors: Prix de Rome
Notable Works: “Progress of Love”
Movement / Style: Neoclassical art Rococo
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Jean-Honoré Fragonard, (born April 5, 1732, Grasse, France—died August 22, 1806, Paris), French Rococo painter whose most familiar works, such as The Swing (1767), are characterized by delicate hedonism.Fragonard was the son of a haberdasher’s assistant. The family moved to Paris about 1738, and in 1747 the boy was apprenticed to a lawyer, who, noticing his appetite for drawing, suggested that he be taught painting. François Boucher was prevailed upon to accept him as a pupil (c. 1748), and in 1752, Fragonard’s elementary training completed, Boucher recommended that he compete for a Prix de Rome scholarship, which meant study under the court painter to Louis XV, Carle Van Loo, in Paris. On September 17, 1756, Fragonard set off with other scholarship winners for the French Academy at Rome.
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At the academy Fragonard copied many paintings, chiefly by Roman Baroque artists, and, with his friend the French painter Hubert Robert, made numerous sketches of the Roman countryside. When his scholarship ended in July 1759, he was allowed to remain in residence until, in late November, he met a wealthy French amateur artist, Jean-Claude Richard, abbé de Saint-Non, who was to become one of his chief patrons. Early in 1760 Saint-Non took Fragonard and Robert on a prolonged tour of Italy, where the two artists studied Italian paintings and antiquities and made hundreds of sketches of local scenery.
In 1761, after returning to Paris, Fragonard exhibited a few landscape paintings and the large Coresus and Callirhoë (1765) at the Salon, where it was purchased for King Louis XV. Consequently, the artist was commissioned to paint a pendant, or companion piece, granted a studio in the Louvre Palace, and accepted as an Academician. Nevertheless, after 1767 he almost ceased to exhibit at the salons, concentrating on landscapes, often in the manner of the 17th-century Dutch painter Jacob van Ruisdael (Return of the Herd, 1766); portraits; and decorative, sensuous outdoor party scenes, such as The Swing, in the style of Boucher but more fluently painted. His admiration for Rembrandt, Peter Paul Rubens, Frans Hals, and a Venetian contemporary, Giovanni Battista Tiepolo, emerges in a large series of loosely and vigorously executed heads of old men, painted probably between 1760 and 1770 (Head of an Old Man, 1768/70), followed by a series of portraits (c. 1765–72) in a similar style and in which the sitters were real persons, but their fantastic costumes were emphasized rather than their facial expressions.
Portrait of a Man, oil on canvas by Jean-Honoré Fragonard, 1768/70; in the Art Institute of Chicago. 80.3 cm × 64.7 cm.
The Art Institute of Chicago, gift of Mary and Leigh Block in honor of John Maxon, reference no. 1977.123 (CC0)
In 1769 Fragonard married Marie-Anne Gérard from Grasse and shortly afterward received the accolade of fashion, when in 1770 he was commissioned by Mme du Barry to decorate her newly built Pavillon de Louveciennes, with four large paintings (Progress of Love, 1771–73), and in 1772 he received a somewhat similar commission from the notorious actress Madeleine Guimard. Neither was a success, the Louveciennes paintings probably being rejected as too Rococo for a totally Neoclassical setting.
A journey to the Low Countries perhaps in 1772–73 increased his admiration for Rembrandt and Hals and was reflected in his later portraits. A second visit to Italy followed in 1773–74. As before, he concentrated on drawing picturesque Italian landscape subjects rather than on painting. The return journey was taken through Vienna, Prague, and Germany. On his return to Paris, the family was joined by his wife’s 14-year-old sister, Marguerite, with whom Fragonard fell passionately in love. Consequently, he turned his interests toward a new type of subject matter: domestic scenes inspired by Jean-Jacques Rousseau’s moral philosophy or romantic novels (The Happy Family, c. 1775) or scenes concerned with children’s upbringing, in which his son Évariste (born 1780) frequently figures (The Schoolmistress [“Now Say Please”], c. 1780).
In the last years preceding the French Revolution, Fragonard turned finally to Neoclassical subject matter and developed a less fluent Neoclassical style of painting (The Fountain of Love, c. 1785), which becomes increasingly evident in his later works, particularly the genre scenes executed in collaboration with Marguerite Gérard (The Beloved Child, 1780–85).
Fragonard’s art was too closely associated with the pre-Revolutionary period to make him acceptable during the Revolution, which also deprived him of private patrons. At first he retired to Grasse, but he returned to Paris in 1791, where the protection of the leading Neoclassical painter Jacques-Louis David obtained for him a post with the Museum Commission, but he lost this position in 1797. He spent the rest of his life in obscurity, painting little. His death in 1806 passed almost unnoticed, and his work remained unfashionable until well after 1850.
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