ART216: From Rococo to Revolution
the Rococo period as a transitional period:
is it a “feminine” style?
Or a choice between the directions implied by Rubens and Poussin?
Some of the architecture included at the end of chapter 17 (and called “late baroque”) is
often treated as Rococo architecture by architectural historians:
François Cuvilliés: Hall of Mirrors, at Amalienburg, in Nymphenburg, Germany, 1734-39
Johan Balthasar Neumann:
Kaisersaal (Imperial hall), Würzburg palace, 1719-53, with frescoes by Tiepolo, Zick and
Bossi
Vierzehnheiligen Pilgrimage Church (interior views), 1744-72
comparison between a baroque painting and a rococo painting:
Hyacinthe Rigaud: Louis XIV, 1701
Antoine Watteau: Indifference, 1716
Watteau and the fête-galante:
Pilgrimage to Cythera, ca. 1717 (he did more than one painting with this title!)
Rococo “intrigue” paintings:
Jean-Honoré Fragonard: The Swing, 1766
The Progress of Love: The Meeting, 1771-2
People and events:
the Age of Sensibility and the Age of Enlighenm ent: m id-18th century
Jean-Jacques Rousseau, Voltaire, Newton, Descartes: key influences
Industrial Revolution (m id to late 18 th century in England)
W atts invented the steam engine, 1769: key event
Joseph Wright: Philosopher Giving a Lecture at the Orrery, 1766
the moral genre
Jean-Baptiste Greuze: Broken Eggs, 1756
The Village Bride, 1761
Chardin: Saying Grace at the Table, c. 1740
“moral genre” portraits
Elizabeth Vigée-Lebrun: Marie-Antoinette and her Children, 1787
Self-Portrait with Daughter, 1789
Adelaide Labille-Guiard: Self-Portrait with Two Pupils, 1785
William Hogarth’s comedy of manners (the British moral genre):
Marriage á la Mode, 6 scenes in all, 1743-5