Rococo

Rococo - Wikipedia, the free encyclopedia
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https://en.wikipedia.org/wiki/Rococo
Rococo
From Wikipedia, the free encyclopedia
Rococo (/rkoko/ or /rokko/), less commonly roccoco,

or "Late Baroque", is an 18th-century artistic movement and
style, affecting many aspects of the arts including painting,
sculpture, architecture, interior design, decoration, literature,
music, and theatre. It developed in the early 18th century in
Paris, France as a reaction against the grandeur, symmetry, and
strict regulations of the Baroque, especially of the Palace of
Versailles.[1] Rococo artists and architects used a more jocular,
florid, and graceful approach to the Baroque. Their style was
ornate and used light colours, asymmetrical designs, curves, and
gold. Unlike the political Baroque, the Rococo had playful and
witty themes. The interior decoration of Rococo rooms was
designed as a total work of art with elegant and ornate furniture,
small sculptures, ornamental mirrors, and tapestry
complementing architecture, reliefs, and wall paintings.
Pair of lovers group of

Nymphenburg porcelain, c. 1760,
modelled by Franz Anton
Bustelli
By the end of the 18th century, Rococo was largely replaced by

the Neoclassic style. In 1835 the Dictionary of the French
Academy stated that the word Rococo "usually covers the kind
of ornament, style and design associated with Louis XV's reign
and the beginning of that of Louis XVI". It includes therefore,
all types of art from around the middle of the 18th century in
France. The word is seen as a combination of the French
rocaille (stone) and coquilles (shell), due to reliance on these
objects as decorative motifs.[2] The term may also be a
combination of the Italian word "barocco" (an irregularly
shaped pearl, possibly the source of the word "baroque") and
the French "rocaille" (a popular form of garden or interior
The Rococo Basilica at
ornamentation using shells and pebbles) and may describe the
refined and fanciful style that became fashionable in parts of
Ottobeuren (Bavaria):
architectural spaces flow together
Europe in the 18th century.[3] Owing to Rococo love of
and swarm with life.
shell-like curves and focus on decorative arts, some critics used
the term to derogatively imply that the style was frivolous or
merely modish. When the term was first used in English in
about 1836, it was a colloquialism meaning "old-fashioned". The style received harsh criticism and
was seen by some to be superficial and of poor taste,[4][5] especially when compared to
neoclassicism; despite this, it has been praised for its aesthetic qualities,[4] and 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 to art in general, Rococo is now widely recognized as a major
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period in the development of European art.
Contents
1 Historical development
2 Rococo in different artistic modes
2.1 Furniture and decorative objects
2.2 Garden design
2.3 Architecture
2.4 Interior design
2.5 Painting
2.6 Sculpture
2.7 Music
3 Gallery
3.1 Architecture
3.2 Engravings
3.3 Rococo painting
4 See also
5 References and sources
6 Further reading
7 External links
Historical development
Although Rococo is usually thought of as developing first in the decorative arts and interior design,
its origins lie in the late Baroque architectural work of Borromini (15991667) mostly in Rome and
Guarini (16241683) mostly in Northern Italy but also in Vienna, Prague, Lisbon, and Paris. Italian
architects of the late Baroque/early Rococo were wooed to Catholic (Southern) Germany, Bohemia
and Austria by local princes, bishops and prince-bishops. Inspired by their example, regional
families of Central European builders went further, creating churches and palaces that took the
local German Baroque style to the greatest heights of Rococo elaboration and sensation.
An exotic but in some ways more formal type of Rococo appeared in France where Louis XIV's
succession brought a change in the court artists and general artistic fashion. By the end of the king's
long reign, rich Baroque designs were giving way to lighter elements with more curves and natural
patterns. These elements are obvious in the architectural designs of Nicolas Pineau. During the
Rgence, court life moved away from Versailles and this artistic change became well established,
first in the royal palace and then throughout French high society.
The delicacy and playfulness of Rococo designs is often seen as perfectly in tune with the excesses
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of Louis XV's reign.[6]
Franois Boucher, Le Djeuner,

(1739, Louvre), shows a rocaille
interior of a French bourgeois
family in the 18th century. The
porcelain statuette and vase add a
touch of chinoiserie.
The 1730s represented the

height of Rococo
development in France. The
style had spread beyond
architecture and furniture to
painting and sculpture,
exemplified by the works of
Antoine Watteau and
Franois Boucher. Rococo
still maintained the Baroque
taste for complex forms and
intricate patterns, but by this
point, it had begun to
integrate a variety of diverse
characteristics including
asymmetric compositions.
The Rococo style was
spread by French artists and
engraved publications.
Rococo-style House of the Good

Shepherd in Bratislava (Slovakia)
- an example of the 18th century
bourgeoisie house.
In Great Britain, Rococo was always thought of as the "French taste" and was never widely adopted
as an architectural style, although its influence was strongly felt in such areas as silverwork,
porcelain, and silks, and Thomas Chippendale transformed British furniture design through his
adaptation and refinement of the style. William Hogarth helped develop a theoretical foundation for
Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of
Beauty (1753) that the undulating lines and S-curves prominent in Rococo were the basis for grace
and beauty in art or nature (unlike the straight line or the circle in Classicism). The development of
Rococo in Great Britain is considered to have been connected with the revival of interest in Gothic
architecture early in the 18th century.
The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and JacquesFranois Blondel began to voice their criticism of the superficiality and degeneracy of the art.
Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in
contemporary interiors.[7] By 1785, Rococo had passed out of fashion in France, replaced by the
order and seriousness of Neoclassical artists like Jacques-Louis David. In Germany, late 18th
century Rococo was ridiculed as Zopf und Percke ("pigtail and periwig"), and this phase is
sometimes referred to as Zopfstil. Rococo remained popular in the provinces and in Italy, until the
second phase of neoclassicism, "Empire style", arrived with Napoleonic governments and swept
Rococo away.
There was a renewed interest in the Rococo style between 1820 and 1870. The British were among
the first to revive the "Louis XIV style" as it was miscalled at first, and paid inflated prices for
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second-hand Rococo luxury goods that could scarcely be sold in Paris. But prominent artists like
Eugne Delacroix and patrons like Empress Eugnie also rediscovered the value of grace and
playfulness in art and design.
Rococo in different artistic modes

Furniture and decorative objects
The lighthearted themes and intricate designs of Rococo
presented themselves best at a more intimate scale than the
imposing Baroque architecture and sculpture. It is not
surprising, then, that French Rococo art was at home indoors.
Metalwork, porcelain figures and especially furniture rose to
new pre-eminence as the French upper classes sought to outfit
their homes in the now fashionable style.
Rococo style took pleasure in asymmetry, a taste that was new
to European style. This practice of leaving elements unbalanced
for effect is called contraste.
Rococo mirror and stuccowork in

Schloss Ludwigsburg reflect the
style's characteristic
anti-architectural integration of
materials and forms
During the Rococo period, furniture was lighthearted,

physically and visually. The idea of furniture had evolved to a
symbol of status and took on a role in comfort and versatility.
Furniture could be easily moved around for gatherings, and
many specialized forms came to be such as the fauteuil chair, the voyeuse chair, and the berger en
gondola. Changes in design of these chairs ranges from cushioned detached arms, lengthening of
the cushioned back (also known as "hammerhead") and a loose seat cushion. Furniture was also
freestanding, instead of being anchored by the wall, to accentuate the lighthearted atmosphere and
versatility of each piece. Mahogany was widely used in furniture construction due to its strength,
resulting in the absence of the stretcher as seen on many chairs of the time. Also, the use of mirrors
hung above mantels became ever more popular in light of the development of unblemished glass.
In a full-blown Rococo design, like the Table d'appartement (c. 1730), by French designer J. A.
Meissonnier, working in Paris (illustration, below), any reference to tectonic form is gone: even the
marble slab top is shaped. Apron, legs, stretcher have all been seamlessly integrated into a flow of
opposed c-scrolls and "rocaille." The knot (noeud) of the stretcher shows the asymmetrical
"contraste" that was a Rococo innovation.
Most widely admired and displayed in the "minor" and decorative arts its detractors claimed that its
tendency to depart from or obscure traditionally recognised forms and structures rendered it
unsuitable for larger scale projects and disqualified it as a fully architectural style.
Dynasties of Parisian bnistes, some of them German-born, developed a style of surfaces curved
in three dimensions (bomb), where matched veneers (marquetry temporarily being in eclipse) or
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Design for a table by JusteAurele Meissonnier, Paris ca

1730
An encoignure by
royal cabinetmaker
Jean-Pierre Latz circa
1750 is richly
ornamented with
marquetry and
ormolu.
vernis martin japanning was

effortlessly complemented
by gilt-bronze ("ormolu")
mounts: Antoine Gaudreau,
Charles Cressent,
Jean-Pierre Latz,
Jean-Franois Oeben,
Bernard II van Risamburgh
are the outstanding names.
Designers such as the

Belgian Franois de
Cuvillis, the French
Nicolas Pineau and the Italian
Bartolomeo Rastrelli exported
Parisian styles in person to Munich
and Saint Petersburg, while
Turin-born Juste-Aurle Meissonier
found his career at Paris. The guiding
spirits of the Parisian rococo were a
small group of marchands-merciers,
the forerunners of modern decorators,
led by Simon-Philippe Poirier.
In French furniture the style remained

somewhat more reserved, since the
ornaments were mostly of wood, or,
after the fashion of wood-carving, less
robust and naturalistic and less
exuberant in the mixture of natural
with artificial forms of all kinds (e.g.
plant motives, stalactitic representations, grotesques, masks,
implements of various professions, badges, paintings, precious
stones).
Italian mirror showcasing typical

Rococo design with
Asymmetrical patterns
Abstract and asymmetrical

Rococo decoration: ceiling stucco
at the Neues Schloss, Tettnang
British Rococo tended to be more restrained. Thomas Chippendale's furniture designs kept the
curves and feel, but stopped short of the French heights of whimsy. The most successful exponent
of British Rococo was probably Thomas Johnson, a gifted carver and furniture designer working in
London in the mid-18th century.
The word 'Rococo' is derived from the French "rocaille", a word used to describe the rock and shell
work of the Versailles grottoes. Many pieces of carved furniture dating from the 18th centuryin
particular, mirror framesdepict rocks, shells, and dripping water in their composition, frequently
in association with Chinese figures and pagodas.[8]
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Garden design
Main: Garden la franaise
Examples designed by Andr Le Ntre:
Gardens of Versailles
Vaux-le-Vicomte
Chteau de Chantilly
Architecture
Rococo architecture, as mentioned above, was a lighter, more
graceful, yet also more elaborate version of Baroque
architecture, which was ornate and austere. Whilst the styles
were similar, there are some notable differences between both
Rococo and Baroque architecture, one of them being
symmetry,[9] since Rococo emphasised the asymmetry of
forms,[9] whilst Baroque was the opposite.[10] The styles,
despite both being richly decorated, also had different themes;
the Baroque, for instance, was more serious, placing an
emphasis on religion, and was often characterized by Christian
themes[11] (as a matter of fact, the Baroque began in Rome as a
response to the Protestant Reformation);[12] Rococo architecture
was an 18th-century, more secular, adaptation of the Baroque
which was characterized by more light-hearted and jocular
themes.[11] Other elements belonging to the architectural style
of Rococo include numerous curves and decorations, as well as
the usage of pale colours.[13]
The Catherine Palace in

Tsarskoye Selo is one of the
northernmost Rococo buildings
The Queluz National Palace in

Portugal was one of the last
Rococo buildings to be built in
Europe.
There are numerous examples of Rococo buildings as well as architects. Amongst the most famous
include the Catherine Palace, in Russia, the Queluz National Palace in Portugal, the Augustusburg
and Falkenlust Palaces, Brhl, the Chinese House (Potsdam) the Charlottenburg Palace in
Germany, as well as elements of the Chteau de Versailles in France. Architects who were
renowned for their constructions using the style include Francesco Bartolomeo Rastrelli, an Italian
architect who worked in Russia[14] and who was noted for his lavish and opulent works, Philip de
Lange, who worked in both Danish and Dutch Rococo architecture, or Matthus Daniel
Pppelmann, who worked in the late Baroque style and who contributed to the reconstruction of the
city of Dresden, in Germany.
Rococo architecture also brought significant changes to the building of edifices, placing an
emphasis on privacy rather than the grand public majesty of Baroque architecture, as well as
improving the structure of buildings in order to create a more healthy environment.[13]
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Interior design
Solitude Palace in Stuttgart and Chinese Palace in
Oranienbaum, the Bavarian church of Wies and Sanssouci in
Potsdam are examples of how Rococo made its way into
European architecture.
In those Continental contexts where Rococo is fully in control,
sportive, fantastic, and sculptured forms are expressed with
abstract ornament using flaming, leafy or shell-like textures in
asymmetrical sweeps and flourishes and broken curves;
intimate Rococo interiors suppress architectonic divisions of
A Rococo interior in Gatchina.
architrave, frieze, and cornice for the picturesque, the curious,
and the whimsical, expressed in plastic materials like carved
wood and above all stucco (as in the work of the Wessobrunner School). Walls, ceiling, furniture,
and works of metal and porcelain present a unified ensemble. The Rococo palette is softer and paler
than the rich primary colors and dark tonalities favored in Baroque tastes.
A few anti-architectural hints rapidly evolved into full-blown Rococo
at the end of the 1720s and began to affect interiors and decorative arts
throughout Europe. The richest forms of German Rococo are in
Catholic Germany (illustration, above).
Rococo plasterwork by immigrant Italian-Swiss artists like Bagutti and
Artari is a feature of houses by James Gibbs, and the Franchini
brothers working in Ireland equalled anything that was attempted in
Great Britain.
Inaugurated in some rooms in Versailles, it unfolds its magnificence in
several Parisian buildings (especially the Htel Soubise). In Germany,
Belgian and German artists (Cuvillis, Neumann, Knobelsdorff, etc.)
effected the dignified equipment of the Amalienburg near Munich, and
the castles of Wrzburg, Potsdam, Charlottenburg, Brhl, Bruchsal,
Solitude (Stuttgart), and Schnbrunn.
Integrated rococo
carving, stucco and fresco
at Zwiefalten
In Great Britain, one of Hogarth's set of paintings forming a

melodramatic morality tale titled Marriage la Mode, engraved in 1745, shows the parade rooms
of a stylish London house, in which the only rococo is in plasterwork of the salon's ceiling.
Palladian architecture is in control. Here, on the Kentian mantel, the crowd of Chinese vases and
mandarins are satirically rendered as hideous little monstrosities, and the Rococo wall clock is a
jumble of leafy branches.
In general, Rococo is an entirely interior style, because the wealthy and aristocratic moved back to
Paris from Versailles. Paris was already built up and so rather than engaging in major architectural
additions, they simply renovated the interiors of the existing buildings.
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Painting
Though Rococo originated in the purely decorative arts, the style showed clearly in painting. These
painters used delicate colors and curving forms, decorating their canvases with cherubs and myths
of love. Portraiture was also popular among Rococo painters. Some works depict a sort of
naughtiness or impurity in the behavior of their subjects, indicating a departure from the Baroque's
church/state orientation. Landscapes were pastoral and often depicted the leisurely outings of
aristocratic couples.
Jean-Antoine Watteau (16841721) is generally considered the
first great Rococo painter. He had a great influence on later
painters, including Franois Boucher (17031770) and
Jean-Honor Fragonard (17321806), two masters of the late
period. Even Thomas Gainsborough's (17271788) delicate
touch and sensitivity are reflective of the Rococo spirit.
lisabeth-Louise Vige-Le Brun's (17551842) style also shows
a great deal of Rococo influence, particularly in her portraits of
Antoine Watteau, Pilgrimage on
Marie Antoinette. Other Rococo painters include: Jean Franois
the Isle of Cythera (1717,
de Troy (16791752), Jean-Baptiste van Loo (16851745), his
Louvre) captures the frivolity and
two sons Louis-Michel van Loo (17071771) and Charlessensuousness of Rococo painting.
Amde-Philippe van Loo (17191795), his younger brother
Charles-Andr van Loo (17051765), and Nicolas Lancret
(16901743). Both Jean-Baptiste-Simon Chardin (16991779) and Jean-Baptiste Greuze
(17251805), were important French painters of the Rococo era who are considered Anti-Rococo.
During the Rococo era Portraiture was an important component of painting in all countries, but
especially in Great Britain, where the leaders were William Hogarth (16971764), in a blunt realist
style, and Francis Hayman (17081776), Angelica Kauffman who was Swiss, (17411807),
Thomas Gainsborough and Joshua Reynolds (17231792), in more flattering styles influenced by
Anthony van Dyck (15991641). While in France during the Rococo era Jean-Baptiste Greuze was
the favorite painter of Denis Diderot (17131785),[15] and Maurice Quentin de La Tour
(17041788), Alexander Roslin (17181793) lisabeth Vige-Lebrun were highly accomplished
portrait painters and history painters.
Sculpture
Sculpture was another area where the Rococo was widely adopted. tienne-Maurice Falconet
(17161791) is widely considered one of the best representatives of French Rococo. In general, this
style was best expressed through delicate porcelain sculpture rather than imposing marble statues.
Falconet himself was director of a famous porcelain factory at Svres. The themes of love and
gaiety were reflected in sculpture, as were elements of nature, curving lines and asymmetry.
The sculptor Edm Bouchardon represented Cupid engaged in carving his darts of love from the
club of Hercules (illustration); this serves as an excellent symbol of the Rococo stylethe demigod
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is transformed into the soft child, the bone-shattering club

becomes the heart-scathing arrows, just as marble is so freely
replaced by stucco. In this connection, the French sculptors,
Jean-Louis Lemoyne, Jean-Baptiste Lemoyne, Robert Le
Lorrain, Louis-Simon Boizot, Michel Clodion, and Pigalle may
be mentioned in passing.
Music
Tomb effigy (1773) of Amalia
A Rococo period existed in music history, although it is not as

Mniszech in St. Mary Magdalene
well known as the earlier Baroque and later Classical forms.
Church in Dukla, Poland. Only
The Rococo music style itself developed out of baroque music
details of her costume are rococo
both in France, where the new style was referred to as style
galante ("gallant" or "elegant" style), and in Germany, where it
was referred to as empfindsamer stil ("sensitive style"). It can be characterized as light, intimate
music with extremely elaborate and refined forms of ornamentation. Exemplars include Jean
Philippe Rameau, Louis-Claude Daquin and Franois Couperin in France; in Germany, the style's
main proponents were C. P. E. Bach and Johann Christian Bach, two sons of the renowned J.S.
Bach.
An insight into the French term "galante" can be seen through Boucher's painting Le Djeuner
(above), which provides a glimpse of the society which Rococo reflected. "Courtly" would be
pretentious in this upper bourgeois circle, yet the man's gesture is gallant. The stylish but cozy
interior, the informal decorous intimacy of people's manners, the curious and delightful details
everywhere one turns one's eye, the luxury of sipping chocolate: all are "galante."
In the second half of the 18th century, a reaction against the Rococo style occurred, primarily
against its perceived overuse of ornamentation and decoration. Led by C.P.E. Bach (an
accomplished Rococo composer in his own right), Domenico Scarlatti, and Christoph Willibald
Gluck, this reaction ushered in the Classical era. By the early 19th century, Catholic opinion had
turned against the suitability of the style for ecclesiastical contexts because it was "in no way
conducive to sentiments of devotion".[16]
Gallery
Architecture
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Igreja de So Francisco de Assis

in So Joo del Rei, 17491774,
by the Brazilian master
Aleijadinho
Czapski Palace in Warsaw,

17121721, reflects rococo's
fascinations of oriental
architecture
St. Andrew's Church in Kiev,

17441767, designed by
Francesco Bartolomeo Rastrelli
Rococo Saln de Gasparini hall

of the Royal Palace of Madrid,
1737-1768
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Zwinger in Dresden
Eszterhza in Fertd, Hungary,

17201766, sometimes called the
"Hungarian Versailles"
The Rococo Branicki Palace in

Biaystok, sometimes referred to
as the "Polish Versailles"
Electoral Palace of Trier
Engravings
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Unknown artist. Allegories of

astronomy and geography. France
(?), ca. 1750s
A. Avelin after Mondon le Fils.

LHeureux moment. 1736
A. Avelin after Mondon le Fils.

Chinese God. An engraving from
the ouvrage Quatrieme livre des
formes, orne des rocailles, carteles,
figures oyseaux et dragon1736
Rococo painting
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Antoine Watteau, Pierrot,

17181719
Antoine Watteau, Pilgrimage to

Cythera , 17181721
Jean-Baptiste van Loo, The Triumph Jean Franois de Troy, A Reading of

of Galatea, 1720
Molire, 1728
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Francis Hayman, Dancing

Milkmaids, 1735
Charles-Andr van Loo, Halt to the

Hunt, 1737
Gustaf Lundberg, Portrait of

Franois Boucher, 1741
Franois Boucher, Diana Leaving

the Bath, 1742
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Franois Boucher, The Toilet of

Venus, 1751
Giovanni Battista Tiepolo, The

Death of Hyacinth, 1752
Franois Boucher, Marie-Louise

O'Murphy, 1752
Maurice Quentin de La Tour,

Full-length portrait of the Marquise
de Pompadour, 17481755
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Franois Boucher Portrait of the

Marquise de Pompadour, 1756
Jean-Honor Fragonard, The Swing,

1767
Jean-Honor Fragonard,
Inspiration, 1769
Jean-Honor Fragonard, Denis

Diderot, 1769
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Jean-Honor Fragonard The

Meeting (Part of the Progress of
Love series), 1771
lisabeth Vige-Lebrun, Marie

Antoinette la Rose, 1783
Jean-Baptiste-Simon Chardin, Still Thomas Gainsborough, Mr and Mrs

Life with Glass Flask and Fruit, c.
Andrews, 1750
1750
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Jean-Baptiste Greuze, The Spoiled

Child, c. 1765
Joshua Reynolds, Robert Clive and

his family with an Indian maid,
1765
Angelica Kauffman, Portrait of

David Garrick, c. 1765
Louis-Michel van Loo, Portrait of

Denis Diderot, 1767
See also
Rococo in Portugal
Rococo in Spain
Cultural movement
Gilded woodcarving
History of painting
Timeline of Italian artists to 1800
Illusionistic ceiling painting
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References and sources

References
1. "Rococo style (design) - Britannica Online
Encyclopedia". Britannica.com. Retrieved
24 April 2012.
2. Monique Wagner, From Gaul to De Gaulle: An
Outline of French Civilization. Peter Lang,
2005, pp. 139. ISBN 0-8204-2277-0
3. Marilyn Stokstad, ed. Art History. 4th ed. New
Jersey: Prentice Hall, 2005. Print.
4. Ancien Regime Rococo (http://www.bc.edu
/bc_org/avp/cas/his/CoreArt/art/ancien.html).
Bc.edu. Retrieved on 2011-05-29.
5. Rococo Rococo Art (http://www.huntfor.com
/arthistory/c17th-mid19th/rococo.htm).
Huntfor.com. Retrieved on 2011-05-29.
6. Kleiner, Fred (2010). Gardner's art through the
ages: the western perspective. Cengage
Learning. pp. 583584.
ISBN 978-0-495-57355-5. Retrieved
21 February 2011.
7. [1] (http://digi.ub.uni-heidelberg.de/sammlung6
/allg/buch.xml?docname=blondel1737)
8. Riley, Nol. "The Age of Rococo." World
Furniture. Secaucus, New Jersey: Chartwell,
1989. Print.
9. Rococo Architecture History of Rococo
Architecture Definition of Rococo
Architecture (http://architecture.about.com
/od/periodsstyles/ig/Historic-Styles
/Rococo.htm). Architecture.about.com.
Retrieved on 2011-05-29.
10. Characteristics of Baroque Architecture

(http://www.life123.com/arts-culture/art-history
/baroque/baroque-architecture.shtml). Life123.
11. The Dizzying Grandeur of Rococo
(http://www.bergerfoundation.ch/Vertige
/english/)/
12. Baroque architecture Britannica Online
Encyclopedia (http://www.britannica.com
/EBchecked/topic/1352473/Baroquearchitecture). Britannica.com. Retrieved on
2011-05-29.
13. Rococo Architecture (http://www.artsz.org
/rococo-in-architecture/). Artsz.org
(2008-02-21). Retrieved on 2011-05-29.
14. Parquetry Floors
(http://datatest.buildingconservation.com
/articles/parquetry/parquetry.htm).
Datatest.buildingconservation.com. Retrieved
on 2011-05-29.
15. Edmond and Jules de Goncourt, French
Eighteenth-Century Painters. Cornell
Paperbacks, 1981, pp. 222225. ISBN
0-8014-9218-1
16. Rococo Style Catholic Encyclopedia
(http://www.newadvent.org/cathen
/13106a.htm). Newadvent.org (1912-02-01).
Sources
Marilyn Stokstad, ed. Art History. 3rd ed. New Jersey: Prentice Hall, 2005. Print.
Further reading
Kimball, Fiske (1980). The Creation of the Rococo Decorative Syle. New York: Dover
Publications. ISBN 0-486-23989-6.
Arno Schnberger and Halldor Soehner, 1960. The Age of Rococo Published in the US as The
Rococo Age: Art and Civilization of the 18th Century (Originally published in German, 1959).
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Levey, Michael (1980). Painting in Eighteenth-Century Venice. Ithaca: Cornell University

Press. ISBN 0-8014-1331-1.
Kelemen, Pl (1967). Baroque and Rococo in Latin America. New York: Dover Publications.
ISBN 0-486-21698-5.
External links
The dictionary definition of rococo at Wiktionary
All-art.org: Rococo in the "History of Art"
(http://www.all-art.org
/history252_contents_Baroque_Rococo.html)
"Rococo Style Guide". British Galleries. Victoria and
Albert Museum. Retrieved 16 July 2007.
Bergerfoundation.ch: Rococo style examples
(http://www.bergerfoundation.ch/Vertige/english
/index.html)
Wikimedia Commons
has media related to
Rococo architecture.
Wikimedia Commons
has media related to
Rococo art.
Retrieved from "https://en.wikipedia.org/w/index.php?title=Rococo&oldid=740217502"

Categories: Rococo art Rococo architecture 18th century in the arts 18th century in art
Baroque art Decorative arts Early Modern period Roman Catholic Church art by period
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Rococo - Wikipedia, the free encyclopedia

Rococo (/rkoko/ or /rokko/), less commonly roccoco,

Pair of lovers group of

By the end of the 18th century, Rococo was largely replaced by

Rococo - Wikipedia, the free encyclopedia

period in the development of European art.

Rococo - Wikipedia, the free encyclopedia

of Louis XV's reign.[6]

Franois Boucher, Le Djeuner,

The 1730s represented the

Rococo-style House of the Good

Rococo - Wikipedia, the free encyclopedia

Rococo in different artistic modes

Rococo mirror and stuccowork in

During the Rococo period, furniture was lighthearted,

Rococo - Wikipedia, the free encyclopedia

Design for a table by JusteAurele Meissonnier, Paris ca

vernis martin japanning was

Designers such as the

In French furniture the style remained

Italian mirror showcasing typical

Abstract and asymmetrical

Rococo - Wikipedia, the free encyclopedia

The Catherine Palace in

The Queluz National Palace in

Rococo - Wikipedia, the free encyclopedia

In Great Britain, one of Hogarth's set of paintings forming a

Rococo - Wikipedia, the free encyclopedia

Rococo - Wikipedia, the free encyclopedia

is transformed into the soft child, the bone-shattering club

A Rococo period existed in music history, although it is not as

Rococo - Wikipedia, the free encyclopedia

Igreja de So Francisco de Assis

Czapski Palace in Warsaw,

St. Andrew's Church in Kiev,

Rococo Saln de Gasparini hall

Rococo - Wikipedia, the free encyclopedia

Eszterhza in Fertd, Hungary,

The Rococo Branicki Palace in

Electoral Palace of Trier

Rococo - Wikipedia, the free encyclopedia

Unknown artist. Allegories of

A. Avelin after Mondon le Fils.

A. Avelin after Mondon le Fils.

Rococo - Wikipedia, the free encyclopedia

Antoine Watteau, Pierrot,

Antoine Watteau, Pilgrimage to

Jean-Baptiste van Loo, The Triumph Jean Franois de Troy, A Reading of

Rococo - Wikipedia, the free encyclopedia

Francis Hayman, Dancing

Charles-Andr van Loo, Halt to the

Gustaf Lundberg, Portrait of

Franois Boucher, Diana Leaving

Rococo - Wikipedia, the free encyclopedia

Franois Boucher, The Toilet of

Giovanni Battista Tiepolo, The

Franois Boucher, Marie-Louise

Maurice Quentin de La Tour,

Rococo - Wikipedia, the free encyclopedia

Franois Boucher Portrait of the

Jean-Honor Fragonard, The Swing,

Jean-Honor Fragonard, Denis

Rococo - Wikipedia, the free encyclopedia

Jean-Honor Fragonard The