ROCOCO AND BAROQUE

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Rococo

• Rococo less commonly rococo, 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.• 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. The Rococo was also important in theatre. The book The Rococo states that no other culture "has produced a wittier, more elegant, and teasing dialogue full of elusive and camouflaging language and gestures, refined feelings and subtle criticism" than Rococo theatre, especially that of France.

Introduction

• 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. 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.

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(1599–1667) mostly in Rome and Guerin (1624–1683) 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 Pineal. During the Regency, court life moved away from Versailles and this artistic change became well established, first in the royal palace and then throughout French high society.

FURNITURE AND DECORATIVE OBJECTS

The light-hearted 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 contrasted.

During the Rococo period, furniture was light-hearted, 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 voyeurs chair, and the Berger en gondola. Changes in design of these chairs ranges from cushioned detached arms, lengthening of the cushioned back and a loose seat cushion. Furniture was also freestanding, instead of being anchored by the wall, to accentuate the light-hearted 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.

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, since Rococo emphasised the asymmetry of forms, whilst Baroque was the opposite.

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 (as a matter of fact, the Baroque began in Rome as a response to the Protestant Reformation); Rococo architecture was an 18th-century, more secular, adaptation of the Baroque which was characterized by more light-hearted and jocular themes. Other elements belonging to the architectural style of Rococo include numerous curves and decorations, as well as the usage of pale colours.

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, Brühl, the Chinese House (Potsdam) the Charlotte burg Palace in Germany, as well as elements of the Château de Versailles in France. Architects who were renowned for their constructions using the style include Francesco Bartolommeo Rastrelli an Italian architect who worked in Russia. and who was noted for his lavish and opulent works, Philip de Lange, who worked in both Danish and Dutch Rococo architecture, or Matthau's Daniel Pöppelmann, who worked in the late Baroque style and who contributed to the reconstruction of the city of Dresden, in Germany.

INTERIOR DESIGN

Solitude Palace in Stuttgart and Chinese Palace in Oraniemnbau, the Bavarian church of Wise 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 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 favoured in Baroque tastes

Rococo plasterwork by immigrant Italian-Swiss artists like Baguette and Atari is a feature of houses by James Gibbs, and the Francine 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. In Germany, French and German artists effected the dignified equipment of the Amalienburg near Munich, and the castles of Würzburg, Potsdam, Charlottenburg, Brühl Brachial, Solitude, and Schönbrunn.

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 Kantian 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.

The Rococo staircase of Gruber Palace in Ljubljana

Esterhazy in Forted, Hungary, 1720–1766, sometimes called the "Hungarian Versailles"

Igreja de São Francisco de Assis in São João del Rei, 1749–1774, by the Brazilian master Aleijadinho

St. Andrew's Church in Kiev, 1744–1767, designed by Francesco Bartolommeo Rastrelli

Capeskin Palace in Warsaw, 1712–1721, reflects rococo's fascinations of oriental architecture

BAROQUE

INTRODUCTION Baroque architecture is the building style of the Baroque

era, begun in late 16th-century Italy, that took the Roman vocabulary of Renaissance architecture and used it in a new rhetorical and theatrical fashion, often to express the triumph of the Catholic Church and the absolutist state. It was characterized by new explorations of form, light and shadow and dramatic intensity.

Whereas the Renaissance drew on the wealth and power of the Italian courts and was a blend of secular and religious forces, the Baroque was, initially at least, directly linked to the Counter-Reformation, a movement within the Catholic Church to reform itself in response to the Protestant Reformation. Baroque architecture and its embellishments were on the one hand more accessible to the emotions and on the other hand, a visible statement of the wealth and power of the Church. The new style manifested itself in particular in the context of the new religious orders, like the Teatimes and the Jesuits who aimed to improve popular piety.

Dissemination of Baroque architecture to the south of Italy resulted in regional variations such as Sicilian Baroque architecture or that of Naples and Lecce. To the north, the Teatime architect Camillo-Guarino Guaraní, Bernardo Vinton and Sicilian born Filipe Juvarracontributed Baroque buildings to the city of Turin and the Piedmont region.

A synthesis of Bernini, Borromini and Crotona's architecture can be seen in the late Baroque architecture of northern Europe which paved the way for the more decorative Rococo style.

By the middle of the 17th century, the Baroque style had found its secular expression in the form of grand palaces, first in France—with the Château de Masons (1642) near Paris by François Mansard—and then throughout Europe.

During the 17th century, Baroque architecture spread through Europe and Latin America, where it was particularly promoted by the Jesuits.

PRECURSORS AND FEATURES OF BAROQUE ARCHITECTURE

Michelangelo's late Roman buildings, particularly St. Peter's Basilica, may be considered precursors to Baroque architecture. His pupil Giaconda Della Porte

 continued this work in Rome, particularly in the façade of the Jesuit church Il Gesso, which leads directly to the most important church façade of the early Baroque, Santa Susanna (1603), by Carlo Madero

Distinctive features of Baroque architecture can include:

In churches, broader naves and sometimes given oval forms

Fragmentary or deliberately incomplete architectural elements

dramatic use of light; either strong light-and-shade contrasts (chiaroscuro effects) as at the church of Walsenburg Abbey, or uniform lighting by means of several windows.

opulent use of colour and ornaments large-scale ceiling frescoes an external façade often characterized by a

dramatic central projection the interior is a shell for painting, sculpture and

stucco (especially in the late Baroque) pear-shaped domes in

the Bavarian, Czech, Polish and Ukrainian Baroque Marian and Holy Trinity columns erected in

Catholic countries, often in thanksgiving for ending a plague

THE BAROQUE AND COLONIALISM

Though the tendency has been to see Baroque architecture as a European phenomenon, it coincided with, and is integrally enmeshed with, the rise of European colonialism. Colonialism required the development of centralized and powerful governments with Spain and France, the first to move in this direction.

Colonialism brought in huge amounts of wealth, not only in the silver that was extracted from the mines in Bolivia, Mexico and elsewhere, but also in the resultant trade in commodities, such as sugar and tobacco. The initial mismanagement of colonial wealth by the Spaniards bankrupted them in the 16th century (1557 and 1560), recovering only slowly in the following century.

In contrast to Spain, the French, under Jean-Baptist Colbert (1619–1683), the minister of finance, had begun to industrialize their economy, and thus, were able to become, initially at least, the benefactors of the flow of wealth. While this was good for the building industries and the arts, the new wealth created an inflation, the likes of which had never been experienced before. Rome was known just as much for its new sumptuous churches as for its vagabonds.

During the Portuguese colonization of Goa, India brought about many churches with baroque architecture (our lady of the Immaculate Conception Church).

RELIGIOUS (ECCLESIAL) BAROQUE•The Catholic Church and monastic orders built larger edifices.

Saint Peter and Paul Church in Baja, Hungary

Church in Tata, Hungary

Minority church in Eger, Hungary

HOUSES

A street in the old town of Sopron, Hungary

An old pharmacy in Kaposvár, Hungary

Another street in Sopron, Hungary

The city hall of Pecs, Hungary

A house built in Baroque in Papa, Hungary

A Baroque house in Budapest, Hungary

•OTHERS(CASTLES, PLEAS ANT'S HOUSES

•Old castlaes were re-edified in Baroque just for the comforts of that age.

Typical Hungarian Baroque peasant's houses in Halász,Hungary

The Siklós Castle in Siklós, Hungary

Thank you

ABHISHEK MEWADA(1432)

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