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Rococo, less commonly Roccoco (/ r ə ˈ k oʊ k oʊ / rə-KOH-koh, US also / ˌ r oʊ k ə ˈ k oʊ / ROH-kə-KOH; French: or ⓘ), also known as Late Baroque, is an exceptionally ornamental and dramatic style of architecture, art and decoration which combines asymmetry, scrolling curves, gilding, white and pastel colours, sculpted moulding, and trompe-l'œil frescoes to create surprise and ...
The elites, however, taking advantage of a period of peace, knew how to separate political and aesthetic issues, visiting France as tourists, encouraging the migration of French craftsmen, and importing large quantities of decorative objects and rococo art pieces, while the rest of the population tended to view everything French with disdain.
In the mid-nineteenth century, the term rococo referred to a style recalling the ornament and design aesthetics of the Louis XV style and early Louis XVI style. [2] The period between 1715-1745, encompassing the reign of Louis XV, is generally accepted as the high point of the Rococo style in French art. A Rocaille ornament in Caen (France)
Baroque – 1600 – 1730, began in Rome . Dutch Golden Age painting – 1585 – 1702; Flemish Baroque painting – 1585 – 1700; Caravaggisti – 1590 – 1650; Rococo – 1720 – 1780, began in France
Rococo architecture, prevalent during the reign of Louis XV in France from 1715 to 1774, is an exceptionally ornamental and exuberant architectural style characterized by the use of rocaille motifs such as shells, curves, mascarons, arabesques, and other classical elements.
Italian Rococo was mainly inspired by the rocaille or French Rococo, since France was the founding nation of that particular style. The styles of the Italian Rococo were very similar to those of France. The style in Italy was usually lighter and more feminine than Italian Baroque art, and became the more popular art form of the settecento.
Marquise de Pompadour (mistress of King Louis XV), whose name became synonymous with Rococo art, was a great admirer of his work. [10] Marquise de Pompadour is often referred to as the "godmother of Rococo" [ 10 ] and Boucher's portraits were central to her self-presentation and cultivation of her image.
Unlike the rococo style, the ornament was usually restrained, symmetrical and balanced. In the early period of the style, the designs were often inspired by French versions of Chinese art, animals, especially monkeys ( Singerie ) and arabesques, or themes taken from works of the artists of the period, including Jean Bérain the Younger ...