1. Chapter 18 Focus: Rococo Art in France Enlightenment philosopher Diderot, artists, Watteau, Boucher, Fragonnard, Greuze, and Chardin

2. Jean-Antoine Watteau, L’Enseigne de Gersaint, 1720. Oil on canvas. In addition to its social criticism, particularly concerning moral depravity, this painting introduces a cultural shift from the tightly controlled government of Louis XIV to a more relaxed life under Philippe II, Duke of Orleans, the uncle of the young Louis XV who would eventually ascend to the throne. Its moral conservatism is representative of one strain within Rococo art.

3. Context Louis XIV dies 1515 Court leaves Versailles, returns to Paris Art is no longer in support of absolute monarchy On the one hand: Art reflects the tastes, passions, and entertainments of the aristocracy (Boucher, Fragonnard) On the other: Art reflects the lives of the bourgeoisie, or upper middle class Diderot, Encyclopedia is an important Enlightenment (anti- establishment) figure as well as the first art critic. In France he rallies against Rococo art and promotes the moral and didactic art of Greuze and Chardin. “The aim of art is to make virtue attractive, vice odious….” Watteau straddles the two camps. Diderot did not say much about Watteau. 1789 French Revolution

4. Germaine Boffrand, Salon de la Princess, Hotel de Soubise, Paris, 1740. Art is Frivolous and superficial Concerned with artifice and persona

5. Antoine Watteau, Departure (Arrival) from the Island of Cythera, 1717. Oil on canvas; roughly 4’ 3” X 6’ 4”.

6. Francois Boucher, Portrait of Madame Pompadour, 1750. Oil on canvas. Madame Pompadour is the lover of Louis XV Persona artifice Ruffles as significant as the face of the sitter Artificial and yet intimate— detail of the cameo given by Louis The portrait is about the superficial—applying makeup not settling world affairs New color scheme

7. Élisabeth Louise Vigée- LeBrun, Archduchess Marie Antoinette, Queen of France, 1778, oil on canvas, 273 x 193.5 cm Queen with Louis VXI She is surrounded by the signs of wealth and power, including a massive classical column, bust of Louis and her crown She looks past us Less about personality than attitude and the way she view others Her dress is a dominant focus; it necessitates the full-body portrait French Revolution 1789

8. Jean-Honore Fragonard, The Swing, 1766. Oil on canvas; 35 X 32”. Commissioned by the Baron St. Julien Baron specified that his mistress be painted on the swing with a small portrait of him watching Classical sculptures vs. abundant, fecund, overgrown nature, i.e., restraint vs. indulgence Self-indulgent subject matter ; nothing deep or serious Even colors are not deeply saturated but tints

9. Chardin, Soap Bubbles, c. 1733-1734. Oil on canvas; 24” x 24 7/8” Bourgeois realism Embraced by Diderot Idle play of children Children and education as Enlightenment theme Vanitas, influence of Northern Europe

10. Greuze, The Marriage Contract, 1761