1. 1 Chapter 29 Europe and America, 1700 to 1800 Gardner’s Art Through the Ages, 13e

2. Warm-up: Please get out your Romantic reading and notes homework. While I check that-get into groups of 2 or 3-there need to be 4 groups of 3 and two groups of 2. Get a packet from under this screen with information on scientists and philosophes of the Baroque and Enlightenment periods. Read together with your group and take some notes on the following things: what they discovered/argued in their work/what they are known for and how it might apply to art: Rene Descartes Thomas Hobbes John Locke Immanuel Kant Voltaire Rousseau 2

3. Warm-up: Get out Ch 29 notes to take notes –I will check your homework due Friday and today at the end of class….. Get intimate for the Rococo-and because my ear is still not working 3

4. 4 Art of the French Salons Examine the artistic expressions of salon cultural style known as Rococo…..the WOMEN are in positions of power here… This is the great age of the Aristocracy….it begins with the death of Louis XIV…. So the aristocracy are the major patrons at this point-not the Kings/not the church… The artificial is key….

5. 5 Figure 29-5 ANTOINE WATTEAU, L’Indifférent, ca. 1716. Oil on canvas, 10” x 7”. Louvre, Paris. A glamour boy….

6. 6 Figure 29-6 ANTOINE WATTEAU, Return from Cythera, 1717. Oil on canvas, 4’ 3” x 6’ 4 1/2”. Louvre, Paris. School of Rubens vs School of Poussin

7. 7 Figure 29-7 FRANÇOIS BOUCHER, Cupid a Captive, 1754. Oil on canvas, 5’ 6” x 2’ 10”. The Wallace Collection, London. There is some nostalgia and kitsch Going on here…

8. Figure 29-8 GIAMBATTISTA TIEPOLO, Apotheosis of the Pisani Family, ceiling fresco in the Villa Pisani, Stra, Italy, 1761-1762. Fresco, 77’ 1” X 44’ 3”. 8 Grace and elegance become As important as the illusion

9. 9 Figure 29-1 JEAN-HONORÉ FRAGONARD, The Swing, 1766. Oil on canvas, approx. 2’ 8 5/8” x 2’ 2”. Wallace Collection, London. Luxurious courtly Style mingles with Nature to imply Lush sensuality…

10. Figure 29-9 CLODION, Satyr Crowning a Bacchante, 1770. Terracotta, 1’ 5/8” high. Louvre, Paris. 10 Elaborate, Decorative Details Adorn Classical Forms And Subjects

11. 11 Italian Natural Taste and Tourism Understand the concept of the “Grand Tour” and the expression of the “picturesque” in art.

12. Figure 29-20 ANTONIO CANALETTO, Riva degli Schiavoni, Venice, ca. 1735-1740. Oil on canvas, 1’ 6 ½” X 2’ 7/8”. Toledo Museum of Art, Toledo. City views collected as a nostalgic memory of the trip taken…the GRAND TOUR was a part of the education of any wealthy young person in Western world culture-and Italy was the top pick for its Classical sites….a gateway to a memory and a token of education…. Canaletto sometimes tightened comps to fit it all in-others are completely topographically correct 12

13. 13 Figure 29-2 GERMAIN BOFFRAND, Salon de la Princesse, with painting by CHARLES- JOSEPH NATOIRE and sculpture by J. B. LEMOINE, Hôtel de Soubise, Paris, France, 1737–1740. Lines are soft and curved… Interior is beautiful and gilded… The word “Rococo” is the French Word for “pebble?,,,the shape of small stone shells Are used to decorate here as a Recurring motif…

14. 14 Figure 29-3 FRANÇOIS DE CUVILLIÉS, Hall of Mirrors, the Amalienburg, Nymphenburg Palace park, Munich, Germany, early 18th century. Paintings, architecture, Sculpture are unified… Curving tendrils imply Nature growing in to the Room… Everything sparkles and Is in motion…furthering The feeling of wit and Artificial etiquette that Is such a part of the Performances within…

15. Figure 29-4 BALTHASAR NEUMANN, interior (top) and plan (bottom) of the pilgrimage church of Vierzehnheiligen, near Staffelstein, Germany, 1743-1772. 15 Unity of all the arts in a constant Flow in this Rococo church-a light And delicate version of Baroque Style…less dimensional with a Hint of the natural world… In the time of…

16. 16 Figure 29-11 ABRAHAM DARBY III and THOMAS F. PRITCHARD, iron bridge at Coalbrookdale, England, 1776–1779. Advances in engineering bring the first cast iron bridge…

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