About us
Rococo Collage

Rococo

Started: 1702

Ended: 1780

Rococo Timeline

Quotes

"This vision is within our grasp."
François Boucher
"One makes use of pigments, but one paints with one's feelings."
Jean-Baptiste-Simeon Chardin
"In order to concentrate on reproducing it faithfully I must forget everything I have seen and even forget the way such objects have been treated by others."
Jean-Baptiste-Simeon Chardin
"Fools talk of imitation and copying, all is imitation."
Thomas Gainsborough
"Painting and living have always been one and the same thing for me."
Elisabeth Vigée Le Brun

KEY ARTISTS

François BoucherFrançois Boucher
Quick View
Artist Page
- - - - - - - - - - - - - - - - -
Jean-Antoine WatteauJean-Antoine Watteau
Quick View
Further External Info
- - - - - - - - - - - - - - - - -
Jean-Honore FragonardJean-Honore Fragonard
Quick View
Artist Page
- - - - - - - - - - - - - - - - -
Jean-Baptiste Simeon ChardinJean-Baptiste Simeon Chardin
Quick View
Artist Page
- - - - - - - - - - - - - - - - -
Thomas GainsboroughThomas Gainsborough
Quick View
Artist Page
- - - - - - - - - - - - - - - - -
Élisabeth Louise Vigée Le BrunÉlisabeth Louise Vigée Le Brun
Quick View
Artist Page
- - - - - - - - - - - - - - - - -

"In my view, you must either do away with ornament - or make ornament the essence. It's not something you add. It's not icing on a cake. It's everything - or it's nothing."

Jean-Antoine Watteau

Predecessors

In painting Rococo was primarily influenced by the Venetian School's use of color, erotic subjects, and Arcadian landscapes, while the School of Fontainebleau was foundational to Rococo interior design.

The Venetian School

Titian's <i>Pastoral Concert</i> (c. 1509)
Titian's Pastoral Concert (c. 1509)

The noted painters Giorgione and Titian, among others, influenced the Rococo period's emphasis on swirling color and erotic subject matter. Pastoral Concert (c. 1509), first attributed to Giorgione, though now credited by most scholars as one of Titian's early works, was classified as a Fête champêtre, or outdoor party, by the Louvre when it first became part of the museum's collection. The Renaissance work depicting two nude women and two aristocratic men playing music in an idealized pastoral landscape would heavily influence the development of Rococo's Fête galante, or courtship paintings. The term referred to historical paintings of pleasurable past times and became popularized in the works of Jean-Antoine Watteau.

School of Fontainebleau 1528-1630

Rosso Florentino's <i>The Royal Elephant</i> (c. 153-159) is one of his many paintings in the Château de Fontainebleau gallery that employ stucco relief to create an ornate overall effect.
Rosso Florentino's The Royal Elephant (c. 153-159) is one of his many paintings in the Château de Fontainebleau gallery that employ stucco relief to create an ornate overall effect.

In 1530 King Francis I, a noted art patron, invited the Italian artist Rosso Florentino to the French court, where, pioneering the courtly style of French Mannerism, Rosso founded the School of Fontainebleau. The school became known for its unique interior design style in which all the elements created a highly choreographed unity. Rosso pioneered the use of large stucco reliefs as frames, adorned with decorative and gilded motifs that would heavily influence Rococo's emphasis on elaborated settings.

The case of this <i>pendule en cartel</i>, or wall clock, (c. 1740-1745) was designed by Charles Cressent for a clock made by Jean Godde l'aîné.
The case of this pendule en cartel, or wall clock, (c. 1740-1745) was designed by Charles Cressent for a clock made by Jean Godde l'aîné.

Gilding was a key contribution of Fontainebleau, providing exquisite splendor to objects as seen in Benevento Cellini's famous Salt Cellar (1543), which Francis I commissioned in gold. Even simple elements of Rococo interiors became highly accentuated as seen in the popularity of cartel clocks, embedding regular clocks into intricate settings that resembled pieces of sculpture, and which seamlessly complemented the overall look and feel of their surrounding interiors.

Beginnings

The Era of Rococo Design

Pierre Le Pautre's interior design for the Bull's Eye Antechamber (1701) was exemplar, while the two round windows at either end gave the chamber its name.
Pierre Le Pautre's interior design for the Bull's Eye Antechamber (1701) was exemplar, while the two round windows at either end gave the chamber its name.

Rococo debuted in interior design when engraver Pierre Le Pautre worked with architect Jules Hardouin-Mansart on the Château de Marly (1679-1684), and later at Versailles in 1701 when he redesigned Louis XIV's private apartments. Le Pautre pioneered the use of arabesques, employing an s-shaped or c-shaped line, placed on white walls and ceilings. He also used inset panels with gilded woodwork, creating a whimsical, lighter style. Le Pautre was primarily known as an ornemaniste, or designer of ornament, which reflects the popular role at the time of artisans and craftsmen in developing the highly decorative style.

Rosalba Carriera's <i>Portrait of Louis XV as Dauphin</i> (1720-1721) revolutionized royal portraiture from a traditional emphasis upon powerful depictions of rulers to an emphasis upon decorative appeal.
Rosalba Carriera's Portrait of Louis XV as Dauphin (1720-1721) revolutionized royal portraiture from a traditional emphasis upon powerful depictions of rulers to an emphasis upon decorative appeal.

During the reign of Louis IV, France had become the dominant European power, and the combination of great wealth and peaceful stability led the French to turn their attention toward personal affairs and the enjoyment of worldly pleasures. When the King died in 1715, his heir Louis XV was only five years old, so the Regency, led by the Duc d' Orléans, ruled France until the Dauphin came of age. The Duke was known for his hedonistic lifestyle, and Rococo's aesthetics seemed the perfect expression of the era's sensibility. Taking the throne in 1723, Louis XV also became a noted proponent and patron of Rococo architecture and design. Since France was the artistic center of Europe, the artistic courts of other European countries soon followed suit in their enthusiasm for similar embellishments.

Jean-Antoine Watteau

Rosalba Carriera's <i>Portrait of Antoine Watteau</i> (1721) depicts the artist in the last year of his life as he died from tuberculosis at the age of 36. The work also exemplifies the pastel portraits pioneered by Carriera.
Rosalba Carriera's Portrait of Antoine Watteau (1721) depicts the artist in the last year of his life as he died from tuberculosis at the age of 36. The work also exemplifies the pastel portraits pioneered by Carriera.

Jean-Antoine Watteau spearheaded the Rococo period in painting. Born in Valenciennes, a small provincial village in Belgium that had recently been acceded to the French, his precocity in art and drawing led to his early apprenticeship with a local painter. Subsequently he went to Paris where he made a living producing copies of works by Titian and Paolo Veronese. He joined the studio of Claude Audran, who was a renowned decorator, where he met and became an artistic colleague of Claude Gillot, known for his decoration of commedia dell'arte, or comic theater productions. As a result, Watteau's work often expressed a theatrical approach, showing figures in costume amongst backdrop scenery, lit up with artificial light.

Antoine Watteau's <i>Embarkation for Cythera</i> (1717) depicts aristocratic couples on Cythera, a mythological island of love, created a new category of painting.
Antoine Watteau's Embarkation for Cythera (1717) depicts aristocratic couples on Cythera, a mythological island of love, created a new category of painting.

In 1712 Watteau entered the Prix de Rome competition of the Académie Royale de Peinture et de Sculpture, and the Academy admitted him as a full member. His "reception piece" for the Academy, Embarkation for Cythera (1717), effectively launched the Rococo movement. The Academy coined the term Fête galante, or courtship party, to refer to the work, thus establishing the category that was to be a dominant element of Rococo painting. Fête galante paintings depicted the fête champêtre, or garden party, popular among the aristocratic class, where, dressed as if for a ball or wearing costumes, they would wine, dine, and engage in amorous pursuits within Arcadian gardens and parks. The artistic subject not only appealed to private patrons, but its mythologized landscapes and settings met the standards of the Academy which ranked historical painting, including mythological subjects, as the highest category.

Antoine Watteau's <i>A Man Reclining and a Woman Seated on the Ground</i> (c. 1716) exemplified his three-chalk technique and what art curator Timothy Potts described as 'freshness and assured spontaneity.'
Antoine Watteau's A Man Reclining and a Woman Seated on the Ground (c. 1716) exemplified his three-chalk technique and what art curator Timothy Potts described as 'freshness and assured spontaneity.'

Claude Audren was the official Keeper of the Luxembourg Palace and, while working with him, Watteau copied Peter Paul Ruben's series of twenty-four paintings of the Life of Marie de Medici (1622-1625), which was displayed at the palace. Ruben's series, combining allegorical figures and mythological subjects with depictions of the Queen and the aristocratic court, continued to inform Watteau's work. Rubens had pioneered the technique of trois crayons, meaning three chalks, a technique using red, black, and white, to create coloristic effects. Watteau mastered the technique to such a degree that his name became associated with it, and it was widely adopted by later Rococo artists, including François Boucher.

François Boucher

Influenced by Rubens and Watteau, François Boucher became the most renowned artist of the mature Rococo period, beginning in 1730 and lasting until the 1760s. Noted for his painting that combined aristocratic elegance with erotic treatments of the nude, as seen in his The Toilet of Venus (1751), he was equally influential in decorative arts, theatrical settings, and tapestry design. He was appointed First Painter to the King in 1765, but is most known for his long time association with Madame de Pompadour, the official first mistress of King Louis XV and a noted patron of the arts. As a result of his mastery of Rococo art and design and his royal patronage, Boucher became "one of those men who represent the taste of a century, who express, personify and embody it," as the noted authors Edmond and Jules de Goncourt wrote.

Madame de Pompadour

Jean-Marc Nattier's <i>Jeanne-Antoinette Poisson, Marquise de Pompadour</i> (1746) shows his subject as the goddess Diana the Huntress, an allusion to Pompadour catching the King's eye while he held a hunt in the forest of Sénart.
Jean-Marc Nattier's Jeanne-Antoinette Poisson, Marquise de Pompadour (1746) shows his subject as the goddess Diana the Huntress, an allusion to Pompadour catching the King's eye while he held a hunt in the forest of Sénart.

Madame de Pompadour, born Jeanne-Antoinette Poisson, has been called the "godmother of the Rococo," due to her centrality in promoting the style and establishing Paris as the artistic capital of Europe. She influenced further applications of Rococo due to her patronage of artists such as Jean-Marc Nattier, the sculptor Jean Baptiste Pigalle, the wallpaper designer Jean-Baptiste Réveillon, and the gemstone engraver Jacques Guay. The King's official first mistress from 1745-1751, she remained his confidant and trusted advisor until her death at the age of 42 due to tuberculosis. Her role and status became the de facto definition of royal patronage.

Concepts and Styles

French Rococo

This photograph shows the ornate gilded ceiling of Charles-Joseph Natoire and Germain Boffrand's La Salon de la Princesse (1735-1740).
This photograph shows the ornate gilded ceiling of Charles-Joseph Natoire and Germain Boffrand's La Salon de la Princesse (1735-1740).

France was the center of the development of Rococo. In design, the salon, a room for entertaining but also impressing guests, was a major innovation. The most famous example was Charles-Joseph Natoire and Germain Boffrand's La Salon de la Princesse (1735-1740) in the residence of the Prince and Princess de Soubise. The cylindrical interior's white walls, gilded wood, and many mirrors created a light and airy effect. Arabesque decorations, often alluding to Roman motifs, cupids, and garlands, were presented in gold stucco and plate relief. Asymmetrical curves, sometimes derived from organic forms, such as seashells or acanthus fronds, were elaborate and exaggerated. The minimal emphasis on architecture and maximum emphasis on décor would become cornerstone to the Rococo movement.

François Lemoyne's <i>Apotheosis of Hercules</i> (1733-1736)
François Lemoyne's Apotheosis of Hercules (1733-1736)

Painting was an essential part of the Rococo movement in France, and the noted painters who led the style, Antoine Watteau followed by François Boucher, influenced all elements of design from interiors to tapestries to fashion. Other noted artists included Jean-Baptiste van Loo, Jean-Marc Nattier, and François Lemoyne. Lemoyne was noted for his historical allegorical paintings as seen in his Apotheosis of Hercules (1733-1736) painted on the Salon of Hercules' ceiling at Versailles. A noted feature of French Rococo painting was the manner in which a number of noted artist families, such as the van Loos and the Coypels, maintained a consistent style and subject matter in their workshops.

Italian Rococo

Painting took the lead in Italian Rococo, exemplified by the works of the Venetian artist Giambattista Tiepolo. Combining the Venetian School's emphasis on color with quadratura, or ceiling paintings, Tiepolo's masterworks were frescos and large altarpieces. Famed throughout Europe, he received many royal commissions, such as his series of ceiling paintings in the Wurzburg Residenz in Germany, and his Apotheosis of the Spanish Monarchy (1762-1766) in the Royal Palace in Madrid.

Canaletto's <i>Venice: Santa Maria della Salute</i> (c. 1740) exemplified his style, combining the effects of light with a precisely observed view of the city's architecture and features.
Canaletto's Venice: Santa Maria della Salute (c. 1740) exemplified his style, combining the effects of light with a precisely observed view of the city's architecture and features.

Italian Rococo was also noted for its great landscape artists known as "view-painters," particularly Giovanni Antonio Canal, known simply as Canaletto. He pioneered the use of two-point linear perspective while creating popular scenes of the canals and pageantry of Venice. His works, such as his Venice: Santa Maria della Salute (c. 1740), were in great demand with English aristocrats. In the 1700s it became customary for young English aristocrats to go on a "Grand Tour," visiting the noted sites of Europe in order to learn the classical roots of Western culture. The trips launched a kind of aristocratic tourism, and Venice was a noted stop, famed for its hedonistic carnival atmosphere and picturesque views. These young aristocrats were also often art collectors and patrons, and most of Canaletto's works were sold to an English audience, and in 1746 he moved to England to be closer to his art market and lived there for almost a decade.

Rosalba Carriera's <i>Summer</i> (c. 1725) was part of a series depicting the seasons, each symbolized by a single nymph-like figure.
Rosalba Carriera's Summer (c. 1725) was part of a series depicting the seasons, each symbolized by a single nymph-like figure.

Rosalba Carriera's pastel portraits, both miniature and full-size, as well as her allegorical works were in demand throughout Europe, as she was invited to the royal courts of France, Austrian, and Poland. She pioneered the use of pastels, previously only employed for preparatory drawings, as a medium for painting, and, by binding the chalk into sticks, developed a wider range of strokes and prepared colors. Her Portrait of Louis XV as Dauphin (1720-1721) established the new style of Rococo portraiture, emphasizing visual appeal and decorative effect.

The reception room in Filippo Juvarra's Rococo design of Stupinigi Palace (1729-1931).
The reception room in Filippo Juvarra's Rococo design of Stupinigi Palace (1729-1931).

In architecture, Italy continued to emphasize the Baroque with its strong connection to the Catholic church until the 1720s when the architect Filippo Juvarra built several Northern Italian Palaces in the Rococo style. His masterwork was the Stupinigi Palace (1729-1731), built as the hunting lodge for the King of Sardinia in Turin. At the same time, Rococo interiors became popular in Genoa, Sardinia, Sicily, and Venice where the style took on regional variations particularly in furniture design. Italian Rococo interiors were particularly known for their Venetian glass chandeliers and mirrors and their rich use of silk and velvet upholstery.

German Rococo

Schloss Amalienburg, (Lustschloss) in Nymphenburger Park in Münich (1734-1739), exemplified German Rococo with its fanciful pink and white façade and its subtle curves.
Schloss Amalienburg, (Lustschloss) in Nymphenburger Park in Münich (1734-1739), exemplified German Rococo with its fanciful pink and white façade and its subtle curves.

Germany's enthusiasm for Rococo expressed itself exuberantly and primarily in architectural masterpieces and interior design, as well as the applied arts. A noted element of German Rococo was the use of vibrant pastel colors like lilac, lemon, pink, and blue as seen in François de Cuvilliés' design of the Amalienburg (1734-1739), a hunting lodge for the Holy Roman Emperor Charles VII in Munich. His Hall of Mirrors in the Amalienburg has been described by art historian Hugh Honour as exemplifying "easy elegance and gossamer delicacy."

Jacob Prandtauer's Melk Abbey (1702-1736) exemplified the German Rococo use of color and innovations in spatial construction as seen in the rippling front wall, and site location, as the building overlooks the Danube River.
Jacob Prandtauer's Melk Abbey (1702-1736) exemplified the German Rococo use of color and innovations in spatial construction as seen in the rippling front wall, and site location, as the building overlooks the Danube River.

German design motifs while employing asymmetry and s- and c- curved shapes, often drew upon floral or organic motifs, and employed more detail. German architects also innovatively explored various possibilities for room designs, cutting away walls or making curved walls, and made the siting of new buildings an important element of the effect, as seen in Jacob Prandtauer's Melk Abbey (1702-1736)

English Rococo

Thomas Chippendale's <i>Design for Commode and lamp stands</i> (1753-54) pioneered the British use of Rococo in structural design.
Thomas Chippendale's Design for Commode and lamp stands (1753-54) pioneered the British use of Rococo in structural design.

England's employment of Rococo, which was called "French style," was more restrained, as the excesses of the style were met with a somber Protestantism. As a result, rocaille introduced by the émigré engraver Hubert-François Gravelot and the silversmith Paul de Lamerie, was only employed as details and occasional motifs. Around 1740 the Rococo style began to be employed in British furniture, most notably in the designs of Thomas Chippendale. His catalogue Gentleman's and Cabinet-makers' directory (1754), illustrating Rococo designs, became a popular industry standard.

Though painted in oils, Angelica Kauffmann's <i>Self-Portrait</i> (c. 1773) used color and tone to create a pastel effect.
Though painted in oils, Angelica Kauffmann's Self-Portrait (c. 1773) used color and tone to create a pastel effect.

Rococo had more of an impact upon British artists such as William Hogarth, Thomas Gainsborough, and the Swiss Angelica Kauffman. In his The Analysis of Beauty (1753) Hogarth advocated for the use of a serpentine line, seeing it as both more organic and aesthetically ideal. Gainsborough first studied with Gravelot, a former student of Boucher, whose feathery brushwork and color palette influenced Gainsborough's portraiture toward fluidity of light and color. Though Swiss-born, Angelica Kauffman spent most of her life in Rome and London. From 1766 to 1781 she lived in London where influential Sir Joshua Reynolds particularly admired her portraiture. One of only two women elected to the Royal Academy of Arts in London, she played a significant role in both advancing the Rococo style and, subsequently, Neoclassicism.

Later Developments

In 1750 Madame de Pompadour sent her nephew Abel-François Poisson de Vandières to study developments in Italian art and archeology. Returning with an enthusiasm for classical art, Vandières was appointed director of the King's Buildings where he began to advocate for a Neoclassical approach. He also became a noted art critic, condemning Boucher's petit style, or "little style." Noted thinkers of the day, including the philosopher Voltaire, the art critic Diderot also critiqued Rococo as superficial and decadent. These trends, along with a rising revolutionary fervor in France caused Rococo to fall out of favor by 1780.

The new movement Neoclassicism, led by the artist Jacques-Louis David, emphasized heroism and moral virtue. David's art students even sang the derisive chant, "Vanloo, Pompadour, Rococo," singling out the style, one of its leading artists, and it most noted patron. As a result, by 1836 it was used to mean "old-fashioned," and by 1841 was used to denote works seen as "tastelessly florid or ornate." The negative connotations continued into the 20th century, as seen in the 1902 Century Dictionary description "Hence rococo is used... to note anything feebly pretentious and tasteless in art or literature."

Rococo design and painting would veer toward divergent paths, as Rococo design, despite the new trends in the capital, continued to be popular throughout the French provinces. In the 1820s under the restored monarchy of King Louis Philippe, a revival called the "Second Rococo" style became popular and spread to Britain and Bavaria. In Britain the revival became known as Victorian Rococo and lasted until around 1870, while also influencing the American Rococo Revival in the United States, led by John Henry Belter. The style, widely employed for upscale hotels, was dubbed "Le gout Ritz" into the 20th century. However, in painting Rococo fell out of favor, with the exception of the genre paintings of Chardin, highly praised by Diderot, which continued to be influential and would later make a noted impact on Paul Cézanne, Édouard Manet, and Vincent van Gogh.

Edmund and Jules de Goncourt rediscovered the major Rococo painter Jean-Honoré Fragonard in L'Art du XVIIIe siècle (Eighteenth-Century Art) (1865). He subsequently influenced the Impressionists, especially Pierre-Auguste Renoir and Berthe Morisot, and has gone on to influence contemporary artists like Yinka Shonibare, Kent Monkman, and Lisa Yuskavage.

Also rediscovered by the de Goncourt brothers, Watteau's commedia dell'arte subjects influenced Picasso, Cézanne, and Matisse, as well as many poets such as Verlaine and Apollinaire, the composer Schoenberg, and the choreographer Balanchine.

The term Rococo and the artists associated with it only began to be critically re-evaluated in the late 20th century, when the movements of Pop Art and the works of artists like Damien Hirst, Kehinde Wiley, and Jeff Koons created a new context for art expressing the same ornate, stylistic, and whimsical treatments. Rococo has had a contemporary influence as seen in Ai Weiwei's Logos 2017 where, as art critic Roger Catlin wrote, "What looks like a fancy rococo wallpaper design in black and white and in gold is actually an arrangement of handcuffs, chains, surveillance cameras, Twitter birds and stylized alpacas - an animal which in China has become a meme against censorship." The movement also lives on in popular culture, as shown in Arcade Fire's hit song "Rococo" (2010).

Most Important Art

Rococo Famous Art

Pilgrimage to the Isle of Cythera (1717)

Artist: Jean-Antoine Watteau
This painting depicts a number of amorous couples in elegant aristocratic dress within an idealized pastoral setting on Cythera, the mythical island where Venus, the goddess of love, birthed forth from the sea. The gestures and body language are evocative, as the man standing below center, his arm around the waist of the woman beside him, seems to earnestly entreat her, while she turns back to gaze wistfully at the other couples. A nude statue of the goddess rises from a pedestal that is garlanded with flowers on the right, as if presiding over the festivities. On the left, she is doubly depicted in a golden statue that places her in the prow of the boat. Nude putti appear throughout the scene, soaring into the sky on the left, or appearing between the couples and pushing them along, and nature is a languid but fecund presence. Overall, the painting celebrates the journey of love. As contemporary critic Jeb Perl wrote, "Watteau's paired lovers, locked in their agonizing, delicious indecision, are emblems of the ever-approaching and ever-receding possibility of love."

As art critic Holly Brubach wrote, "Watteau's images are perfectly suspended between the moment just before and the moment after... the people he portrays are busy enacting not one but several possible scenarios." His figures are not so much recognizable individuals, as aristocratic types, with smooth powdered faces, that together create a kind of choreography of color and pleasure.

With this work, Watteau's reception piece for the Academy, he pioneered the fête galante, or courtship painting, and launched the Rococo movement. As Jonathan Jones wrote, "In the misty, melting landscapes of paintings such as Pilgrimage to the Isle of Cythera (1717), he unequivocally associates landscape and desire: if Watteau's art looks back to the courtly lovers of the middle ages it begins the modern history of sensuality in French art."
Read More ...

Rococo Artworks in Focus:
If you see an error or typo, please:
tell us
Cite this page

Content compiled and written by Rebecca Seiferle

Edited and revised, with Synopsis and Key Ideas added by Kimberly Nichols

" Movement Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Rebecca Seiferle
Edited and revised, with Synopsis and Key Ideas added by Kimberly Nichols
Available from:
[Accessed ]