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S XVIII CHAPTER 18: THE GRAND STYLE, CHAPTER 19: ROCOCO, CHAPTER 20: GENDER Moralisé

CHAPTER 18 THE PURSUIT OF "STYLE" - CHAPTER 19 THE ROCOCO - CHAPTER 20 THE "GENDER moralize '
Jacques rouveyrol

CHAPTER 18 - THE PURSUIT OF" STYLE "

The eighteenth century is defined mainly by two new trends: the Rococo and Neoclassicism . However, the classical and baroque seventeenth does not disappear and at least not immediately. The "Grand Style" is to continue.

With Jouvenet (1644-1777), Jean Restout below (1692 - 1768), Pierre Subleyras (1699 - 1749) and Francois Le Moyne (1688 - 1737), the seventeenth Baroque religious and mythological pursued his career in XVIII. But it is precisely this history painting, religious or mythological Baroque in any case that will challenge the current Rococo early eighteenth century.

CHAPTER 19 - THE ROCOCO

I . BIRTH OF ROCOCO

The Rococo is born from the merger of two trends:

1. The supporters of opposition supporters in color drawing: Rubens cons chicks (cons sensitivity or rationality).

2. From a performance trend of increasing use of the nude (especially women) in the mythological scenes. (See Illustrations 4 : Scenes frequent in the sixteenth, seventeenth, eighteenth and s Iconography 5 : Nu ).

Example 1: Natoire Charles Joseph (1700 - 1777)
Example 2: Lagrenée Jean-François (1725 -1805)

Example 3: Deshays Jean-Baptiste (1729 - 1765)


Example 4: Troy Jean-François (1679 - 1752)


And, sculpture, Etienne-Maurice Falconet (1716-1791), Jean Houdon (1741 - 1826) or Pajou Augustine (1730 - 1809).

II. THE SCENE GENRE

In previous works, mythology was more an excuse than a real issue. Pretext to paint scenes of "light". The history painting gives way to the genre scene hitherto deemed less than the previous one and therefore less well remunerated. The eighteenth century is the "spirit" (in the sense of "being clever"). It is also (even because of that) the century of licentiousness . At least in its first half. In literature, it gives: Casanova, Sade, Crebillon (Father & Son), Retif de la Bretonne, Diderot, Choderlos de Laclos. In painting, it gives: Watteau, Boucher, Fragonard. On the "market" private commission rightly motivated by passion "special" that promotes the expansion of a painting and a sculpture of desire and consequently the development of genre painting, in competition with public procurement-related reason "generally" in favor of history painting.

1. The "Love Feast": Jean-Antoine Watteau (1684-1721).

Watteau is not strictly speaking a Rococo artist. but without the Rococo (and freedom that this "style" has brought to the painting), it would not exist. He invented the fete galante is to say a subject free from the constraints of history painting.

The composition of this Embarkation for Cythera be compared with that of the Garden of Love Rubens.

In both cases, l'oeuvre met en scène (comme à l'époque médiévale ou certains tableaux maniéristes) une sccession d'événements. De gauche à droite, chez Rubens, un homme "entreprend" une jeune femme q'un Cupidon pousse à accepter. Les voici maintenant assis au sol la tête inclinée l'un vers l'autre : elle vient d'accepter. Les voila pour finir, à droite, qui reviennent d'un lieu isolé situé derrière une fontaine dédiée à Vénus : ils ont consommé. Le tableau de Watteau ne dit pas autre chose : à droite, près de l'autel dédié à Vénus, un couple devise en position très rapprochée. Puis, un peu plus à gauche il (sous the form of another couple, of course) comes up. Further left still standing, they are about to embark and the woman returned with nostalgia. For it is not for Cythera whose waters they were born Aphodite boards, in truth, you can leave Kythera ... reluctantly.

Note that very regular arrays of Watteau fall under the sign of Venus, which is dedicated to an altar inscription says the atmosphere: light or libertine.

2. Pastoral: François Boucher (1703 - 1770)

Boucher It is the particular than the invention of what has been called the Rococo, and in this genre, the Pastoral .

The Rococo is primarily a painting for "voyeurs." The look (wish), that of old men Suzanne takes in scenes offered a prominent place. Thus in the work below or the pastor and his gallant pretty shepherdess are spied by a young man who escapes from their view:

So perhaps especially in this Bath Diane hence the "voyeur" Actaeon is absent only because the one who observes the painting takes its place and, through the nymph, offers the spectacle of what's left thigh Diane "cache "Now the light. With Diana, Actaeon is still there. If not on the canvas, it is before the canvas. It is the eroticism that leaves here define with precision.

In its upper part (the diagonal going from lower left to upper right), the painting depicts a lush nature. In its lower part (right) a luxury that belongs to the culture (clothing, "hanging"). The scene is thus between nature and culture in this time (undressing) or, to put it exactly, the culture gives way to the nature in human behavior. Rococo painting places the viewer in the position of voyeur. This is the position of Actaeon.

3. Libertinism Fragonard Jean-Honore (1732 - 1806)

All this remains true of the great master of painting in the eighteenth libertine: Fragonard. Through its Curious, the importance of the look is. It's the look of a voyeur that The Swing stages on command: the young lover is seen hiding under the dresses of the young woman's husband ... balance!

As the folds of the layer which occupies most of lock, it must be blind not to see what is the object of desire represented by the apple which seems out the light that illuminates the couple: a woman's sex can be offered even more than that Courbet painted a century later.



Rococo is first an art in the service of a search for pleasure. The lightness
that characterizes the view of morals is transcribed in a grace which, unlike the grace of the sixteenth century mannerist, is to speak in a special presentation voluptuous, sensual woman's body and themes related to the issue of love.

In response to this trend libertinism moralizing emerges, first in England and France.



CHAPTER 20 - GENDER Moralisé

ROCOCO Besides the paint on that axis sensitivity, sensuality and even a moral requirement is emerging in the eighteenth century that will give rise to two currents:

- The sentimental moralizing (Greuze), based on a philosophy empiricist and sensualist.
- The rational moralization (the Neo-classicism), supported the return to antiquity and the Stoic philosophy.
Scene gender tries to raise the level of history painting his subjects in heroize


1. England: William Hogarth (1697 - 1764)

Morality English, unlike French morality based on sentimentality, subjectivity, is centered on a requirement of objectivity: the desire for truth.
So a physical and psychological truth that claims the painting moralizing English satirical.


In the series of six paintings A marriage of fashion, Hoghart denounced a practice that tends to undermine the capacity for happiness of women and men whose relations are governed by the interests money or prestige.
Above, a young man but ruined aristocratic ancestry (father, right) place the tree of family genealogy) is required to marry under contract (the act is symbolized by a commercial notary) a rich girl (whose father laid upon the table comfortable dot) . Young people turn their backs (the divorce is already consumed) and the lover woos the beautiful already. It passes a ring of tissue in the marriage, but his feet dragging the ground, a cloth said enough the value of this ring. The rest of the series clearly shows Weddings the consequences of such a "union".
In the series of six prints, The Harlot's Progress (The Life of a prostitute ) Hoghart denounced (as The Peasant perverted Restif de la Bretonne) through the end of a hypocritical society facing the money, crime and lust.
In a third series of the Beggars Opera , the same system description of the aberrations of a social system is in place and the same duplicity, hypocrisy are even reported. Macheath and the thief is sentenced to death for the crime of bigamy Duke of Bolton who has a wife and mistress.

2. In France: Jean-Baptiste Greuze (1725 - 1805)

Thus the painting says it stories. To reveal the foibles of society (England) or edifying stories (France) as allegories or "moral." When
Greuze painted The Filial Piety (A paralytic healed by his family or L e Fruit good Education) 1763 it intends to educate the viewer, create, show, in this case, the benefits of a good education.
And when, in The Village Granted, he painted in his turn a wedding scene, he describes all the good feelings that can lead to honest practice. How the hand of the bride approached the young man told the union when the brides of Hogarth turned back. The open arms of the father giving his daughter to this boy is in total contrast with the action taken which is the figure on the right table Hoghart.


Then it is a story in two tables: one of ungrateful son who abandons his family to run the world and that of the Son punished returning et retrouve la famille ravagée par la mort du père. L’ingratitude ne paye pas !
Là où Horgarth décrivait, orientait le regard de son spectateur vers la tare, Greuze donne des leçons. C’est la manière française.

3. Mais, la sensualité Rococo vient se glisser jusque dans ces œuvres moralisantes de telle sorte qu’on peut dire que la tentative qu’elles représentaient de passer d’une peinture de genre sans valeur (purement décorative ou propre à flatter la seule sensualité) à une peinture de genre au moins héroïque dont la valeur serait comparable à celle, toujours enviée, de la peinture history, this attempt has failed.

Without doubt the girl she was praying in this Morning Prayer Greuze. But the eye is drawn first (this is made for) by the lovely and meaty shoulder carelessly revealed.

*

The "reaction" to the sensationalism of the Rococo therefore involves the attempt to elevate the genre scene at a certain level of spirituality that is reflected in the moral works. That fails. Another
attempt through the idealization of the still life. The idea is not new. Dutch painting of the seventeenth century had used the still life for moralizing. The eighteenth go further, especially with Chardin.