Understanding Rococo Art, Essay Example

Introduction

Rococo art has been introduced as the developmental aspect of Baroque art. Developed in France, this particular form of art work is noted for its features on the softer colours and lines utilized by painters compared to those produced during the baroque period. Being ornate and known for its aesthetics, painters of the rococo art utilize colours in a much refined manner, not necessary depicting emotions or deep meanings as did the baroque paintings. Considered to be more airy and more responsive to visual relaxation, rococo’s style of artistic expression is most often than not dependent on the contrasting effect of the softened use of elements in the entirety of the presentation being compelled. This form of art has been specifically defined in line with its architectural and aesthetic value when it comes to interior designing. Relatively, when it comes to pained art, the most impacting effect of its definition is that of the art’s “fluffiness” and lightness. This is perhaps the reason why some of the detractors of the said art form consider it to be a depiction of folly. Nevertheless, its simple and soft form of being rendered as an art makes it a specific attraction that art critics often laud as extra ordinary during the time when the Baroque era was considered the central focus of artistic development.

Comparison and Contrast of Works

Watteau’s produced artworks during the years 1715 and 1735 which were both named the Luncheon Party in a Park are both considered as forms of Rococo art. The 1715 version was more of a depiction of the outside scenario which included both animals and humans alike. Relatively, rococo art was also considered to have that certain characteristic. Take note how supposedly classy the outfit of the people were but they were presented to have folly features considering the party as a mere representation of foolishness. At the same time, the practicable presentation of both animals and humans together contrast the different values that these creatures should have; nevertheless, it also shows how seemingly connected the attitude of the humans were with that of the animals found eating at their base. To keep the focus on the humans and the animals, all other elements were presented in a rather lighter aspect especially that of the background of the portrait. Note how the trees and the clouds almost merge together alongside with the large stone ornament and the humans not enjoined within the party. They are placed at the back to suggest distance as well as less value compared to the main features of the presentation.

Meanwhile, the 1735 presentation indicates a more sophisticated stance especially in the part of the human elements used in the portrait. The animals were set aside and were behaving as such as that of the humans having the supposed party. No food was likely seen in the presentation yet corroboration among the human elements was represented well. Unlike the 1715 portrait, the elements in this painting are more kept together, analyzed to have connection between each other. Even the background and the far side gazebo were represented in oneness with all the elements. The blend of both dark and light colours create a form of unity that manifests the correlative connection of all elements altogether as part of the presentation. Unlike that of the 1715 version, this art depicts an overall message.

Definitions and Reflections

Coming this particular discussion, it could be analyzed how Rococo art is considered to be the relief by which the hard and strong tone of colours used in the baroque era have been lowered down so as to make sure that the oneness or the separation of elements are effectively indicated. Noting the sample work from Watteau, it could be noted how one artist could actually define his artistic approach in utilizing the Rococo principles for the presentation of his art. Consistently, such course of development is suggested to have been affected by the development of rococo art between the years of creation of the same form of painting.

Relatively, the change of theme also changed the utilization of materials and artistic principles that were obviously transformed between the two art forms. The realistic theme has been given meaning in a separate manner through considering both the separation and the unity of the elements used to represent the idea of the artist. Notably, the shift in utilizing both colour tones and hues created a massive depiction on how the first one imposed focus on the attitude of the people alongside the animals that were shown just right below the human elements changed in the oneness of the presentation used on the second version of the same painting. The separate release of the paintings with two separate depictions probably creates a notion of development and transformation within the brief time when rococo art was recognized as a major turnaround in the history of art. Relatively, this indicates that from the point of development of the rococo art, a brief span of time was waited upon to produce more sophisticated art collections that later on developed into a more defined form of art that came halfway the principles of baroque art and that of the rococo art styles as embraced by artists from France and certain parts of Europe as well.

References

Monique Wagner, From Gaul to De Gaulle: An Outline of French Civilization. Peter Lang, 2005, pp. 139.

Arno Schönberger and Halldor Soehner, 1960. The Age of Rococo Published in the US as The Rococo Age: Art and Civilization of the 18th Century (Originally published in German, 1959).

Levey, Michael (1980). Painting in Eighteenth-Century Venice. Ithaca: Cornell University Press.

Kelemen, Pál (1967). Baroque and Rococo in Latin America. New York: Dover Publications.