FRENCH BAROQUE Louis XIV Nicolas Poussin Claude Lorrain ROCOCO
Antoine Watteau Francois Boucher Jean-Honore Fragonard
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Bernini Bust of Louis XIV 1665 FRENCH BAROQUE
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Portrait of Louis XIV, 1701. Adopted the name le Roi Soleil
(The Sun King) Believed he was center of Universe and was Gods Will
that he be King Kept complete control of France and his followers
Founded the Royal Academy of Painting & Sculpture in 1648 (to
promote the French Classical Style) Invented red heel shoes due to
being only 54
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French Baroque Louis XIV, Palace of Versailles, c.1680.
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Hall of Mirrors, Versailles, c1680.
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Hall of Battles, Versailles.
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Maquette of Versailles
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Court etiquette Life at the court was narrowly regulated by
court etiquette. Etiquette became the means of social advancement
for the court. Louis XIVs elaborate rules of etiquette included the
following: People who wanted to speak to the king could not knock
on his door. Instead, using the left pinkie finger, they had to
gently scratch on the door, until they were granted permission to
enter. As a result, many courtiers grew that fingernail longer than
the others; A lady never held hands or linked arms with a
gentleman. Besides being in bad taste, this practice would have
been impossible because a womans hooped skirts were so wide.
Instead, she was to place her hand on top of the gentlemans bent
arm as they strolled through the gardens and chambers of
Versailles. It is also mentioned that the ladies were only allowed
to touch fingertips with the men. When a gentleman sat down, he
slid his left foot in front of the other, placed his hands on the
sides of the chair and gently lowered himself into the chair. There
was a very practical reason for this procedure. If a gentleman sat
too fast, his tight trousers might split; Women and men were not
allowed to cross their legs in public; When a gentleman passed an
acquaintance on the street, he was to raise his hat high off his
head until the other person passed; A gentleman was to do no work
except writing letters, giving speeches, practicing fencing, or
dancing. For pleasure he engaged in hawking, archery, indoor
tennis, or hunting. A gentleman would also take part in battle and
would sometimes serve as a public officer, paying the
soldiers;
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Nicolas Poussin (pronounced poo-SAHN) Foremost painter of 17 th
century French Classicism French Baroque
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Nicolas Poussin, Rape of the Sabines, 1640s.
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Nicolas Poussin, The Death of Germanicus, 1627-28.
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Nicolas Poussin, The Shepherds of Arcadia, 1638.
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Nicolas Poussin, Triumph of Neptune and Amphitrite, 1634.
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Claude Lorrain, Landscape with Apollo Guarding the Herds of
Admetus, 1645.
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Claude Lorrain, Port Scene with the Departure of Ulysses from
the Land of the Feaci, 1646.
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Claude Lorrain, Aeneas's Farewell to Dido in Carthago,
1676.
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Claude Lorrain, Landscape with Cephalus and Procris Reunited by
Diana, 1645.
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Claude Lorrain, Seaport with the Embarkation of the Queen of
Sheba, 1648.
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Franois de Cuvilles, Hall of Mirrors Munich, Germany, early
18th century Delicate, Organic, Ornate, Detailed, Reflective,
Fanciful, Festive Rococo
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Germain Boffrand, Salon de la Princesse Paris, France ca
1737-1740 This is a typical French Rococo Room. The room is
comprised of sinuous curves luxuriantly multiplied in mirror
reflections. Painting, architecture, and sculpture combine to form
a single ensemble. tendrils: A twisting, threadlike structure by
which a twining plant, such as a grape or cucumber, grasps an
object or a plant for support. Rococo
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Antoine Watteau, LIndefferent Louvre, Paris, France,1716 Rococo
Portrait of Louis XIV, 1701.
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Antoine Watteau, Return from Cythera, 1717-1719 This painting
represents a group of lovers preparing to depart from the island of
eternal youth and love, sacred to Aphrodite. Young and luxuriously
costumed, they perform, as it were, an elegant, tender, and
graceful ballet, moving from the protective shade of a woodland
park, peopled with amorous cupids and voluptuous statuary, down a
grassy slope to an awaiting golden barge. Rococo Fete Galante =
elegant outdoor entertainment
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Antoine Watteau, Pilgrimage to Cythera, 1717.
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Francois Boucher, Cupid a Captive, 1754 Boucher was a follower
of Watteau and the painter for Madame de Pompadour ( the
influencial mistress of Louis XV) His fame was gained through his
paintings of graceful allegories, with Archadian shepherds, nymphs,
and goddesses cavorting in shady glens engulfed in pink and sky
blue light. Bouchers paintings are highly caloric with little
nutritional value Rococo
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Francois Boucher, Marquise de Pompadour 1756. Rococo
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Jean-Honr Fragonard, The Swing, 1766 Fragonard was a student of
Boucher and is considered by many to have surpassed the genius of
his master. This is a typical intrigue picture. A young gentleman
has managed an arrangement whereby an unsuspecting old bishop
swings the young mans pretty sweetheart higher and higher, while
her lover (and the works patron), in the lower left-hand corner,
stretches out to admire her ardently from a strategic position on
the ground. The young lady flirtatiously and boldly kicks off her
shoe at the little statue on the god of discretion, who holds his
finger to his lips. Rococo