In 18th century France Society takes interest in increasing their understanding of Science, Politic, Economic systems and human rights.
Enlightenment thinking comes about and publications of how things are, compared to how things ought to be arise. Diderot’s encyclopedia embodies how great thinkers put together books that catalogue all knowledge of this period such as Math, Science and Art to educate the general public. Ideas refer to human rights, which lead to revolutions such as political, social and industrial revolution by the end of the century.
With a stable Monarchy in France, French Rococo begins around 1700. The French Rococo is fully expressed at the end of the first quarter of 1700 and continues to mid-century. A continuation of the Baroque occurs through the exploration of sculptural and flowing lines in the French Rococo.
The beginning of this period is Le Regence. Louis XV completely takes over the monarch in 1720. The height of French style had extensive Baroque with walls divided by decorative motifs. Areas over doors had decorative motifs. The curving of the Baroque and sculptural elements also occurs. Architects and designers of this era such as, Jean Berain were interested in grotesques, which were a culmination of architectural fantasies characterized by floral and fantasy elements in a symmetrical manner.
Louis the 14th had tight control of the Monarchy, monitoring the wealthy both economically and socially. He told them to build palatial homes to receive him. Comparatively young Louis the 15th emanated opulence. He was not interested in taking control of France politically; thus, the aristocracy had an easier life under Louis the 15th. As a result, France moves from a strong central monarch to being controlled by aristocracy in general.
Louis the 15th is lead by his mistresses, Marquise de Pompadour and Comtesse du Barry. This is why designs during Rococo are feminine. The fashion of furniture represents fashion of clothing which is why interiors are pastels and flowery. Moreover, interest in Science leads to mechanical furniture and clocks. Clocks that tell cycles of the moon, chime intricate melodies and encased in magical boxes and metal cases. All kinds of cases for clocks come about during this era.
Similarly, book cases become prevalent as reading and learning becomes important to the upperclass.
In fashion one can see layers of textiles, ribbons and bows scatter across gowns. Interiors are used in a relaxed and casual way. Reading is the favourite pass time. Thus, the love for casualness and relaxation leads to thoughtfully upholstered furniture.
Artists that were successful were lighthearted, playful and created erotic artwork.
Jean-Honore Fragonard was an artist who displayed beauty in lines which swirled, depicting aristocrats that were playful in pastel colours. Francoise Boucher was another French artist who depicted erotic art through pastel pink women that were lightly dressed. These two artists are incorporated in walls, porcelain and tapestry of the French Rococo era. Thus, there was no division between decorative and fine arts.
Architecture of the Rococo was more elegant than Baroque as it did not have a pronounced or momentous quality. It is a quiet classicism. Jacques Blondel’s, Pavillon des Tuileries exemplifies Rococo in exterior architecture and has no sculptural movement to the facade of the building.
In the Hotel de Varengeville, Paris circa 1740, the Salon exemplifies a shift in interiors as rooms are airy and glittery, have wood panelled walls and there is lighter scale furniture. There are lots of places for mirrors to reflect light into the room. There is light with candles at night. There is asymmetry in detail but symmetry in organization of space. Small panels outlined by building. Dancing lines reside at the top and bottom of panels and in the cornice. Shell motifs, rocaille is where the name Rococo comes from.
NOTABLE FURNITURE FORMS
The Bureau Plat, which is a table signified by lacquered oak, gilt bronze mounts, circa 1759 had red lacquer on oak to replicate asian lacquer. Thus, reproducing Japanese lacquer. Ormolu mounts highlight movement with some asymmetry along with symmetrical.
The Fauteuil a la reine, is an armchair with open arms not upholstered all the way around. It is signified by a straight back as opposed to a shaped back. The entire back is shaped and framed in wood. Extensive use of wood can be seen in Rococo chairs. Every part has curving and is outlined with wood. There is a cartouche shape in the back. There is a shell motif at the top centre and bow form at the back of the crest rail. The base is connected by curving wooden supports that come down to the frame which holds the seat. Cabriole legs are prevalent. The whole chair is gild. The way it is upholstered changes, arms become upholstered in addition to upholstery on the chair. Chairs provide comfort while sitting and the upholstered arms allow one to lean on the arms for hours.
Architecture during the Rococo was not tremendously different from the Baroque in France. There is a move to Paris. Many hotels are built in Paris during this era. Small palace homes originate during this era which are similar to townhouses but more palatial. There is a move from Versailles to the court in Paris because Duke D’Orleans was located in Paris. Paris is already a city and thus finding space becomes difficult. These buildings are fit into the existing space.
The Hotel de Soubise in Paris displays a symmetrical quality, with a quiet classical facade and encircled garden. Germain Boffrand who designed the interiors of Hotel de Soubise circa 1730, is a trendsetter for Rococo. Lavish brasserie can be seen in the Salon de la Princesse, designed by Germain Boffrand, Paris circa 1732. The lower ceilings can be seen, with a transition into full Rococo, white panels at the top and bottom display Rococo decoration. The cove ceiling at the cornice and the blue painted ceiling can be seen. Asymmetrical S and C curves and tendrils of plants dance through.
The Salon de le Princesse has foam green walls and white plaster work at the top. The artists excel at very delicate intricate work with plaster on the walls and ceilings, which can be seen at the roundel at the centre of the ceiling with curving leaves. Flower tendrils provide the room with a soft quality.
Louis the 15th expends attention on Versailles to change interiors. For example, the Chateau de Chantilly – Salon de Singeries depicts playful monkey pictures. Monkey are popular in the mid 18th century, frolicking across white brasserie with ample use of mirrors and grotesque decorations. Playful design, where monkeys take on exotic costumes of people, can be seen on walls, wall paper and textiles.
ROCOCO FURNITURE & FURNISHINGS
The Rococo furniture is lighter in scale than Baroque. There is more exposed wood which is gilt or painted. Pastel colour textiles are widespread. There are no heavy velvets or brocades in rich saturated colours. The Lit a la Polonaise, is set against the wall and draped which is not formally enclosed. The lighter fabric is characterized by printed cotton, linens, satins or solid colour as opposed to heavy multi coloured brocades. There is equal foot and head board. The metal holds drapery at the centre of the bed. Romantic enclosures become common. Textiles match all textiles in the room to become part of the space. The bed is set in the enclave. The Lit a la Francaise has ostrich plumes coming out of the vase at the top like Baroque. Testers are a kind of crown attached to the wall and all drapery comes down to flow over the bed, not meant to enclose the bed.
The bed is meant to be presented openly and covering that includes extraordinary trim and passementerie. The art of ribbon making and passementerie becomes extravagant. Cabriole legs can be seen with a shaped apron and gilt carved wood. Light and feminine style is more accentuated because of light textile. Same textile patterns used on walls as well.
The Fauteuil is an open arm chair, cartouche back and cabriole legs. The Bergere is a closed armchair with a loose cushion, comfortable, manchette on the arms and cabriole legs. Red satin can also be extensively seen as red was a favourite colour during the Rococo. Chairs now have no stretchers because the construction methods have improved. Cabinet maker become more detailed.
Console tables are placed as such that they look like they are growing out of the wall. The Duchesse Brisée has a lower back, is longer and can be pulled apart or put together as a chaise. Comfort is provided and gives a certain amount of enclosure to a person. The Voyeuse is a chair that is designed for watching what other people are doing. Extensive time is spent playing cards, which is a good past time during the French aristocracy. One person sits and other leans on it.
The Commode designed by Charles Cressent, circa 1745-49 has important sculptural forms that can be seen on this piece of furniture which is used for storage. Little monkey figurines depict a playful theme. C and S curves in leaves and shell forms can be seen. Monkey on swing brings a certain element of fantasy.
Marquetry becomes prevalent which is the art of the ebonist. The Bombay form where belly curves out was a popular form for chests or drawers. Small tables become popular in the 18th century because the way people spend their time, writing, open to display extraordinary exteriors/interiors. Furthermore, lines of pieces, ornamentation, colouration would have been designed for certain rooms they would go into, staying true to the concept of complete interiors.
The Elevation, by Juste-Aurele Meissonnier was designed for sliver and metal work. He designed architecture, and interiors. A large mirror with appliqué (candelabra applied to the wall) can be seen in one of his illustrations finished with an asymmetrical console table.
While console tables are symmetrical, design inside is asymmetrical. Silver tureen, stand and cover was another example of an item designed by Juste-Aurele Meissonnier. Potpourri vases and bowls in Sevres Porcelain also become popular. The white body and fields of colour mimic Chinese porcelain. Colouration is influenced by original Asian porcelain. Forms and uses are inspired by European fashion. Tea and coffee drinking was obsessively popular and therefore all types of bowls, cups, and plates come in to use for that purpose.
Textiles become a large part of French production – Toile de Jouy textile represents image of current fashion, women’s fashion for the day, landscape fashion and fashion for chinoiserie. Carpet manufacturing, silk brocades all enrich the economy. The Savonnerie carpet is another prominent decorative item during this era.
ROCOCO ACROSS EUROPE
Sanssouci, Postdam, Germany, circa 1745-47, was built for Frederick the Great of Prussia. The building looks only one floor high but has service rooms down below. The small palace for a summer house has a garden feel with lots of windows looking across the garden. Regular classical architectural can be seen with pilasters that create a rhythm across the building. Round windows can be seen with half human figures and garlands trailing the pilaster face. Thus, one can see that German Rococo is more playful than French rococo and also more sculptural. Many architects in Germany are from Italy. Tiered gardens can be seen with a wide base stair case, which is narrower at the top. The way people danced, moving gracefully then stopping and switching is replicated in the staircase. Architecture design, garden design, music, literature, fine art and decorative art design all work together to create fantasy environments.
The interior has asymmetry, flamboyant Rococo up to the ceiling with grapes, and centre area is where the lamp is hung with a spider web. C and S curves are designed into the German Rococo furniture and come down to the apron, multicoloured paint can also be seen. The lamp has porcelain flowers and metal leaves around the brass chandelier. Even traditional furniture is playful. The chest on chest has a central portion opening up to a desk. The pediment is broken with an asymmetrical flame.
In Wieskirche, Bavaria, Rococo, Baroque and Rococo work together in Catholic orders to express glories of religion at the time. This is a direct opposite expression of the Protestant church to bring back people who moved to the Protestant church; bringing reform into the Catholic church. Illusionistic ceilings can be seen where walls are exquisite. All surface has movement with sculptural white architecture. Musical instruments are being developed quickly, organs are placed in churches which becomes a big part of church exteriors.
The Monastry at Melk, Austria is not as classically subtle as France as it has more movement. The library at the monastery at Melk is renovated at this time. The Fresco on the ceiling depicts illusionistic scenes around the room, there is use of classical elements on bookcases.
In Italy Rococo is darker colours which are richer and more intense. There is lots of building with heavier and illusionistic ceilings. Tendrils from plants can be seen with movement of plants out of panels, going into ceilings. Thus, characterizing a breakdown of architectural elements.
At the Segredo Palace in Venice Italy 1718, movement can be seen in the ceiling with putti coming down from the ceiling and coming into the walls. The bed beneath has a large headboard and C curves incorporated. The darker colour in this space is typical to Italian interiors.
In the last third of the 18th century in France, French Neoclassicism and Louis the 16th arise. Louis comes to throne in 1774 and by then Neoclassical starts to transition away from Rococo. He is 19, young and an amateur in the Monarchy. He is given a country struggling economically. Enlightenment ideas shift peoples ideas. The rights of the middle and low class are at the forefront. Furthermore, he loses control of his advisors and the aristocracy.
Marie Antoinette his wife plays a prominent role in style at the end of the 18th century. Marie loved high fashion and her portraits depict that when the underclass was starving, she spent a lot of money.
Furthermore, St. Genevieve, Paris 1758-1789, renames the Pantheon, the temple front structure, columns pediment, central dome with equally spaced arms on either side. All details are in the pediment and columns, rest of facade is plain. Buildings have a subtle quality like this in neoclassicism.
The interior of the pantheon has classical elements, fluted columns, corinthian columns and a coiffured ceiling. Pendentives have classical paintings. More light comes in due to the size of windows in the drum. Drum of the dome also has massive windows. Large semicircular thermae windows can be seen at the end of the transept.
In Versailles at the Le Petit Trianon one can see how domestic life changes. This is a small palace like structure which is very 18th century. It is originally built by Louis 15, Louis 16 passes it to Marie. She utilizes it for private affairs. The interiors reflect Marie. The entrance facade had a garden around it it. The facade had a low relief with a slight bit of pavilion in the centre. The front door is not aggressively announced instead quietly part of the rusticated base. Pilasters come up to piano noble and the floor above and the top of the balustrade. The garden had a double staircase that brings one into the parterre garden. The garden outside is more informal and romantic. Furthermore, corinthian columns are used and doors open to garden.
The interior has small rooms which is a continuation from the Rococo. This is a time when people are not entertaining on a grand scale. The preferred way to entertain is through intimate parties. Marie was concerned about privacy and therefore she had these windows installed that slide out from the floor below. Mirror slides up to close out views from the exterior of the building. Instead of gilting one sees white decorative painting. There is also extensive use of mirrors. Furniture is rectangular in nature, upholstery is framed out with passementerie (applied ribbon).
The Salon Hotel de Tesse Louis XVI or Neoclassical interior has an attenuated chandelier with less crystals at the base. The mirror has a simple arched curve. Furniture has no cabriole legs, instead straight square legs. Upholstery is light. Physically furniture embodies a light weight. The commode fits into the frame of the mirror above. Gilt ornament on the brasserie similar to gilt on the commode. Lines are pleasant and simple. Detail is very fine and sharp in the commode. Top of the mirror also has a fine delicate detail. The cornice has dentilation, is sharply carved with clean, beautiful gilt. The secretaire a abattant or fall front desk is made out of Japanese lacquer which is put into carcass of the piece. Naturalistic flowers or garlands are used as embellishments.
In the Boudoir from the Hotel de Crillon 1777-80 rooms become smaller and more intimate. The Chamber before the bedroom is used for relaxing and closest friends visit here. This room can also be used for dressing and reading. Ample light comes in, making it a comfortable place to sit in. Colours are soft with a classical grotesque giving a glittery, decorative quality.
NEOCLASSICAL FURNITURE
During the transitional period from Rococo to Neoclassical, cabriole legs become more straight. Geometric forms can be seen on the surface. Sevres painted plaques are inserted into pieces. We see ceramics and porcelain and mother of pearl in pieces. Floral marquetry and geometric parquetry.
Jean Henri Riesener Bureau a Cylindre or Roll-top desk, 1769 has cabriole legs and curvilinear gilt mounts. There is a three quarter fence around the top. Earn forms act as finials. Geometric forms can be seen on roll form. Naturalistic forms can be seen on the bottom of the piece.
The Mechanical Table ca 1761-63 by Jean-Francois Oeben has wood marquetry, gilting, cabriole legs, top slips back and the drawer pulled out depicts the inside which is a writing desk. The central portion has a mirror. Doors open up to keep storage for items such as cosmetics.
Mechanical writing desk, David roentgen, 1758-62. German.
Martin Carlin was a Parisian ebeniste whose work is characterized by Porcelain inlays. Some were are purely Neoclassical others retained some Rococo. Large plaques with hand painted flowers were seen in his work.
The Secretaire a Abattant, Bureau a Cylindre are key pieces during the 18th century because writing was prevalent. People would write many times in the day. Messengers were sent out and replies were immediate. Furthermore, in terms of structural changes furniture legs become more straight and classical forms become integrated in them.
Feet are attenuated or pointy. The Baton foot meets the ground with a point protected with a piece of metal at the base. There is extensive exposed wood similar to Rococo. The Machete is still typical. Backs are variously shaped, for example there is the Oval back and Shield back. Decorative carving can be seen at the crest rail. Front support connects with the Arm curve.
Sometimes completely simple frames have square backs, legs shaped to become narrower at the bottom with fluting. Whole frame is carved continuously
The enclosed upholstered chair or Bergere, can be seen with fluted legs. The seat sits lower to the ground because the larger heavily stuffed cushions are loose. Chair backs have various forms, predominantly geometric. Another prominent piece of furniture, The Canapé is attributed to Georges Jacob, Louis XVI, French Neoclassical.
Information courtesy of New York School of Interior Design “Historical Styles 1” Class