Posted by
hwalker on Wednesday, February 27, 2008 2:58:47 PM
I am going to depart today from our normal diet of politics and the impending elections. Sort of. Instead, I would like to use this space to discuss my other acedemic passion, art history. I know, I know, some of you want to stop reading right now, but hang in there and remember: It's my blog and I get to write whatever I want.
The aspect of art history that has been on my mind of late is the Rococoian period that flourished during the aristocratic time of Marie Antoinette. The period of Rococo experienced its height in the 1730's and was heavily influenced by the proceeding Baroque period. The word "Rococo" comes from the French, "rocaille" meaning shell and the italian "Barocco," meaning Baroque. Indeed, the shell was a common image used in particular in Rococoian style interior design. The fashion of Rococo extended itself primarily to interior design, but also to easel painting. The concept behind the aspect of interior design was to regard the space as a wholistic piece of artwork, from the lavish brocade trim to the way the walls folded into the vaulted ceilings, and again to the unconventional shapes that wall paintings took in order to accomodate the space.
The central theme of the subject matter that dominated art during the Rococo period was frivolous love, or "fete galante"- the Galant Feast, or the feast of Love. It is painted in an unassuming way, characterized by a very painterly hand which lends itself to a feeling of constant motion. Antoine Watteau was the artist who was responsible for the creation of the "fete galante" as a subject, and he perfected his art with a sense of tast and subtlety. Following him in characterizing the Rococo period was Jean-Honore Fragonard, who painted one of the most recognizable pieces from that period, "The Swing" in 1766.
It is important to note that primary patrons of art at this time was the wealthy upper class, the elite who had vacated the palace of Versaille following the death of Louis XIV and who were enjoying the wealth of France. All of these circumstances just prior to the French Revolution, when the stratification within France was at its height. With this knowledge, we can examine art from this time period and note how the excesses of the upper class are reflected in the paintings as well as the satirical commentary that enters into the composition of the artwork. "The Swing" in particular is an examplary piece for this kind of observation because of the story it tells. In this piece we have four characters: the sweetheart on the swing who is being pushed by her fiance (a priest), the priest, the gentlement below the swing who is gettting a good look up her dress (who also happens to be the patron of the work and presumably her lover), and the cherub statue standing above them pressing his fingers to his lips, enticing us to keep their secret. It is thought that this picture was originally commissioned to display the patron and his mistress, but that idea was later dropped and the painting depersonalized to represent the idea of the joy to be found in frivolous love, and the embracing of carefree sexuality. Sound like any culture you know? This painting is also exemplary of the Rococoian period in that it is set out-of-doors, the setting has a fantastical yet playful feel to it, and the colors are rich and luxurious. The whole painting is set in shadows as if to show us this scene is taking place in a hidden grove in a parisian park.
When we view this artwork we are presented with a far different picture than how things turned out in the end. In the Rococo period we see only one half of the French story, the half that is characterized by free love, retail therapy and no accountability. But what of the other half? Have we come so far that we forget the folly of the past?
The Swing, Jean-Honore Fragonard. 1766
"'...It just would happen now. Oh dear, oh dear! What am i to do?' There was no answer except the usual answer life gives to the most complicated and insoluble questions. This answer is: carry on with your everyday affairs, that is to say, put it out of your mind. He couldn't put it out of his mind, at least not till bedtime, nor could he return to the music sung by the little decanter women; he therfore had to put it out of his mind by the dream of life." Leo Tolstoy, Anna Karenina