ROCOCO ARCHITECTURE
• ABDI KHADIJA JAMA NUR B02/140953/2020
• AYOTI EDMUND ONGERI B02/140686/2020
• GITHINJI IAN MORRISON B02/140704/2020
• KANG’U VICTORIA NYAGUTHII- B02/1155/2020
• KIPROTICH FELIX KEMBOI B02/1153/2020
• MBITI SAMUEL MBUSYA – B02/1141/2020
• MUTUA BRIAN NGUYO B02/1139/2020
• OCHIENG ROGERS NICHOLAS B02/1166/2020
• OSMAN KORILO YACOUB B02/140913/2020
• WANYOIKE JUDY WACUKA B02/140120/2020
SOCIAL AND CULTURE
Socio-economic and cultural constants; social characteristics and beliefs; historical background, location,
and period.
• Historical background
•
• The term “rococo” was initially used as an amusing variation of the French word “rocaille,” which
involved using little rocks and seashells as adornment in decorative arts and grottoes, popular since the
Renaissance.
• Rococo describes a type of art and architecture that began in France in the mid-1700s. It is characterized
by delicate but substantial ornamentation. Often classified simply as "Late Baroque ,"
• Rococo, style in interior design, the decorative arts, painting, architecture, and sculpture that
originated in Paris in the early 18th century but was soon adopted throughout France and later in other
countries, principally Germany and Austria.
• At the outset the Rococo style represented a reaction against the ponderous design of Louis XIV’s Palace
of Versailles and the official Baroque art of his reign. Several interior designers, painters, and engravers,
among them Pierre Le Pautre, J.-A. Meissonier, Jean Berain, and Nicolas Pineau, developed a lighter and
more intimate style of decoration for the new residences of nobles in Paris.
• Germain Boffrand, who designed the mansion Hôtel de Soubise, emerged as one of France’s
preeminent Rococo architects. The flashy appeal of Rococo acted as a signifier of taste and wealth and
extended to other parts of Europe, including Bavaria, Austria, and metropolitan cities including Rome,
Italy; Saint Petersburg, Russia; and Munich, Germany.
• Location and period.
• Rococo began in France in 1715 with the
graceful, gently melancholic paintings
of Antoine Watteau, culminated in the playful
and sensuous nudes of François Boucher, and
ended with the freely painted genre scenes
of Jean-Honoré Fragonard. Rococo portraiture
had its finest practitioners in Jean-Marc
Nattier and Jean-Baptiste Perroneau.
Painting by Antoine Watteau.
• From France the Rococo style spread in the 1730s to the Catholic German-
speaking lands, where it was adapted to a brilliant style of religious
architecture that combined French elegance with south German fantasy as
well as with a lingering Baroque interest in dramatic spatial and plastic
effects.
• Some of the most beautiful of all Rococo buildings outside France are to
be seen in Munich—for example, the refined and delicate
Amalienburg (1734–39), in the park of Nymphenburg, and
the Residenztheater (1750–53; rebuilt after World War II), both
by François de Cuvilliés. Among the finest German Rococo pilgrimage
churches are the Vierzehnheiligen (1743–72), near Lichtenfels, in Bavaria,
designed by Balthasar Neumann, and the Wieskirche (begun 1745–54),
near Munich, built by Dominikus Zimmermann and decorated by his elder
brother Johann Baptist Zimmermann. G.W. von Knobelsdorff and Johanne
Michael Fischer also created notable buildings in the style, which utilized a
profusion of stuccowork and other decoration.
• In Italy the Rococo style was concentrated primarily in Venice,
where it was epitomized by the large-scale decorative paintings of
Giovanni Batista Tiepolo The urban vistas of Francisco Guordi and
Canaletto were also influenced by the Rococo.
• Paintings of Giovanni Batista Tiepolo
• Social characteristics and beliefs.
• Rococo art was complex and detailed but light and whimsical, reflecting an
era of elite wealth, power, and above all, fun.
• The story of the Rococo begins with this man, Louis XIV, king of France
from 1643-1715. Louis XIV was an absolute monarch in every sense,
sharing his power with no one. The elites of France were centered around
Louis's courts. Politics and society both were based in his palace of
Versailles. Now, this was not the Rococo. The Rococo started when Louis
XIV died in 1715, leaving his 5-year old grandson as the rightful king of
France. What followed was an 8-year regency, a period when another
noble rules a country until the rightful heir comes of age. In France, the
Duke of Orléans ruled as regent until his grand-nephew, the young Louis
XV, came of age in 1722. This regency period is when the Rococo in France
really began.
• The regency period changed France both politically and socially. In terms of politics, it meant that the
absolute power of the monarch was gone, at least until Louis XV came of age. Thus, the aristocrats
and nobles had nearly a decade to enjoy a newfound level of power and influence. This focus on the
aristocrats over a king also meant that socially, the center of high society was no longer found in the
regal courts of a king but in the massive, lavish homes of the nobles.
• This is where we first really see the Rococo. This artistic style first appeared in architecture and
interior design, as these wealthy and powerful aristocrats built new homes to show off that they had
all the power of kings but with none of the seriousness. While the palace of Versailles is intimidating
and regal, private homes in the Rococo feature organic, playful patterns that are just as intricate but
are lighthearted, whimsical, and frivolous. The regency opened France up to a period of parties and
balls as the elites enjoyed their virtually unchecked power, and the emerging Rococo style reflected
that.
• When Louis XV officially took control of France in 1722, he restored the power of the absolute
monarch but with none of the seriousness of his grandfather. Louis XV's reign was characterized by a
continuation of all the parties, frivolity, and excess of the regency. So, the Rococo style continued to
thrive but became officially sponsored by the monarchs across Europe as well as the aristocrats.
• Although Louis XV was in complete control of France, several other people began finding new power
in this time, most notably his official mistress Jeanne-Antoinette Poisson, more often remembered by
the title Madame de Pompadour. Although a commoner by birth, her position as mistress to the king
gained her access to France's political inner-workings, and she quickly became a major figure in
national politics. She also became a major patron of the arts and helped to maintain the status of
Rococo painting and interior designs by filling her many estates with this style. What her example
illustrates is that art remained something that the aristocracy continued to focus on after the end of
the regency, and these private estates were still the center of elite social life in France.
• Rococo started in a more secular style in homes, where Rococo-
inspired flourishes were used to decorate entertaining salons. The
ornamentation of Rococo then extended to more spiritual buildings,
heavily influencing churches built during this period in Portugal and
South America.
• Decline:
• Toward the end of the eighteenth century, Late Baroque style
architecture was less in demand. French luminaries, such as
architect Jacques-François Blondel and writer Voltaire, began
admonishing the frivolity of the Rococo and Baroque art
[Link] emerged in opposition to Rococo—
Neoclassical styles are all about symmetrical columns, buildings,
and pieces. By the nineteenth century, Rococo had fallen out of
favor, though its legacy endures: more modern structures like the
Woolworth Building and Grand Central Station in New York City
both exemplify the lavishness that defined Rococo.
CONCEPT
Bold and joyous lust for life was a popularly shown in
paintings during this period.
It included the use of erotic paintings.
Positioning of portraits were due to roles of historical
characters.
It carried a sense of theatrical & drama influenced by
stage design
The period was for a brief period.
-The period started in more secular home styles where it
was inspired by flourishes used in decorating entertainment
salons.
-The interior aesthetics of the rococo period were
influenced by music ,art ,furniture and cutlery.
-The flashy appeal seen in the period were used as
signifiers of wealth and taste.
The use of stucco reliefs was both asymmetrical patterned
that involved motifs and scroll work glidings and pastels.
Painting was an essential part that was used in influencing
all elements of design from interior to tapestries
In Italian rococo the landscape artist known as Giovanni
pioneered the use of two point paspective
CHARACTERISTICS
1. Curves-Rococo has frilly style reflected with serpentine, curves ,
spirals and undulations.
2. A sense of awe -There was the use of grand staircase as the
center of a room.
The ceilings were painted in ways that was adored and best as a
conversation starter.
3. Stucco- common material used in the rococo period.
Stucco-Was the common material used in the rococo perio
[Link]-Another key element was the brightness of the pastels.
-There included the use of a few powdery hues that included cream
tones.
5. Asymmetry-it was featured on everything beginning from
trimming to marquetry in the lays of the furniture pieces
6. It was also shown in the shapes of the shells the use of wildlife
elements which were seen in there paintings & pieces of
sculptures.
[Link] l’oeil-It was the standard artistic properties used in
Rococo work
-It gave perspective to fine art or creation of illusions of motion
in artwork
The Exterior walls are pale pink with white stucco facade
-The interior design features gilded curves that that are around the walls and
ceilings of the grand rooms
-The centre in round halls of mirrors
Ca’ Rezzonico
-The interior of the ceiling shows aesthetic properties of rococo such as
theatrical tableaus and trmpe i’oeil.
-The order of the windows was closed so as to double the height.
-In the ball there was the illusion that it was the centre of a larger
space
Palace of Versailles
-At the garden in the fountains there are dramatic statues
-there was also the use of rich decorations in the salons
La Salon de la Princesse
The interior walls are white and cylindrical ,gilded wood
and many mirrors.
-it also has abesque decorations that hint from roman
motifs and has asymmetrical curves
FUNCTIONALITY:
TYPOLOGIES
SERVICES
SPACE REQUIREMENT AND STRUCTURES;
GEOGRAPHY AND CLIMATIC CONSIDERATION.
TYPOLOGIES
MOST of structures constructed by rococo architecture technique
was light ,elegant and exuberant use of curving. To archieve this ;
domes in doors were used to offer enough support to tall structures
which spread the form uniformly.
Rectangular plans were used in construction to archieve symmetrical
form of design while later involved also square hence assymetrical
housing archieved .
Oval typology commonly used to symbolize central point in a
building and courtyard sections.
Common typologies used a sample of pavilion of amalienburg plan
in munich a rococo structure
SERVICES OFFERED BY ROCOCO
ARCHITECTURE
Beauty- valued aesthetic hence rococo design invented the use of
pastels colours , pink colours used oftenly in exterior for aid
decorative nature .
lightness-valued light building rather than heavy buildings hence
archieved this by use of numerous door and window openings .
light to aid natural light in hence constructed large windows and
made tall structures to avoid shadow override by other buildings
around it .
valued more open space for enough meeting points for various
social activities hence less small partitioned rooms .
FURNITURE AND DECORATION
French rococo shows its anti-classical nature in several ways :
1.a rejection of use of classical orders in support of structural
elements
2. an embrace of asymmetry
3. restless and flickering movement
4. use of assymetrical scroll
5. scallop shell , elongated s and c curves
Commonly was for big structures like hotels and palaces
Salon de Monsieur le Prince, Chantilly.
Salons of the Hotel de Soubise, Paris.
Amalienburg, Munich.
Charlottenburg Palace, Berlin.
Czapski Palace, Warsaw
Branicki palace , Germany
linderhof palace ,Germany
AMALIENBURG PALACE IN MUNICH
LINDERHOF PALACE, GERMANY
Mainly focused on inside of building
such as
ballroom
EMBARKATION FOR CYTHERA
Painted by Jean-Antoine Watteau
He celebrates Love as indicated by the cupids flying around and the statue of Venus(the goddess
of sexual love)
Island of Cythera in greece- believed to be the birthplace of Aphrodite. Mythically associated with
the goddess of Love. There’s a boat there that is either taking them to the island or from/
As closer as we are to the boat, the more intimate the couples are
The Foreground has 3 couples and everyone in the painting is coupled together
The colours are vivid and smooth enough to give a tranquil type of mood, calm and peacefulness
There is a cupid bow tied to the statue. And a vine of roses growing up her-connotations of love
There's a quiver - the cupid sitting down. This is to indicate that he doesn’t have to do anything
since love is all around him
THE SWING
Painted by Jean-Honore Fragonard
He was commissioned to do the painting by a member of the royal court .
His lover was to be pushed by a bishop , while he hid and looked up his mistresses’ dress.
The lover seems to be overtaken by love and desire for his companion as indicated by his blushed
cheeks.
The older man, initially supposed to be a bishop, is pulling the swing’s ropes unaware of the lover
hidden in the bushes.
The location was a garden, which was popular for romantic meetings during 18th Century France.
This is just not any garden because the swing is of red velvet showing aristocracy.
The cupid statue present was inspired by The Menacing Love sculpture
All characters focus their attention solely on the young woman swinging.
MADAME DE POMPADOUR
Painted by Francois Boucher
This painting portrays the marquise at her dressing table as she applies makeup.
Her face is portrayed as a doll-like beauty with smaller lips in comparison with her face ,that was
popular at that time. They weren't going for a natural look.
She holds a gold box and a brush in her hands.(part of the makeup set)
Theres tremendous focus on the cameo of her wrist, which is a picture of her lover, King Louis XV.
This is an intimate gesture.
The directness of her face to the audience adds to the I intimacy that Boucher wanted to portray.
THE SECRET MEETING
Painted by Jean Honore Fragonard
The girl's suitor scales the walls of a building to go meet his lover
It's a dramatic painting , one gets to see the secrecy of such a meeting
Theres a statue of Cupid and Venus which are indications of love.
The nature overflowing and been uncontrolled is a perfect metaphor for young love.
Venus seems to be withholding the quiver from her son , Cupid. This might be because he has
already hit the couple with an arrow.
Madame Du Barry rejected this painting.
THE SETTLEMENT
Painted by William Hogarth
This is the first is a series of six painting that warn about the upper class behaviour of contractual
marriage.
This particular painting depicts :
On the left side is the newly bethrowed couple. The young man is dressed in the latest fashion by
then in france and is looking at the mirror. Theres a black spot on his neck indicating he has syphilis
. Next to him is the lady who seems to be crying and is been comforted by the family lawyer who
looks like hes whispering something in her ear.
On the other side of the painting, the farthest right the earl of squander points to a suspect looking
family tree that claims ancestors to William the Conqueror. He is dressed in extravagant clothing ,
which depicts his his gout.
Next to him is the rich merchant who closely examines the marriage contract. On the table, they
have scattered gold and notes.
The bottom left , two dogs have been shackled together to encourage breeding just as the case
with the new couple.