Milam Jennifer D. - Historical Dictionary of Rococo Art
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Historical Dictionaries of Literature
and the Arts
Jon Woronoff, Series Editor
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Rococo Art , by Jennifer D. Milam, 2011.
Historical Dictionary
of Rococo Art
Jennifer D. Milam
The Scarecrow Press, Inc.
Lanham Toronto Plymouth, UK
2011
Published by Scarecrow Press, Inc.
A wholly owned subsidiary of The Rowman & Littlefield Publishing Group, Inc.
4501 Forbes Boulevard, Suite 200, Lanham, Maryland 20706
http://www.scarecrowpress.com
Estover Road, Plymouth PL6 7PY, United Kingdom
Copyright 2011 by Jennifer D. Milam
All rights reserved . No part of this book may be reproduced in any form or by
any electronic or mechanical means, including information storage and retrieval
systems, without written permission from the publisher, except by a reviewer who
may quote passages in a review.
British Library Cataloguing in Publication Information Available
Library of Congress Cataloging-in-Publication Data
Milam, Jennifer Dawn, 1968
Historical Dictionary of Rococo Art / Jennifer D. Milam.
pages cm. (Historical Dictionaries of Literature and the Arts)
Includes bibliographical references.
ISBN 978-0-8108-6183-1 (cloth : alk. paper) ISBN 978-0-8108-7952-2 (ebook)
1. Art, RococoDictionaries. 2. ArtistsBiographyDictionaries. I. Title.
N6425.R6M55 2011
709.03'3203dc22
2010049614
The paper used in this publication meets the minimum requirements of
American National Standard for Information SciencesPermanence of Paper
for Printed Library Materials, ANSI/NISO Z39.48-1992.
Printed in the United States of America
In memory of Mary Vidal
It is strange how what is new quickly becomes old, and in art, that applies a bit more than usual to Rococo. This was known in its time as the gout moderne . And, indeed, it was something new, coming after the incredibly long reign of Louis XIV, which lasted 72 years. This permitted a breath of fresh air, a relaxation of strict hierarchical relationships, a moment of gaiety and pleasure, and a chance for artists to break away from Baroque and Classicism. This occurred in all the arts but was noticed most in painting, where there were brighter colors, more fanciful brush strokes, different and sometimes almost scandalous or at least frivolous topics, and in architecture, where rigid straight lines became curves and asymmetry prevailed with much internal decoration. True, the academies were still there, but even they gradually mutated, and rich patrons made them less important anyway. What had not changed, or not that much, was that France was still the trend-setting nation and was copied around Europe as Rococo conquered or at least made incursions into Germany and Austria, Spain, Portugal and even Italy, and, thanks to the grand tour, Great Britain. Then things changed again; after the discovery of ancient Greek sites and more emphatically yet with the French Revolution and the collapse of the very society that nourished it, Rococo became pass or even worse. Still, during much of the 18th century, it inspired some extraordinary art, which is still admired, if a bit nostalgically today.
This Historical Dictionary of Rococo Art covers the core period of 17001789 extensively, but since no art movement emerges from nowhere or just disappears, it also reaches back to earlier times, which created the necessary preconditions and also follows on to later times, including the inevitable Rococo Revival. This can already be seen in the chronology, since, interestingly enough, most of the Rococo artists were actually once Classical or Baroque artists or later became Neoclassical ones. Moreover, in architecture, many older buildings were given a Rococo facelift or at least some features. This can already be seen in the introduction, which provides a broad overview. And the pattern carries on in the dictionary, where precursors and successors appear, but the emphasis is on the leading Rococo painters, sculptors, architects, decorators, garden designers, furniture makers, and others as well as their works, their patrons, their critics, and that new participantthe amateur. Other entries show that although France retains pride of place, this was a pan-European trend, and Rococo flourished in many other countries, kingdoms, and even duchies. For those who want to learn more, the substantial bibliography is a good place to start.
The author of this latest addition to the art subseries is Jennifer Milam. She is a specialist in 18th century European art and especially French painting, basically the core of this book. She also has a keen interest in garden design, patronage, and aesthetic theory, peripheral but also significant. On reading the entries, it will soon become obvious that she has amassed considerable knowledge on all of the relevant topics. This is what she teaches at the University of Sydney, where she is an associate professor in the Department of Art History. And this is also what she researches and writes about, here and in numerous articles in learned journals. In addition, she has already published two books, Fragonards Playful Paintings , which she wrote, and Women, Art and the Politics of Identity in Eighteenth-Century Europe , which she coedited. Not content to have turned out a very informative encyclopedia for us, she is now working on two other books, one of which will deal with the aesthetics of Rococo visual culture. For those who truly enjoy Rococo art because, at its best, it is still beautiful even if a bit old-fashioned, it will be a pleasure to have this source of reference handy or even to read the whole thing from A to Z.
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