Sensualism and Seduction in 18th Century Rococo Art - Essay Example

Sensualism and Seduction in 18th Century Rococo Art Sensualism and Seduction in 18th Century Rococo Art Rococo is one of the brightest and the most magnificent styles ever. It is rich with the beautiful expressions, the ornate stressed pastel hues, crooked bends, and examples in view of blossoms, vines, and shells. Painters turned from blustering to the arousing surface joys of shading and light, and from profound religious and recorded subjects; however these were never overlooked totally to more cozy legendary scenes, perspectives of every day life, and likeness. Thus, stone workers progressively connected their aptitudes to little works for the valuation for private supporter1. This paper traces the magnificent artworks by the two famous painters, François Boucher and Jean-Honoré Fragonard; these artworks represent bright depiction of the peculiar stylistic features of the gorgeous period of Rococo. In spite of the political debacles and their deadly impact on French discretion, there still was fun and stimulation in the royal monarchy and around the royal residence with arranged occasions like illustrious gatherings and performances. Also this epoch is connected with the courteous games and mistresses. There was a type of career choosing to be a mistress, the woman intended to seduce the influential man, probably even the king if she was successful enough to reach the royal ball parties. It meant thus the woman would have costs and accommodation. In case the woman was great in this art, she could even become the favorite mistress of the king which meant having a mansion with servants2. It was a seduction game, which was a bright element of the period. Aristocracy and the French Royal Court needed this kind of fun loving, sensual art and Boucher was upbeat to give it. François Boucher was a French painter, a representative of Rococo, known for his untainted and well proportioned works of art on traditional topics and ornamental moral stories. In 1731 he was admitted to the Royal Academy of Painting and Sculpture as a verifiable painter, and turned into an employee in 17343. He was likewise a noteworthy impact on other Rococo specialists, for example, Jean-Honore Fragonard (1732-1806)4. The French Rococo printmaker and painter Jean-Honoré Fragonard is a student and follower of Francois Boucher. After a promising begin as a history painter, he veered far from the scholastic craft of the French Royal Academy. He preferred to focus on lesser classes, which suited his unconstrained disposition. He created various brightening scenes in the custom of the "fetes galante"5. In the “Lodalisque” (dated approximately 1745), we see Boucher’s wife. Boucher has purposely underlined the Oriental topic. "Odalisque" implies a female slave or mistress in a collection of mistresses, however here the stance is of a blue-blood upon an extravagant couch. The variety on turquoise is splendid. There is a play of light and shadow that creates a sense of deep perspective and live presence. The nude lady with brunette hair resembles the youthful Turkish ladies who were the objects of the fantasies. What is fascinating, and critical to note, that albeit stripped, she doesnt show herself straightforwardly, it is all the more descending. There is a scene of seduction, as the lady is inviting, even though it is not shown too explicitly. We can likewise see that in the artists odalisque there is a stylish dialog between the material and the body. Boucher masterly depicts the vibrant body with the exact reflection of colors that create volume and sense of warmth. Sensualism here is shown as the painter managed to create an effect of presence and sense of the soft skin and the tender feeling of the seduction the lady embodies. Her body is depicted with an extreme accuracy and exact depiction. Skin paleness contrast with the environment. Regardless of the ‘princess look’ of the depicted brunette odalisque, her stance totally is of accessibility. There is a playful depiction of seduction – combination of the blue-blood lady’s nobility and her sensual accessibility. Her base is right on of the lines of viewpoint. Undoubtedly this stance is the one sometimes found in a vital suggestive subgenre of Rococo period, when the lady is shown anticipating a purification. In this subgenre the bare lays on a bed, and a servant or specialist holds up to convey a purification, the obvious syringe or clyster in their grasp. This was an express play on words on sex, and maybe even anal sex, which was forbidden. In both painted creations the craftsman is mindful so as to have the lady not looking directly on us. Jean-Honore Fragonard created “The Swing” in 1766. It is oil on canvas, currently placed in London, the Wallace Collection. The canvas delineates a young fellow covered up in the shrubs, watching a lady on a swing, being pushed by an elderly man, practically covered up in the shadows, and ignorant of the significant other. As the woman goes high on the swing, she lets the young fellow take a subtle peep under her dress, all while flicking her own particular shoe off toward a Cupid and turning her back to two saintly cherubim as an afterthought of the older man. There are bright pictures of the seduction game among them. Lady is flirting using the innocent girlish swing – that may be also referred to sexual activities, which are not shown directly. It is a kind of the game and the plot is hidden beneath. The body and especially the legs of the woman are very natural and appear to be in the focus of attention. The woman is wearing a bergère cap (shepherdess cap) which is humorous since shepherds are typically connected with excellence due to their living near to nature, uncorrupted by the enticements of the city. The painting incorporates a lot of green, the primary color, as far as nature is inseparable part of the typical style. Light and shadows create magnificent look and deep perspective. There is a bright diagonal line, created by line, which directs the view and focuses the attention of the viewer directly on the woman. After that line of sight follows to go down and see her admirer, who act as the objects of seduction. It can be noticed that objects of attention support the line of attention of the viewer going according to triangles. “Les Curieuses” by Fragonard depicts two young ladies look toward the viewer through a crevice in the dim curtains that they are holding separated. The face on the privilege is just half noticeable; the bolder young lady on the left is in clearer perspective. There is an especially exquisite utilization of shading, with an inconspicuous variety of quieted pinks and dull reds decorated by the pearl dark and sparkling white of the curtains. Interesting perspective is created due to usage of the curtains. The aureole of mystery is created through the usage of tender and pastel light curtains and the way ladies are hidden beyond. Here the meaning is not explicit, as well as depiction of the sensual and voluptuous female bodies. Sensualism here is connected with the natural shapes of the faces of the ladies. Seduction element is hidden, it is connected with the mystery and anticipation. The secrets they hold and share are definitely connected with the sexual issues, which may observed through the mimics of the ladies. Fragonard masterly shared the tender aspect of erotic interest, using faces and mimics, playfully shown hand and the light curtains, which are smoothly connected with the bedroom and sexually painted intrigues. Observing the artworks of both painters, it may seem they are very similar regarding their style. That often happens, when one of the painters appear to be the pupil of another. They both are deservedly called to be the bright representatives of the Rococo art. They both use tender colors and nice voluptuous nude female bodies. There are amorous and relaxed views and postures. Nature is incorporated within works of both artists. The major difference I may admit observing these three images (they are attached below accordingly to their appearance through the paper), is that Fragonard uses warmer colors; there I see no cold and bright blue, so loved by Boucher, which can be noticed on “Lodalisque.” Topics are highly sensual, which is shown through the seductive imagery. The scenery of magnificent landscapes, sensual bodies and coquettish cloths creates the light and cheerful atmosphere of the games with hidden sensual context – the same time they remain explicitly sensual and appeal the senses and desires – so beloved and appreciated by the aristocracy if that time. All the artworks create the living effect of interaction; even where there is only one person, as “Les Odalisque,” it is definitely a sort of interaction, the plot beyond. As far as “Les Curieuses” depicts two persons sharing own curiosity and “The Swing” contains several people. All the paintings are light, bright, cheerful and sensual. This type of erotization is not vulgar but a living, breathing masterpiece with its shape, warmth and wonderful perspective. Bibliography Zaki, Fady. "Rococo Art Movement" Identify This Art. 25 September 2011. Accessed May 30, 2015. http://www.identifythisart.com/art-movements-styles/pre-modern-art/rococo-art-movement/. "François Boucher Biography." François Boucher. Accessed May 30, 2015. http://www.francoisboucher.org/biography.html. "Francois Boucher: French Rococo Painter, Tapestry Artist." Encyclopedia of Old Master Painters. Accessed May 30, 2015. http://www.visual-arts-cork.com/old-masters/francois-boucher.htm. "Jean-Honore Fragonard: French Rococo Painter." Encyclopedia of Old Master Painters. Accessed May 30, 2015. http://www.visual-arts-cork.com/old-masters/jean-honore-fragonard.htm. National Gallery of Art, "Tour: 18th-Century France — The Rococo and Watteau Overview." Last modified 2015. Accessed May 30, 2015. https://www.nga.gov/collection/gallery/gg54/gg54-over1.html. 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