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Blind Man's Bluff (French: Le collin maillard) is a painting by the French Rococo painter Jean-Honoré Fragonard, produced around 1750 in oil on canvas.It is held by the Toledo Museum of Art in Toledo, Ohio, United States, which purchased it with funds from the Libbey Endowment, a gift of the glass manufacturer Edward Libbey who founded the museum in 1901.
Rococo painting also illustrates, in its first version, the social schism that would lead to the French Revolution, and represents the last symbolic bastion of resistance of an elite distant from the problems and interests of the common people, and that was increasingly threatened by the rise of the middle class, which was educated and began to ...
Rococo, less commonly Roccoco (/ r ə ˈ k oʊ k oʊ / rə-KOH-koh, US also / ˌ r oʊ k ə ˈ k oʊ / ROH-kə-KOH; French: or ⓘ), also known as Late Baroque, is an exceptionally ornamental and dramatic style of architecture, art and decoration which combines asymmetry, scrolling curves, gilding, white and pastel colours, sculpted moulding, and trompe-l'œil frescoes to create surprise and ...
Jean-Honoré Fragonard (French: [ʒɑ̃ ɔnɔʁe fʁaɡɔnaʁ]; 5 April 1732 [1] [2] – 22 August 1806) was a French painter and printmaker whose late Rococo manner was distinguished by remarkable facility, exuberance, and hedonism.
Franz Anton Maulbertsch (7 June 1724 – 8 August 1796) was an Austrian painter and engraver, one of the most renowned exponents of Rococo painting in the German and Hungarian regions. Maulbertsch was born in Langenargen and studied in the Academy of Vienna.
Mezzetino (transl. Mezzetin; French: Mézetin) is an oil-on-canvas painting in the Metropolitan Museum of Art, New York, by the French Rococo painter Jean-Antoine Watteau. Dated within 1717–1720, Mezzetino forms a full-length single-figure composition, depicting the eponymous character in commedia dell'arte.
A native of Paris, Boucher was the son of a lesser known painter Nicolas Boucher, who gave him his first artistic training. At the age of seventeen, a painting by Boucher was admired by the painter François Lemoyne. Lemoyne later appointed Boucher as his apprentice, but after only three months, he went to work for the engraver Jean-François Cars.
Rococo aspects in painting, both its values and stylistic ornamentation, were considered objects of the past. In opposition to an "intrinsic higher meaning of art," its association with modernity depicts a contrasting former mode of artistic expression as a means of historicizing the visual arts.