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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 ...
Italian Rococo was mainly inspired by the rocaille or French Rococo, since France was the founding nation of that particular style. The styles of the Italian Rococo were very similar to those of France. The style in Italy was usually lighter and more feminine than Italian Baroque art, and became the more popular art form of the settecento.
[14] [15] In 1767 he painted a double portrait of them both; she is depicted working in pastels on a portrait of Henrik Wilhelm Peill, while Roslin points at a gold box he received from Peill as a present. [16] The frame of the painting is inscribed Loin et près (Far away and yet close), showing that the portrait was a token of friendship. [16]
During the 18th century, Rococo painting followed as a lighter extension of Baroque, often frivolous and erotic and using light pastel colours. Rococo developed first in the decorative arts and interior design in France. Louis XV's succession brought a change in the court artists and general artistic fashion.
Portrait of Pittoni by Bartolomeo Nazari Giambattista Pittoni or Giovanni Battista Pittoni (6 June 1687 – 6 November 1767) was a Venetian painter of the late Baroque or Rococo period. [ 1 ] He was among the founders of the Academy of Fine Arts of Venice , of which in 1758 he became the second president, succeeding Tiepolo .
In his times, Pliny complained of the declining state of Roman portrait art, "The painting of portraits which used to transmit through the ages the accurate likenesses of people, has entirely gone out…Indolence has destroyed the arts." [22] [23] These full-face portraits from Roman Egypt are fortunate exceptions. They present a somewhat ...
The painting depicts the Augustinian theologian Giovanni Lorenzo Berti (also known as Gianlorenzo Berti, or Gian Lorenzo Berti), and was painted in Rome between 1754 and 1756. It was bought for the museum in 1890 by Wilhelm von Bode , from the collection of Gustave Rothan [ da ] , together with Ribera's Saint Peter and Saint Paul .