JeanHonor\u00e9 Fragonard Rococo Era painter Tutt\u002639;Art@ Pittura \u2022 Scultura \u2022 Poesia \u2022 Musica | This French Rococo Furniture, In the article that you read this time with the title JeanHonor\u00e9 Fragonard Rococo Era painter Tutt\u002639;Art@ Pittura \u2022 Scultura \u2022 Poesia \u2022 Musica, we have prepared this article well for you to read and take information in it. We hope this post will be useful JeanHonor\u00e9 Fragonard Rococo Era painter Tutt\u002639;Art@ Pittura \u2022 Scultura \u2022 Poesia \u2022 Musica and we write this you can understand. alright, happy reading.

Title : JeanHonor\u00e9 Fragonard Rococo Era painter Tutt\u002639;Art@ Pittura \u2022 Scultura \u2022 Poesia \u2022 Musica
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JeanHonor\u00e9 Fragonard Rococo Era painter Tutt\u002639;Art@ Pittura \u2022 Scultura \u2022 Poesia \u2022 Musica

The Rocaille style, or French Rococo, appeared in Paris during the reign Louis XV, and flourished in the midst of about 1723 and 1759.[16] The style was used particularly in salons, a extra style of room expected to impress and make smile guests. The most prominent example was the salon of the Princess in Htel de Soubise in Paris, intended by Germain Boffrand and Charles-Joseph Natoire (173540). The characteristics of French Rococo included exceptional artistry, especially in the mysterious frames made for mirrors and paintings, which sculpted in plaster and often gilded; and the use of vegetal forms (vines, leaves, flowers) intertwined in rarefied designs.[17] The furniture next featured sinuous curves and vegetal designs. The leading furniture designers and craftsmen in the style included Juste-Aurele Meissonier, Charles Cressent, and Nicolas Pineau.[18][19]The Rocaille style lasted in France until the mid-18th century, and even if it became more curving and vegetal, it never achieved the extravagant exuberance of the Rococo in Bavaria, Austria and Italy. The discoveries of Roman antiquities beginning in 1738 at Herculanum and especially at Pompeii in 1748 turned French architecture in the handing out of the more symmetrical and less flamboyant neo-classicism.

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