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Design*Sponge » Blog Archive » nama rococo

Design*Sponge » Blog Archive » nama rococo windows and walls April 27th, 2006 nama rococo i’m in love. with a wallpaper company. i thought i’d seen the best of the best in wallpaper but thanks to corbett at variegated i’ve discovered a fan tas tic new designer, karen combs of nama rococo. after studying and traveling all over the world, karen came back to work and live in north adams, massachusetts. inspired by a chinese scroll painting she saw at the metropolitan karen learned wallpaper design from the best in the business and in 2004, she rolled out her first line of wallpaper. since then karen has been creating stunning, truly unique wallpaper designs from her studio in western massachusetts. after so many over the top, super-graphic designs that seem to have saturated the wallcovering market lately, it was lovely to see something slightly different with a geometric, but handmade feel to it. it’s as if a really creative person with a great sense of color and line broke into your home and painted a gorgeous mural all over the wall. and if i had the money, i’d pay karen to come “paint” her beautiful murals all over my home. karen’s work is just to beautiful and too unique not to be checked out, so click here and see for yourself.
Category: Rococo Wallpaper

Cythera Regained? The Rococo Revival in European Literature and the Arts, 1830-1910 FDU Press

Cythera Regained? The Rococo Revival in European Literature and the Arts, 1830-1910 FDU Press This is the first comprehensive study of the Rococo Revival in nineteenth-century European literature and the arts. Much has been written and published about the Gothic and Classical, Renaissance and baroque revival styles, but little more than specialist articles or monographs have dealt with the revival of eighteenth-century Rococo. One reason for its relative critical neglect may be the fact that it is not concentrated in a single country or a single art, in a single period or a single creative artist, but rather dispersed across different arts and cultures, fluctuating in intensity and importance at different times between 1830 and 1910. The book examines developments in France and Germany, Austria and England, as well as contributions from America and Russia. Its two halves comprise, firstly, a thematic account of literary examples of the Rococo Revival organized into perpetual modes: theatrical, oriental, pastoral, and musical. The second half is chronological, tracing shifts in cultural ambience between 1830 and 1910 in manageable stages of twenty years each, dealing with different types of phenomena: critical perspectives, the decorative arts, painting, music, and literature. Initiating each of the perceptual modes, the French painter Jean-Antoine Watteau (1684-1721) projects an underlying gravity, a sense of transience and duality, and it is these features that mark him off from later Rococo artists, and affect the nineteenth-century’s response to Rococo. As one of several historicist styles in an eclectic century, the Rococo Revival alternates between the poles of Aestheticism and Decadence. While its most characteristic mode is that of pastoral, the style manifests itself less in any large-scale architectural achievements, than in the decorative and so-called “minor” arts. Its critical image correspondingly shifts, as it is refracted in turn by Romanticism and Realism, Symbolism and Art Nouveau.
Category: Rococo Revival

Roland Collection - Baroque and Rococo

Roland Collection - Baroque and Rococo 1600 - 1800 Baroque and Rococo art may be seen as the extension of Mannerist artifice, carried to extremes into the seventeenth and even eighteenth centuries. One driving force behind this energizing of artistic form was the Catholic Counter-Reformation, a resurgence of religious fervor during which artists were urged to inspire and carry their audiences away into delirious rapture. Yet inventiveness for its own sake became the heart of the Rococo. The characteristics of the style are serpentine curves, convoluted compositions, weightlessness and a preponderance of organic rather than geometric form. Studio of El Greco The Agony in the Garden of Gethsemane From the program 'Spanish Art: El Greco to Goya' The term `rococo' comes from the French word rocaille, referring to the fantastical, coral-like forms which in much Rococo ornament surround figures and flora as sheer visual improvisation. Such frivolity was inevitably to provoke a return to stern Neo-classical forms. Yet it is over-simplistic, of course, to view the progress of art as a schematic pattern of swing and counter-swing from classical to Gothic, Renaissance to Baroque, Neo-classicism to Romanticism, Impressionism to Expressionism and so forth. Nowhere more clearly than in the Baroque and Rococo do we see how within any period various and contrasting elements coexist and merge in unpredictable ways. Thus Watteau mixes classical with romantic traits, Chardin celebrates the homely and unrhetorical in the midst of eighteenth-century grandiosity, Bellotto and Canaletto depict townscapes with a near-Impressionist lucidity, while Wright of Derby concentrates attention on scientific subjects that herald a new age of progress and industry.
Category: Art Baroque Rococo World

 

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