Baroque and Rococo by Ian Barras Hill

By Ian Barras Hill

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He had great skill in rendering fabrics; the lady's metallic dress seems so photographically real that the spell of the painting. asleep on the little stool it breaks The dog is a piece of charming invention, though the lady's feet are in a distorted perspective. 48. Franz Anton Maulpertsch The Hoi) Family. 1752-53 Canvas, 127 x 90 cm Vienna, Kunsthistorisches ritual. complex arrangement of figures, lost in gloom and ghostly spaces, all cut with gleams and bursts of light. His subjects are the overpainted religious themes for which he showed One little The Rococo Museum Maulpertsch was the leading Viennese painter of church frescoes.

His self-portrait reveals humour and affability in suspiciously large quantities! 17. Jean Honore Fragonard a I'Amour, 1780-88 Invocation Canvas Orleans, Musee des Beaux-Arts Fragonard is remembered as the painter of romantic confections. Much of his work was set around amorous intrigues and decorations. Like Boucher he was obligated to a mistress of the king, and his work shows a striving to please. His figures are more dynamic than Boucher's; they reach and leap and swing. The subject matter is in keeping with Fragonard's technique which was one of rapid improvisation.

Even the sensitive horse seems nervous of the illustrious rider painting, figures are decorative black looks of smug disdain echoed by the dark clouds behind him. whose are 12. Jean Baptistc Chardin AugmlfCJijbrie/ Goikjro). Canvas, 68 x 76 Paris, Mus^ National (Chardin invested his with a c. 1738 cm du Louvre still-life paintings sense of harmonious formality and achieved marvellous eltects with colour. His paintings of bread and wine are rich evocations of substance and flavour. The young man of this portrait has been caught at an intimate moment.

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