meaning of rocco

Led by Christoph Willibald Gluck, this reaction ushered in the Classical era. While the Rococo continued in Germany and Austria, the French Academy in Rome began to teach the classic style. This gave the Rococo period the iconic dress of wide hips combined with the large amount of decoration on the garments. Some of the most beautiful of all Rococo buildings outside France are to be seen in Munich—for example, the refined and delicate Amalienburg (1734–39), in the park of Nymphenburg, and the Residenztheater (1750–53; rebuilt after World War II), both by François de Cuvilliés. French Rococo chairs by Louis Delanois (1731–92); in the Bibliothèque de l'Arsenal, Paris. The Hall of Mirrors in the interior, by the painter and stucco sculptor Johann Baptist Zimmermann, was far more exuberant than any French Rococo. His work included the sensual Toilette de Venus (1746), which became one of the best known examples of the style. Asymmetrical design was the rule. The exteriors of Rococo buildings are often simple, while the interiors are entirely dominated by their ornament. The predominant designer of inlaid furniture were Vile and Cob, the cabinet-makers for King George III. Religious sculpture followed the Italian baroque style, as exemplified in the theatrical altarpiece of the Karlskirche in Vienna. From France the Rococo style spread in the 1730s to the Catholic German-speaking lands, where it was adapted to a brilliant style of religious architecture that combined French elegance with south German fantasy as well as with a lingering Baroque interest in dramatic spatial and plastic effects. Acrostic Poem About Rocco. Common subjects included figures from the commedia dell'arte, city street vendors, lovers and figures in fashionable clothes, and pairs of birds. Be on the lookout for your Britannica newsletter to get trusted stories delivered right to your inbox. France (? Floor plans of churches were often complex, featuring interlocking ovals; In palaces, grand stairways became centrepieces, and offered different points of view of the decoration. The art of Boucher and other painters of the period, with its emphasis on decorative mythology and gallantry, soon inspired a reaction, and a demand for more "noble" themes. By 1785, Rococo had passed out of fashion in France, replaced by the order and seriousness of Neoclassical artists like Jacques-Louis David. If a name has less than five occurrences, the SSA excludes it from the provided data to protect privacy. Meanings Italian Meaning: In Italian the meaning of the name Rocco is: Rock. Omissions? [22] The furniture also featured sinuous curves and vegetal designs. Blondel decried the "ridiculous jumble of shells, dragons, reeds, palm-trees and plants" in contemporary interiors.[36]. The French sculptor Étienne-Maurice Falconet (1716–1791) followed this example. G.W. Another important figure in British furniture was Thomas Johnson, who in 1761, very late in the period, published a catalog of Rococo furniture designs. The characteristics of French Rococo included exceptional artistry, especially in the complex frames made for mirrors and paintings, which were sculpted in plaster and often gilded; and the use of vegetal forms (vines, leaves, flowers) intertwined in complex designs. At any official ceremony ladies were required to cover their hands and arms with gloves if their clothes were sleeveless. [31][32], Amalienburg pavilion in Munich by François de Cuvilliés (1734–1739), Hall of Mirrors of Amalienburg by Johann Baptist Zimmermann (1734–1739), Looking up the central stairway at Augustusburg Palace in Brühl by Balthasar Neumann (1741–1744), The Wieskirche by Dominikus Zimmermann (1745–1754), Interior of the Basilica of the Fourteen Holy Helpers by Balthasar Neumann (1743–1772), The Kaisersaal in the Würzburg Residence by Balthasar Neumann (1749–1751), Festival Hall of the Schaezlerpalais in Augsburg by Carl Albert von Lespilliez (1765–1770), Golden Cabinet of the Chinese Palace, Oranienbaum, Russia, built by Antonio Rinaldi for Catherine the Great (1762–1778), Johann Michael Fischer was the architect of Ottobeuren Abbey (1748–1766), another Bavarian Rococo landmark. Unlike French designers, Chippendale did not employ marquetry or inlays in his furniture. Popularity of Rocco name. New Jersey: Prentice Hall, 2005. The Rocaille style lasted in France until the mid-18th century, and while it became more curving and vegetal, it never achieved the extravagant exuberance of the Rococo in Bavaria, Austria and Italy. Before entering the Rococo, British furniture for a time followed the neoclassical Palladian model under designer William Kent, who designed for Lord Burlington and other important patrons of the arts. William Hogarth helped develop a theoretical foundation for Rococo beauty. ), ca. The Venetian painter Giovanni Battista Tiepolo, assisted by his son, Giovanni Domenico Tiepolo, was invited to paint frescoes for the Würzburg Residence (1720–1744). The discoveries of Roman antiquities beginning in 1738 at Herculanum and especially at Pompeii in 1748 turned French architecture in the direction of the more symmetrical and less flamboyant neo-classicism. This page was last edited on 29 October 2020, at 16:47. We are disclosing this in accordance with the Federal Trade Commission's 16 CFR, Part 255: "Guides Concerning the Use of Endorsements and Testimonials in Advertising" and also in accordance to amazon associates programme operating agreement. [6][7] Rocaille was originally a method of decoration, using pebbles, seashells and cement, which was often used to decorate grottoes and fountains since the Renaissance. After the death of Louis XIV the clothing styles began to change. The most prominent example was the salon of the Princess in Hôtel de Soubise in Paris, designed by Germain Boffrand and Charles-Joseph Natoire (1735–40). One of the most notable examples is the Wieskirche (1745–1754) designed by Dominikus Zimmermann. Rocco Numerology Analysis; Zany , Rich and Humble , Loves to Read and Research. Later, the 'pannier' and 'mantua' became fashionable around 1718, they were wide hoops under the dress to extend the hips out sideways and they soon became a staple in formal wear. The term Rococo is sometimes used to denote the light, elegant, and highly ornamental music composed at the end of the Baroque period—i.e., from the 1740s until the 1770s. Craftsmen in Rome, Milan and Venice all produced lavishly decorated furniture and decorative items. [25], Ceiling of church of Santi Giovanni e Paolo in Venice, by Piazzetta (1727), Juno and Luna by Giovanni Battista Tiepolo (1735–45), Murano glass chandelier at the Ca Rezzonico (1758), Ballroom ceiling of the Ca Rezzonico with ceiling by Giovanni Battista Crosato (1753), In church construction, especially in the southern German-Austrian region, gigantic spatial creations are sometimes created for practical reasons alone, which, however, do not appear monumental, but are characterized by a unique fusion of architecture, painting, stucco, etc., often completely eliminating the boundaries between the art genres , and are characterized by a light-filled weightlessness, festive cheerfulness and movement. The Prince-Bishop imported the Italian Rococo painter Giovanni Battista Tiepolo in 1750–53 to create a mural over the top of the three-level ceremonial stairway. The most extravagant rocaille forms were found in the consoles, tables designed to stand against walls. Shortly after the typical women's Rococo gown was introduced, robe à la Française,[46] a gown with a tight bodice that had a low cut neckline, usually with a large ribbon bows down the centre front, wide panniers, and was lavishly trimmed in large amounts of lace, ribbon, and flowers. In the Rococo style, walls, ceilings, and moldings were decorated with delicate interlacings of curves and countercurves based on the fundamental shapes of the “C” and the “S,” as well as with shell forms and other natural shapes. [5], The word rococo was first used as a humorous variation of the word rocaille. It can be characterized as light, intimate music with extremely elaborate and refined forms of ornamentation. Below you will find the popularity of the baby name Rocco displayed annually, from 1880 to the present day in our name popularity chart. The name Rocco is of Germanic origin, and is used in more than one countries and different languages of the world, especially English speaking countries, Italian speaking countries among others. [4] Although originally a secular style primarily used for interiors of private residences the Rococo had a spiritual aspect to it which led to its widespread use in church interiors, particularly in Central Europe, Portugal, and South America. The name Rocco comes from the Italian origin, meaning is Rest. Other notable figures in the British Rococo included the silversmith Charles Friedrich Kandler. [40], Étienne-Maurice Falconet (1716–1791) was another leading French sculptor during the period. In Italy the Rococo style was concentrated primarily in Venice, where it was epitomized by the large-scale decorative paintings of Giovanni Battista Tiepolo. Instead, we recommend that you pay a greater attention to the origin and meaning of the name Rocco. Meaning of Rocco: Germanic name derived from the element hrok meaning “rest”. The name Rocco is in the following categories: Germanic Names, Italian Names, Saints Names. Women's fashion of the seventeenth-century was contrasted by the fashion of the eighteenth-century, which was ornate and sophisticated, the true style of Rococo. These fashions spread beyond the royal court into the salons and cafés of the ascendant bourgeoisie. [49] The later period was known for their pastel colours, more revealing frocks, and the plethora of frills, ruffles, bows, and lace as trims. They were made by master craftsmen including Jean-Pierre Latz and also featured marquetry of different-coloured woods, sometimes placed in checkerboard cubic patterns, made with light and dark woods. It is more often used as a boy (male) name. They were usually modelled by artists who had trained in sculpture. The French sculptors, Jean-Louis Lemoyne, Jean-Baptiste Lemoyne, Louis-Simon Boizot, Michel Clodion, Lambert-Sigisbert Adam and Jean-Baptiste Pigalle all produced sculpture in series for collectors. An engraving from the ouvrage «Quatrieme livre des formes, orneė des rocailles, carteles, figures oyseaux et dragon» 1736, Antoine Watteau, Pilgrimage to Cythera , 1718–1721, Jean-Baptiste van Loo, The Triumph of Galatea, 1720, Jean François de Troy, A Reading of Molière, 1728, Charles-André van Loo, Halt to the Hunt, 1737, Gustaf Lundberg, Portrait of François Boucher, 1741, François Boucher, Diana Leaving the Bath, 1742, Giovanni Battista Tiepolo, The Banquet of Cleopatra, 1743, François Boucher, Marie-Louise O'Murphy, 1752, Maurice Quentin de La Tour, Full-length portrait of the Marquise de Pompadour, 1748–1755, François Boucher Portrait of the Marquise de Pompadour, 1756, Jean-Honoré Fragonard, Denis Diderot, 1769, Jean-Honoré Fragonard The Meeting (Part of the Progress of Love series), 1771, Élisabeth Vigée-Lebrun, Marie Antoinette à la Rose, 1783, Jean-Baptiste-Siméon Chardin, Still Life with Glass Flask and Fruit, c. 1750, Thomas Gainsborough, Mr and Mrs Andrews, 1750, Jean-Baptiste Greuze, The Spoiled Child, c. 1765, Joshua Reynolds, Robert Clive and his family with an Indian maid, 1765, Angelica Kauffman, Portrait of David Garrick, c. 1765, Louis-Michel van Loo, Portrait of Denis Diderot, 1767, Thomas Gainsborough, Portrait of Mrs Mary Graham, 1777.

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