This gilt mirror shows many attributes associated with French
rococo design. The elaborateness of the decoration is typical of this era in
design along with the extravagant curves and feminine form. The fact that it is
a functional piece rather than a painting or sculpture is also significant, as rococo
was first developed in decorative arts and interior design. A common
characteristic of French rococo design is asymmetry which is present in the
mirror. The material used creates a sumptuous look to the mirror which was
sought after in 18th century when French rococo design was prevalent
in society.
The French Rococo era is often described as soft, voluptuous and
vaguely erotic. Hunter-Stiebel (2008) stated that “The yin-passive, resilient,
female creativity...- has an equally long history that reached its apex in the
eighteenth-century style we call rococo.” The curved nature and finicky
ornament of the frame reinforces what Hunter-Stiebel wrote. The rococo style
veers away from the geometric, masculine designs predominant in neo-classicism
and concentrates on a more feminine and curvilinear style.
According to the Encyclopaedia Britannica (2012) “Rococo
style represented a reaction against the ponderous design of Louis XIV’s Palace
of Versailles and the official Baroque art of his reign. Several interior
designers, painters, and engravers, developed a lighter and more intimate style
of decoration... with delicate interlacing of curves and counter curves based
on the fundamental shapes of the “C” and the “S,” as well as with shell forms
and other natural shapes. Asymmetrical design was the rule. Light pastels,
ivory white, and gold were the predominant colours, and Rococo decorators
frequently used mirrors to enhance the sense of open space.” The design of the
mirror clearly shows these characteristics and is an excellent representation of
the French rococo design that was widespread in the early 18th
century.
Although French rococo was popular in the 18th
century the beauty in this piece would not be seen by all. Critics of the
Rococo design period would declare this piece as ridiculous and confused. It’s
over the top decoration intrudes beyond the frame to make what would be a
practical object, impractical. Some would say it is frivolous and ephemeral,
even symbolic of a corrupt society.
References:
Coffin, S., Davidson,G., Lupton, E., & Hunter-Stiebel,
P. (2008). Rococo: The Continuing Curve,
1730-2008. New York City, United States of America: Assouline Publishing.
Rococo style. (2012). In Encyclopædia Britannica.
Retrieved from http://www.britannica.com/EBchecked/topic/506448/Rococo-style
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