2 . S E L E C T 3 E X A M P L E S O F R O C O C O S T Y L E . U S E A R R O W S P O I N T O U T A N D L A B E L AT L E A S T 3 D E F I N I N G C H A R A C T E R I S T I C S T H AT Y O U C A N I D E N T I F Y I N T H E W O R K .

Q U I Z L E T T H I N G

H T T P S : / / C L A S S C O N N E C T I O N . S 3 . A M A Z O N A W S . C O M / 5 1 4 / F L A S H C A R D S / 7 7 5 5 1 4 / J P G / F R A N C O I S _ D E _ C U V I L L I E S -H A L L _ O F _ M I R R O R S _ T H E _ A M A L I E N B U R G _ E A R LY _ 1 8 T H _ C E N T U R Y _ R O C O C O 1 3 2 3 7 5 1 9 8 9 9 3 2 - 1 4 4 C C F F 5 8 F 6 0 4 D 5 B C 1 7 . J P G

1. Alternating windows and mirrors amplify the light and seem to remove the room’s borders, giving the guest the sensation of being in an open pavilion.

2. The Rococo style was developed by craftspeople and designers, explaining the emphasis on hand-worked decoration, as shown here in the stucco reliefs. Rococo was also characterized by its illusionism and natural motifs.

3. Curved forms resembling the letters S and C are also common in Rococo.

F R A N Ç O I S D E C U I V I L L I É S , H A L L O F M I R R O R S , T H E A M A L I E N B U R G , N Y M P H E N B U R G PA L A C E PA R K , M U N I C H ,

G E R M A N Y, E A R LY 1 8 T H C E N T U R Y.

1. Although the piece’s composition was inspired by the dynamic works of Bernini, Clodion energized his eager nymph and laughing satyr with typical Rococo erotic playfulness, rather than Baroque melodrama.

2. The total abandon with which she rapturously embraces her lover exemplifies the sensual exhilaration of the Rococo style.

3. Like many other Rococo artifacts, this piece was designed for a tabletop. In fact, Rococo was a style best seen in small works such as this.

C L O D I O N , N Y M P H A N D S AT Y R C A R O U S I N G , C A . 1 7 7 5 . T E R R A C O T TA , A P P R O X I M AT E LY 1 ’ 1 1 ” H I G H .

H T T P : / / C O M M O N S . W I K I M E D I A . O R G / W I K I / F I L E : F R A G O N A R D , _ T H E _ S W I N G . J P G # M E D I A V I E W E R /F I L E : F R A G O N A R D , _ T H E _ S W I N G . J P G

1. The Rococo style is characterized by lightness (the frivolous nature of the subject), grace (the voyeur’s elegant pose, the mistress’s refined kick), playfulness (her flirtatious expression), and intimacy (the shared moment between the lovers. (And you gotta love that spotlight focusing our attention on her.)

2. Symbolism abounds in this piece, from the cuckolded husband in the background, forgotten both by the wife and the viewer, to the garden decor. The woman wears a bergère, or shepherdess hat—which is ironic, since thanks to rural sentimentality, shepherds are associated with virtue because of their living close to nature, uncorrupted by the temptations of the city. The cherubs watching the couple have different opinions about what unfolds before them. The larger cupid holds his finger on his lips, promising to keep the couple’s affair a secret. The other two are more disapproving; one looks up at the woman with trepidation, and the other looks away with a scowl.

3. There is even more symbolism in the woman’s uncovered foot and the man’s bare head, both of which represented nudity in 18th century France. That, and the man’s outstretched hand, gives us a pretty good idea of what came next.

J E A N - H O N O R É F R A G O N A R D , T H E H A P P Y A C C I D E N T O F T H E S W I N G , 1 7 6 6 . O I L O N C A N VA S , A P P R O X I M AT E LY 2 ’ 1 1 ” X 2 ’ 8 ” .

P E R S O N A L LY I L I K E K AT E B E AT O N ’ S V E R S I O N B E T T E R .

I M E A N I T ’ S N O T R O C O C O B U T C O M E O N E . L O O K AT I T.

H T T P : / / W W W. H A R K A VA G R A N T. C O M /I N D E X . P H P ? I D = 3 3 7

1. Although much simpler, it’s just as charming. In fact, due to its cartoony style and simple lines, it’s even more charming.

2. The cuckolded husband is gone and the woman swings independently. Her choice of hat is no longer ironic, as shown by her complete lack of interest in her suitor. The cupid looks on with an expression that seems to say, “Oh my,” as he not-quite-sympathetically looks on the young man’s thwarted attempt to look up the woman’s skirt. The cherubs, meanwhile, look up at her almost reverentially, awed by the daring way she kicked her shoe at the man’s face.

3. Here, the paramour has become a peeping tom. In both versions, he comes to the garden bareheaded with clear intentions; in Fragonard’s painting the woman responds positively, removing her gravity-defying shoe in promise of a later rendezvous. In Beaton’s parody, though, the woman casually kicks the shoe into the man’s face, unequivocally stating her refusal of his advances. Her uncovered foot is no longer an affirmation, but an accident. Although her underclothes are still just as visible as in the original, her caller is no longer able to enjoy the view.

K AT E B E AT O N , T H E WA L R U S M A G A Z I N E C O V E R , J U LY /A U G U S T 2 0 1 2 . U N K N O W N M E D I U M , U N K N O W N S I Z E .