Rococo (less commonly roccoco; pronounced /rəˈkoʊkoʊ/, /roʊkəˈkoʊ/) is a style of 18th century French art and interior design. Rococo rooms were designed as total works of art with elegant and ornate furniture, small sculptures, ornamental mirrors, and tapestry complementing architecture, reliefs, and wall paintings. It was largely supplanted by the Neoclassic style.In 1835 the Dictionary of the French Academy stated that the word Rococo "usually covers the kind of ornament, style and design associated with Louis XV's reign and the beginning of that of Louis XVI". It includes therefore,all types of art produced around the middle of the 18th century in France.
The word Rococo is seen as a combination of the French rocaille, meaning stone, and coquilles, meaning shell, due to reliance on these objects as motifs of decoration. It may also be related to the Italian barocco, or Baroque style. Owing to Rococo love of shell-like curves and focus on decorative arts, some critics used the term to derogatively imply that the style was frivolous or merely modish; when the term was first used in English in about 1836, it was a colloquialism meaning "old-fashioned". However, since the mid 19th century, the term has been accepted by art historians. While there is still some debate about the historical significance of the style to art in general, Rococo is now widely recognized as a major period in the development of European art.
Rococo developed first in the decorative arts and interior design. Louis XIV's succession brought a change in the court artists and general artistic fashion. By the end of the old king's reign, rich Baroque designs were giving way to lighter elements with more curves and natural patterns. These elements are obvious in the architectural designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this artistic change became well established, first in the royal palace and then throughout French high society. The delicacy and playfulness of Rococo designs is often seen as perfectly in tune with the excesses of Louis XV's reign.
The Rococo style spread with French artists and engraved publications. It was readily received in the Catholic parts of Germany, Bohemia, and Austria, where it was merged with the lively German Baroque traditions. German Rococo was applied with enthusiasm to churches and palaces, particularly in the south, while Frederician Rococo developed in the Kingdom of Prussia. Architects often draped their interiors in clouds of fluffy white stucco. In Italy, the late Baroque styles of Borromini and Guarini set the tone for Rococo in Turin, Venice, Naples and Sicily, while the arts in Tuscany and Rome remained more wedded to Baroque.
In Great Britain Rococo was always thought of as the "French taste" and was never widely adopted as an architectural style, although its influence was strongly felt in such areas as silverwork, porcelain, and silks, and Thomas Chippendale transformed British furniture design through his adaptation and refinement of the style. William Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty (1753) that the undulating lines and S-curves prominent in Rococo were the basis for grace and beauty in art or nature (unlike the straight line or the circle in Classicism). The development of Rococo in Great Britain is considered to have been connected with the revival of interest in Gothic architecture early in the 18th century.
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