http://s813.photobucket.com/user/JasherX/media/Animated%20Pics/Doctor%20Who/tumblr_lsltukGbAy1r1hdnho1_500.gif.html
- Regence - Louis XV young King. Baroque decline.
- Rococo (Louis XV style) - Fantasy. Comes from the word rece (not sure if I've spelt that right) meaning shell-like, or delicate.
Rococo was a reaction of a society obsessed with fantasy, with an introduction of emotion over power.
Curves, rocaille and asymmetry was key in paintings to give a sense of movement and (light) drama of the human emotion.
- Rocaille - lighter lines, natural, not arrogant. These wavy lines are a metaphor for flowing water.
http://www.unav.es/ha/002-ORNA/cajas-rocaille.htm
Example of rocaille lines.
There are huge differences between French and British rococo, with the British using a lot of bright, yellow colours. French was more decadent.
The rococo focused on nature and love as an obsession. It was a celebration of life with little or no deeper meanings in their work (allegory).
Nakedness was a new symbol for individual beauty and sexuality, not just used for paintings of Venus.
Case Study - Madame de Pompadour
Madame de Pompadour was an illegitimate daughter and later a mistress to King Louis XV.
http://rebloggy.com/post/doctor-who-dw-ten-madame-de-pompadour/40659093200
Yes I am aware I have used Doctor Who gifs twice on this post, sorry not sorry.
In paintings, she is always clutching or wearing an open rose, symbolising she is at the height of her beauty and is sexually open.
Even though allegory wasn't used as much in this era, paintings of Pompadour and Louis XV still used it, portraying Louis XV as Apollo- King of the Gods and Pompadour as Venus/Issa- the Goddess of beauty and fidelity. The shepherdess was also a rococo symbol of nature and simplicity of love and emotions. Pompadour was also portrayed as a sultana in some paintings to show her Turkish influences and exotic nature, suggesting her interest in education and how she is perfect for the King.
However, there was also some images of ridicule of Madame de Pompadour from these paintings by exaggerating them and making her a creature with various lovers, someone who doesn't care and lustful.
With age, Madame de Pompadour became just a friend to Louis XV shown with friendly imagery in their paintings.
The narrative itself links to Truby’s ‘slavery to greater slavery to freedom’ and connecting the world to the hero’s development motif, with our heroes both being trapped inside the house, then they are trapped by Beetlejuice, then they are saved and are a community.
Even though allegory wasn't used as much in this era, paintings of Pompadour and Louis XV still used it, portraying Louis XV as Apollo- King of the Gods and Pompadour as Venus/Issa- the Goddess of beauty and fidelity. The shepherdess was also a rococo symbol of nature and simplicity of love and emotions. Pompadour was also portrayed as a sultana in some paintings to show her Turkish influences and exotic nature, suggesting her interest in education and how she is perfect for the King.
However, there was also some images of ridicule of Madame de Pompadour from these paintings by exaggerating them and making her a creature with various lovers, someone who doesn't care and lustful.
With age, Madame de Pompadour became just a friend to Louis XV shown with friendly imagery in their paintings.
http://www.blogging4jobs.com/job-search/beware-the-recruiting-friend-zone/
Pompadour was often portrayed with a dog suggesting companionship and her friendship with the King.
In Diane's session we looked at reason vs. fantasy in Films. There was a discussion on the VLE about this and linking a film to a John Truby article also on the VLE.
I chose to link the article to Beetlejuice (Tim Burton, 1988).
The film could be seen as combining natural settings with the city in this clip:
(0.00-0.52) It is portraying the city or the outside as a Jungle where the outside is not liberating but a source of death (even for ghosts) and enemies lurk all around, with the only safe place being the house.
Technology and tools are also used with the Handbook for the Recently Deceased giving our heroes (Adam and Barbara) a helping hand and abilities. This shows not only how out heroes have magnified their power, but also how well they can manoeuvre through the world.
The narrative itself links to Truby’s ‘slavery to greater slavery to freedom’ and connecting the world to the hero’s development motif, with our heroes both being trapped inside the house, then they are trapped by Beetlejuice, then they are saved and are a community.
Linking film to Malcolm's lecture was difficult but Diane suggested Dangerous Liaisons with links to setting and mise-en-scene to what we had learnt this morning. Even though the costumes are a few decades out, the scenery behind them are still very relevant to The Eighteenth Century Fantasy.
No comments:
Post a Comment