Rococo: The Continuing Curve, 1730-2008
Originally published in Smithsonian’s The Torch, May 2008
At first glance, a silver candelabrum from the 18th-century and a psychedelic poster from the 1960s appear to have nothing in common, but a new exhibition at Cooper-Hewitt, National Design Museum proves otherwise. “Rococo: The Continuing Curve , 1730-2008,” which opened last month, demonstrates the lasting influence of the design style that flourished in Paris during the reign of Louis XV and came to represent the free-spirited ethos of the time. Cooper-Hewitt is the first museum to offer a comprehensive survey of Rococo and trace its numerous reappearances over time and all over the globe.
Etymologically, the term “Rococo” is derived from the French word “rocaille,” which refers to shell-encrusted rockwork found in grottos, and the Italian word “barocco,” or Baroque. The Baroque style, at its zenith in the Versailles court under Louis XIV, favors classical symmetry and order; its grandeur is contained and highly formal. Rococo, on the other hand, is more organic and playful, drawing inspiration from the supple curves found in nature. “Rococo is more than a decorative-arts vocabulary,” explains Sarah D. Coffin, head of the Product Design and Decorative Arts department and one of the exhibition’s curators. “It is a sensibility that celebrates personal liberty and exuberance, which is why it has enjoyed so many resurgences over the years.”
The first floor of the exhibition showcases pieces designed by some of Rococo’s original masters, such as Juste-Aurele Meissonnier, whose asymmetrical silver tureen and platter whimsically display exterior molds of vegetables and shellfish that might be served inside. A majestic wall clock from 1750 entitled “Victory of Love Over Time” captures the Rococo ideology perfectly Father Time is overwhelmed by multiple cupids, symbolizing emotion’s triumph over order. Exquisite objects cast in gilt bronze and made from Sèvres porcelain are also on display, as well an installation of Jean Lamour’s ironwork from Nancy, France. In keeping with Cooper-Hewitt’s mission to help visitors understand the design process, etchings and engravings accompany many of the works on view to show how the Rococo impulse was translated from 2-D sketches to fully realized objects.
Rococo quickly spread from France to other European countries and the exhibition includes examples from England, the Netherlands, Germany, Italy and the Iberian Peninsula. Those less historically-inclined will enjoy the charming collection of Rococo accessories on view, including perfume bottles, shoe buckles, and diamond-studded snuffboxes. Used for storing powdered tobacco, snuffboxes became a societal staple among the aristocracy in the mid-18th-century, and the ingenuity in their design reflects the relaxed, leisurely lifestyle that produced Rococo.
“Rococo: The Continuing Curve” continues into the 19th, 20th, and 21st– centuries on the second floor of the Carnegie Mansion, where visitors can see how it has been reinterpreted and absorbed into other design movements. Art Nouveau, for example, shares much in common with Rococo, as evidenced by the sinuous vases of Louis Comfort Tiffany and the naturalistic jewelry of René Lalique. Similarly, parlor furniture from the Victorian era in the United States draws heavily upon the Rococo tradition in its incorporation of bent and carved wood. Graphic art from the 19th-century is dominated not by straight lines, but by feminine “S” shapes.
Finally, the exhibition explores the impact of modernism on Rococo. While some designers like Cindy Sherman directly reference Rococo in their work (her porcelain tureen and tray are decorated with the visage of Madame de Pompadour, Louis XV’s mistress), the effect is generally more subtle. André Dubreuil’s “Spine chair” (1986) suggests a subdued interpretation of Rococothe signature curve is still visible, but feels more contained in the streamlined elegance of his design. Nature continues to be a major inspiration for present-day designers: Ben Krone and Leah Raintree’s 2007 piece “Bloom Field,” a mounted panel that creates the effect of flowers and vines growing out of the wall, is an exhibition highlight and one of the newest objects on view. The exhibition concludes, appropriately, on a note of whimsy, with Nicolette Brunklaus’ “Blond Curtain,” a 9’ by 10’ velvet curtain screened with a larger-than-life image of blond, curly tendrils of hair. Perhaps this is meant to remind visitors that Rococo is not about thinking, but rather experiencing and enjoying life without taking it too seriously.
“Rococo: The Continuing Curve, 1730-2008” is on view through July 6, 2008.