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Artículos de revistas sobre el tema "Rococo"

Autor: Grafiati

Publicado: 4 de junio de 2021

Última modificación: 25 de julio de 2025

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1

Giannotta, Gaetano. "Il rococò a Valencia e la sua applicazione nell’adorno architettonico." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 14 (December 26, 2019): 108. http://dx.doi.org/10.7203/scripta.0.16360.

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Riassunto: Il Rococò si manifestò nella città di Valencia durante il trentennio centrale del Settecento e si espresse in tutte le forme dell’arte. Raggiunse l’apice della sua ricchezza nella decorazione degli interni, primi tra tutti quelli del palazzo de Dos Aguas e della vicina chiesa di San Andrés. Il suo successo cessò con l’avvento dell’Accademismo, che con l’istituzione della Reale Accademia di Belle Arti di San Carlos nel 1768, pretese il controllo delle arti sotto il segno del neoclassicismo. Si è sempre relegato il Rococò nelle ultime pagine dell’evoluzione del Barocco valenzano e man

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2

Bailey, Gauvin Alexander. "Grabados decorativos europeos y los retablos rococó del siglo XVIII en Trujillo (Perú)." Allpanchis 46, no. 83-84 (2019): 223–49. http://dx.doi.org/10.36901/allpanchis.v46i83-84.269.

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El impacto del rococó ha sido tradicionalmente subestimado en el caso de los retablos del Perú. Aunque los estudiosos reconocen que el rococó se manifiesta en algunos retablos de Lima y Trujillo de finales del siglo XVIII como decoración, se ha hecho poco por investigar cómo este estilo llegó al virreinato. Este artículo identifica unas fuentes impresas francesas y alemanas (de la ciudad de Augsburgo) y considera la manera como los artistas locales las utilizaron. También compara el tratamiento de los adornos rococó y sus formas en Trujillo con la manera en que esas formas son tratados en el C

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3

Yuan, Yangzeshan. "Influences Between Chinese Ming and Qing Dynasty Porcelain and European Rococo Style." SHS Web of Conferences 199 (2024): 04006. http://dx.doi.org/10.1051/shsconf/202419904006.

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The porcelain of the Ming and Qing dynasties had an extensive and profound mutual influence on the European Rococo art style. The content of this research paper includes the origin of the Rococo style and the influence of the Rococo style on Chinese porcelain from the introduction of the Kangxi Dynasty to the prosperous Qianlong period. The Rococo art style extensively utilizes decorative elements and techniques of Chinese porcelain, reflecting the importance of Chinese porcelain influences on the Rococo art style. This study fills the gap in research on the historical process and artistic tec

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4

Zaitseva, X. "ROCOCO ART AND FASHION IN UKRAINIAN CONTEMPORARY AND HISTORICAL CONTEXTS." Bulletin of Taras Shevchenko National University of Kyiv. History, no. 154-155 (2022): 24–27. https://doi.org/10.17721/1728-2640.2022.154-155.4.

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During the years of independence, Ukrainian art has experienced many transformations and influences. In search of their style the authors use various media. But, having been oversaturated with experiments, Ukrainian art is gradually returning to the traditions and cultural codes of the past. Characterized by whimsical, playful and graceful motifs, the Rococo artistic style manifested itself not only in its homeland – in France – but also became a famous trend throughout Europe. So in the 18th century, Rococo reaches Ukraine and is reflected in Ukrainian art and fashion. A few centuries later,

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5

De Fouw, Josephina. "Rococo and Religion." Rijksmuseum Bulletin 65, no. 1 (2017): 28–41. http://dx.doi.org/10.52476/trb.9776.

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6

Barker, E. "Rehabilitating the Rococo." Oxford Art Journal 32, no. 2 (2009): 306–13. http://dx.doi.org/10.1093/oxartj/kcp028.

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7

Cui, Enyu. "Chinoiserie in Eighteenth Century France: Francois Boucher’s Imagination of China." Journal of Education, Humanities and Social Sciences 24 (December 31, 2023): 682–89. http://dx.doi.org/10.54097/eadyv236.

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Through the eyes of Francois Boucher, one of the most prominent court painters of the Rococo period, this essay delves into the enthralling world of Rococo art. Through the analysis of several of Boucher's paintings, such as "The Portrait of Madame de Pompadour" and "The Chinese Garden", the author intends to determine how various aspects of Chinese culture and aesthetics, as interpreted by Boucher's active imagination, were fluidly incorporated into the Rococo aesthetic. This study examines how Boucher deftly incorporated Chinese design elements, such as porcelain and scent sachets, into his

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8

Malawski, Seweryn. "The style of ‘regular irregularities’ – rococo gardens and their reception in Polish garden art of the 18th century." Roczniki Humanistyczne 67, no. 4 (2019): 61. http://dx.doi.org/10.18290/rh.2019.67.4-3.

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The stylish difference of the Rococo in the garden art is still the topic of the researchers’ discussion. The Rococo, which was in opposition to the formal and rhetorical art of the Baroque, brought a new value to the eighteenth-century gardens. This value was expressed primarily in the elements of the composition, asymmetry, irregularity, wavy line, fragmentation of form and ornamentation, as well as in relation to nature and specific mood.France is considered to be the fatherland of the Rococo style, from where this new, light style has spread to other European countries. The dissemination o

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9

Perez-Gomez, Alberto, and Karsten Harries. "The Bavarian Rococo Church." Eighteenth-Century Studies 18, no. 3 (1985): 421. http://dx.doi.org/10.2307/2738719.

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10

Harp, Richard, and William Park. "The Idea of Rococo." Rocky Mountain Review of Language and Literature 48, no. 2 (1994): 209. http://dx.doi.org/10.2307/1347920.

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11

Wentz, Margaret R. "Embroidered Jacket: Turkish Rococo." Mayo Clinic Proceedings 96, no. 11 (2021): 2929–30. http://dx.doi.org/10.1016/j.mayocp.2021.09.008.

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12

Baarsen, Reinier. "An American Rococo Interior." Rijksmuseum Bulletin 65, no. 1 (2017): 2–14. http://dx.doi.org/10.52476/trb.9773.

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13

Данченко, Мария. "КУЛЬТУРНА СПЕЦИФІКА ФРАНКО-ІТАЛІЙСЬКОЇ ДРАМИ РАННЬОГО РОКОКО". International Journal of Innovative Technologies in Social Science, № 5(26) (30 червня 2020): 26–32. http://dx.doi.org/10.31435/rsglobal_ijitss/30062020/7134.

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This article id dedicated to the issue of the genesis of literary rococo in French-Italian drama. In the following article we provide a brief review of theatrical activity of Italian troops in 1660-1720s and explore the formation of new French-Italian Stylistic concepts. Our research focuses particularly on the oeuvre of Luigi Riccoboni, a dramatist of Italian origin and Italian cultural background who wrote numerous scripts for the plays to be performed on French stage. With regard to the lack of studies of these French-Italian plays in Eastern Europe we provide an outline of Luigi Riccoboni'

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14

Jędrzejewski, Tomasz. "Vilnius and the Problem of Rococo, 1803–1830." Literatūra 66, no. 2 (2024): 8–21. https://doi.org/10.15388/litera.2024.66.2.1.

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Post-partition Vilnius has often been described as the birthplace of Romanticism (or the city of late Enlightenment). This article focuses not on Classicism or Romanticism, but on the local Rococo culture that flourished between 1803 and 1830. The term ‘Rococo’ encompasses a certain aesthetic sensibility that became popular in the salons mondains of the long 18th century. The preference for the small, the irregular, the intriguing and the enchanting can be observed not only in the metropolises such as Paris, Rome, London or Warsaw, but also in Vilnius at the beginning of the 19th century. The

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15

Martin, Marie-Pauline. "‹ Rococo › : du jargon à la catégorie de style." Zeitschrift für Kunstgeschichte 80, no. 4 (2017): 474–87. http://dx.doi.org/10.1515/zkg-2017-0024.

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Abstract Today there is a consensus on the definition of the term ‘rococo’: it designates a style both particular and homogeneous, artistically related to the reigns of Louis XV and Louis XVI. But we must not forget that in its primitive formulations, the rococo has no objective existence. As a witty, sneering, and impertinent word, it can adapt itself to the most varied discourses and needs, far beyond references to the eighteenth century. Its malleability guarantees its sparkling success in different languages, but also its highly contradictory uses. By tracing the genealogy of the word ‘roc

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16

Bédard, Jean-François. "La vitalité du décor : Fiske Kimball, du rococo au Colonial Revival." Zeitschrift für Kunstgeschichte 80, no. 4 (2017): 515–27. http://dx.doi.org/10.1515/zkg-2017-0027.

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Abstract In 1943, the American historian of architecture Fiske Kimball (1888 – 1955) published The Creation of the Rococo, a milestone in the study of this movement. Thanks to a close examination of archival documents and drawings, Kimball sought to trace ‘objectively’ the evolution of the rocaille. Despite his claims to scholarly neutrality, however, Kimball multiplied value judgments in his writings. For Kimball, the rococo exhibited “vitality”, a quality he also found in the classical-inspired buildings of colonial America. Like other members of the conservative establishment, Kimball promo

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17

WEISGERBER, J. "De nabloei van het Rococo." Spiegel der Letteren 35, no. 1 (1993): 1–33. http://dx.doi.org/10.2143/sdl.35.1.2005573.

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18

Laufer, Roger. "Candide: joyau du style rococo." Australian Journal of French Studies 51, no. 2-3 (2014): 106–18. http://dx.doi.org/10.3828/ajfs.2014.10.

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19

Ostrow, Steven F., and John Varriano. "Italian Baroque and Rococo Architecture." Art Bulletin 70, no. 3 (1988): 528. http://dx.doi.org/10.2307/3051184.

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20

Newman, Nicholas. "In the Name of Rococo." Res: Anthropology and aesthetics 40 (September 2001): 129–34. http://dx.doi.org/10.1086/resv40n1ms20167542.

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21

Magnusson, Carl. "Le rococo est-il décoratif?" Zeitschrift für Kunstgeschichte 80, no. 4 (2017): 528–43. http://dx.doi.org/10.1515/zkg-2017-0028.

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Abstract In Rococo historiography, the first half of the eighteenth century is generally described as the golden age par excellence of decoration. The so-called major arts are often considered to have played a lesser role in its artistic development. The period is thus systematically associated with artefacts produced by artisans, hence belonging to a less dignified category in the artistic hierarchy. In order to investigate the ideological background of this assumption, the article focuses on the debates on art which emerged, mainly in France, in the 1740s. These highly biased discourses, tar

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22

Hantula, James. "Moving on to Rocky Rococo?" Clearing House: A Journal of Educational Strategies, Issues and Ideas 59, no. 3 (1985): 118–22. http://dx.doi.org/10.1080/00098655.1985.9955619.

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23

Weisgerber, Jean. "Jardins rococo : réalité et fiction." Bulletin de la Classe des Beaux-Arts 9, no. 1 (1998): 17–54. http://dx.doi.org/10.3406/barb.1998.20480.

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24

Tornier, Etienne. "« This new-born word is rococo » Généalogie et fortune du rococo aux États-Unis." Zeitschrift für Kunstgeschichte 80, no. 4 (2017): 498–514. http://dx.doi.org/10.1515/zkg-2017-0026.

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Abstract This article deals with the use of the term ‘rococo’ in the English language and more specifically in the United States, where it is today used to describe both the style of eighteenth-century cabinetmakers, and American mid-nineteenth-century furniture. Yet, the term was not favored by furniture makers and dealers before the end of the nineteenth century. Offering a precise analysis of the roots of the term in the United States, this article sheds light on its semantic evolution since the 1830s, through a variety of sources including newspapers, art journals, and ephemera, and in rel

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25

Wardzyński, Michał. "From Red Ruthenia to Rawa Mazowiecka: the Works of the Anonymous “Master of Pełczyska” as a Contribution to the Geography of Rococo Sculpture in Mazovia." Ikonotheka 27 (July 10, 2018): 211–40. http://dx.doi.org/10.5604/01.3001.0012.2334.

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Current research on Rococo sculpture in Mazovia and northern Lesser Poland has not taken into consideration Lvov Rococo sculpture. A total of thirteen works by a yet unidentified woodcarving workshop, probably of Lvov provenance, was located at the intersection of these two artistic regions, in the vicinity of Końskie, Opoczno, Przysucha and Rawa Mazowiecka. Its activity, commenced after 1780 in Pełczyska near Wiślica, lasted until ca. 1800, when the reredoses and lesser works of sculpture in Studzianna-Poświętne, Skrzyńsko, Nowy Kazanów, Końskie, Gowarczów, Drzewica, Rawa and Regnów were crea

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26

Danchenko, Mariia. "French-language Drama of the Comédie-Italienne (1660–1697) as a Cultural Phenomenon of Early Rococo." Issues in Cultural Studies, no. 37 (May 28, 2021): 45–52. https://doi.org/10.31866/2410-1311.37.2021.235996.

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The purpose of the article is to determine the peculiarities of the development of the Rococo style and to study its culturological specificity in French drama. The relevance of the study is determined by the lack of scientific research in the Ukrainian cultural studies that would elucidate the issues of the Rococo style development in the French and Western European drama. Also, the study of the Italian comedy in France from 1660 to 1697 remains insufficiently represented in Ukrainian scientific works. The research methodology involves the study of the cultural specificity of the French-langu

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27

LI, Bingqing. "Modern Criticism of Rococo Chinoiserie: Visual Narrative and Their Written Variations of Singerie." Research On Frontiers 1, no. 2 (2024): 50–60. http://dx.doi.org/10.62978/2410lbq5060.

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Chinoiserie (“ 中国风”) began to appear in Europe in the 13th century, and gradually exerted more and more influence on its art and culture. By the 19th century, it had become an academic term, specifically refers to European art trends influenced by Chinese or more broadly Far Eastern culture. Rococo Chinoiserie (“ 洛可可式中国风”) is a representative art form during the peak period of the development of Chinese style. Singerie(“ 猴戏画”)is a typical representative of Rococo Chinese style. As a humorous painting theme, Singerie depicts the imitation of human activities by apes. It originated from Flemish

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28

Danchenko, Maria. "Intertextuality in rococo culture: parody, pastiche and sequel in French literature pf XVIII century." Almanac "Culture and Contemporaneity", no. 1 (August 31, 2021): 75–79. http://dx.doi.org/10.32461/2226-0285.1.2021.238545.

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The purpose of this article is a study of the phenomenon of cultural intertextuality in French rococo on the ground of French prose literature of XVIII century. Methodology. In our research, we employ a method of cultural analysis developed by Annales school. The scientific novelty is determined by the research of non-translated work of Frenche literary rococo "The Adventures of Telemachus" by François de Salignac de La Motte Fénélon of 1699 as phenomenon of French culture of XVIII century, and the study of cultural phenomenon of intertextuality, which is displayed in numerous suites (sequels)

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29

Zherdev, Gennady, Tamara Kislitsyna, and Mark Nikolayev. "ROCOCO system of combined neutron constants – current status and results of testing using geometrical module of the MMK code." Nuclear Energy and Technology 4, no. 3 (2018): 217–22. http://dx.doi.org/10.3897/nucet.4.31861.

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Results of studies aimed at the further refinement of the ROCOCO system (routine for calculation and organization of combined constants including cross-sections in group and subgroup representation with detailed description of energy dependence of neutron cross-sections) (Zherdev et al. 2018, Kislitsina et al. 2016) are presented in the paper. Inclusion of this system as a physical module into a set of Monte Carlo calculation codes with OOBG geometric module from the MMK code (Zherdev et al. 2003) is discussed. OOBG module is designed for calculation of neutron multiplication systems with hete

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30

Zherdev, Gennady M., Tamara S. Kislitsyna, and Mark N. Nikolayev. "ROCOCO system of combined neutron constants – current status and results of testing using geometrical module of the MMK code." Nuclear Energy and Technology 4, no. (3) (2018): 217–22. https://doi.org/10.3897/nucet.4.31861.

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Results of studies aimed at the further refinement of the ROCOCO system (routine for calculation and organization of combined constants including cross-sections in group and subgroup representation with detailed description of energy dependence of neutron cross-sections) (Zherdev et al. 2018, Kislitsina and Nikolaev 2016) are presented in the paper. Inclusion of this system as a physical module into a set of Monte Carlo calculation codes with OOBG geometric module from the MMK code (Zherdev et al. 2003) is discussed. OOBG module is designed for calculation of neutron multiplication systems wit

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31

Weisgerber, Jean. "Topographie du rococo : les cabinets de glaces." Bulletin de la Classe des Beaux-Arts 7, no. 1 (1996): 63–90. http://dx.doi.org/10.3406/barb.1996.20359.

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The paper attempts to define the purpose of the numerous glass drawing rooms and halls of mirrors which are still to be seen in Rococo castles, especially in Germany (Munich, Amalienburg, Ansbach, Würzburg, Fulda ; Spiegelscherbenkabinette in Bayreuth). Descriptions of such places are also an outstanding feature of some 18th-century French novels (e.g. La Morlière's Angola or Denon's Point de Lendemain) in which mirrors usually serve to arouse sensual pleasure. Comparison between the arts, however, shows that their significance goes beyond the narrow bounds of eroticism. Indeed, they are close

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32

Spiller, Neil. "A Surrealist Rococo Master Kris Kuksi." Architectural Design 91, no. 3 (2021): 128–33. http://dx.doi.org/10.1002/ad.2702.

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33

Fausch, Deborah. "Rococo Modernism: The Elegance of Style." Perspecta 32 (2001): 8. http://dx.doi.org/10.2307/1567278.

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34

Bycroft, Michael. "Style and Substance in Rococo Science." Journal of Interdisciplinary History 48, no. 3 (2017): 359–84. http://dx.doi.org/10.1162/jinh_a_01162.

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Rococo art and Enlightenment science, both of which flourished in Paris from 1710 to 1740, appear to have embodied two different sets of values. But the stylistic differences between them dissolve in their common concern with making and manipulating substances. Scientists at the Paris Academy of Science, especially René Réaumur and Charles Dufay, experimented on many of the same substances that artists used, often exploiting the same properties. Studying style and substance together brings out the connections between art and science and shows the value of respecting these two disciplines when

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35

Magnusson, Carl. "Le rococo, une construction historiographique : introduction." Zeitschrift für Kunstgeschichte 80, no. 4 (2017): 467–73. http://dx.doi.org/10.1515/zkg-2017-0023.

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Abstract In Rococo historiography, the first half of the eighteenth century is generally described as the golden age par excellence of decoration. The so-called major arts are often considered to have played a lesser role in its artistic development. The period is thus systematically associated with artefacts produced by artisans, hence belonging to a less dignified category in the artistic hierarchy. In order to investigate the ideological background of this assumption, the article focuses on the debates on art which emerged, mainly in France, in the 1740s. These highly biased discourses, tar

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36

Mowl, Timothy. "Rococo and Later Landscaping at Longleat." Garden History 23, no. 1 (1995): 56. http://dx.doi.org/10.2307/1587012.

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37

Renner, Andrea. "Rococo: The Continuing Curve, 1730–2008." Design and Culture 1, no. 1 (2009): 128–30. http://dx.doi.org/10.2752/175470709787375814.

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38

Solovyeva, Sofia N. "Vienna 18th Century Rococo Ceremonial Carriages." Observatory of Culture 20, no. 6 (2023): 605–21. http://dx.doi.org/10.25281/2072-3156-2023-20-6-605-621.

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The aim of this paper is to describe and review 18th century Viennese parade carriages from the point of view of arts and crafts. Carriages are a small architectural form and are “programme works”, examples of the synthesis of arts, harmoniously combining the principles of architecture, sculpture, painting, decorative art, carpentry, as well as the skills of carvers, gilders, bronzers, embroiderers. At the same time, carriages were an integral part of ceremonies and participated in the most important state ceremonies (coronations, weddings, funerals, baptism of heirs). Certain types of carriag

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39

ÖZDEMİR, Gülşah. "REFLECTIONS OF LOVE IN ROCOCO ART." Socrates Journal of Interdisciplinary Social Studies 8, no. 23 (2022): 36–47. https://doi.org/10.5281/zenodo.7311721.

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It is said that love is the greatest food for the soul, but most people have left the world without experiencing this beautiful feeling. Many thinkers such as Socrates and Plato have said good words about love. There are philosophers who have a more rigid point of view, who think that love is a trap set for the continuation of the human race. Scientists in the field of psychology think that love is a temporary intensity of emotion and eventually turns into either love or hate. Love differs from person to person. Every soul experiences it differently. Although there are different equivalents in

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40

Temmy, Temmy. "A Brief Analysis of The Influence of Chinese Culture Ceramic on Rococo Art of The West." Humaniora 5, no. 1 (2014): 281. http://dx.doi.org/10.21512/humaniora.v5i1.3022.

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Chinese culture elements accepted for the first time by the Western countries was ceramic and silk. China's silk was found in ancient Greece during the Roman era and since then China has become the “Country of Silk”. Chinese ceramics came to the West a bit later. It was during the Song Dynasty that Western countries started accepting Chinese ceramics, and soon after that Chinese Ceramics had became a new surprise to the Western Countries and had China known as the “Country of Porcelain”. Porcelain as a cultural element is considered not only as material but also as a spirit. When the Europeans

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41

Markov, Aleksandr V. "BAROQUE PLATONISM AND ROCOCO ARISTOTELISM IN INDEPENDENT RUSSIAN CULTURE." Verhnevolzhski Philological Bulletin 22, no. 3 (2020): 232–39. http://dx.doi.org/10.20323/2499-9679-2020-3-22-231-238.

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In modern Russian culture, Platonism and Aristotelianism were normally opposed not only as philosophical, but also cultural programs. The paper proves that this resulted from an understanding of different media and art styles as frames of cultural practices. Baroque style alluded to Platonism, as symbolic and sublime, and requiring the routine work of old media, and Rococo style to Aristotelianism, as ephemeral and requiring any intervention of new media. In the poetry of Russian samizdat, the need to deal only with typewriting, which was understood as weak and not able to achieve largescale c

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42

Bonța, Claudia M. "Tableaux vivants. Cotidian rococo în grafică de secol XVIII." Studia Universitatis Babeș-Bolyai Historia Artium 67, no. 1 (2022): 91–103. http://dx.doi.org/10.24193/subbhistart.2022.04.

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"Tableaux vivants. Rococo Daily Life Scenes Depicted in Graphics of the 18th Century. The Graphic Collections of the National Museum shelters an outstanding series of genre scenes by artists from 18th century, stamps depicting episodes of every day life from the period. The series of engravings presented allows a glimpse, a brief look at the charm of the daily life in the Rococo era, depicting families in moments of intimacy. Beyond the idyllic, pastoral presentations or the pathos, the simplicity and the sentimental scenes are impressive, remembering that the family life was and always remain

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43

Галудзіна-Горобець, В. І. "ОБРАЗНО-СТИЛЬОВА СПЕЦИФІКА ТА ТЕНДЕНЦІЇ РОЗВИТКУ ІСТОРИЗМУ У ТВОРЧОСТІ ПРОВІДНИХ СВІТОВИХ ДИЗАЙНЕРІВ І БУДИНКІВ МОД 1950–1970-Х РОКІВ". Традиції та новації у вищий архітектурно-художній освіті, № 5 (4 січня 2019): 16–24. https://doi.org/10.5281/zenodo.2531887.

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The historical method development in clothes design during 1950 – 1970s is analyzed. Its figurative and style specificity and trends of development in the works of leading world designers and Fashion Houses are described. Objectives– to characterize the figurative and style specificity and trends of historical method development in the works of leading world designers and Fashion Houses during 1960 – 1970s. Methods. In the detection of the specificity of leading trends of historical method development in clothes design of 1950 – 1970s the method of system and synergetic

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Thomas-Ripault, Catherine. "Evasion temporelle et fantaisie créatrice : usage des peintures du XVIIIe siècle dans les fictions romantiques." Zeitschrift für Kunstgeschichte 80, no. 4 (2017): 488–97. http://dx.doi.org/10.1515/zkg-2017-0025.

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Abstract After 1830, many Romantic authors, inspired by the delicate and poetic paintings of the eighteenth century, endeavored to recreate their mood in novels or short stories. Through those pictorial representations, they imagined a blithe, refined, and dreamlike world, tinged with melancholy, allowing them to forget their own colorless time and express a degree of nostalgia for a bygone age. In the style of Rococo painters, however, Romantics also emphasized imperfection and weakness, gently mocking the ornate and frivolous forms the eighteenth-century artists played with. From their persp

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Ibeas-Altamira, Juan Manuel. "Diderot's rocaille jewel: an example of rococo humour." Romanica Olomucensia 30, no. 2 (2019): 287–98. http://dx.doi.org/10.5507/ro.2018.017.

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Crown, Patricia. "British Rococo as Social and Political Style." Eighteenth-Century Studies 23, no. 3 (1990): 269. http://dx.doi.org/10.2307/2738796.

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Rice, Danielle, and Donald A. Rosenthal. ""Rococo to Regency" and "La Grande Maniere"." Art Journal 47, no. 1 (1988): 46. http://dx.doi.org/10.2307/776906.

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Michael Yonan. "Ornament’s Invitation: The Rococo of Vienna’s Gardekirche." Eighteenth Century 50, no. 4 (2009): 285–308. http://dx.doi.org/10.1353/ecy.0.0043.

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Goodman, E. "Reflecting on the Rococo: Lancret and Boucher." Eighteenth-Century Life 31, no. 2 (2007): 96–102. http://dx.doi.org/10.1215/00982601-2006-016.

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Poe, George. "The Idea of Rococo (review)." Philosophy and Literature 18, no. 2 (1994): 362–63. http://dx.doi.org/10.1353/phl.1994.0035.

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