The Rococo, seen early in the 18th century in works such as those of Boucher and Fragonard, revolved around an iconography of elegant lightness and emphatic use of natural curving forms (1). The Rococo also displayed qualities of eroticism, mythology, hedonism and strong ties with aristocratic opulence. Manifestations of French Rococo had found outlet through countless mediums over the course of the 18th century. The masterful craftsmanship of French sculptor Claude Michel (1738-1814; known as Clodion) embodied one of these outlets. Clodion’s Bacchic orgies, executed in the transformable medium of terracotta, embody the Rococo movement that gripped France during the revolutionary period. Particularly, Rococo sensibilities became clearly exemplified through the sensual modeling of Clodion’s Intoxication of Wine (also referred to as Satyr and Nymph Carousing) (2) in terracotta sometime between 1780 and 1790 (3). Clodion’s choice of subject matter, material, and modal audience paralleled the various aesthetic trends of the Rococo. This charged exemplar of terracotta prowess that Clodion exhibited demonstrates the sweeping Rococo curve that characterized the aesthetic. The sensual embrace of the satyr and nymph, captured in asymmetrical spontaneity and dynamic weightlessness, reflects the Rococo techniques Clodion employed in his work (4). Clodion posed the nymph and satyr in precarious kilter, most noticeable in the tightened arm of the satyr which strenuously supports both of their weight (see fig. 1). The execution of the nymph is arguably weightless, much akin to Rococo taste, with only the ball of a single foot touching the ground. Her arching posture suggests bounding movement, and enforces the sense of weightlessness as well. In addition, Clodion’s dexterous working of the clay enables us to feel the vivacity of these characters’ quivering flesh (5). This visceral quality portrays itself in the supporting arm and muscular torso of the satyr, as well as the gentle wrinkles and creases on the underarms and buttocks of the nymph. The choice of terracotta as the medium informs the sensuality of the work. As gleaned from James Draper, not only was terracotta sculpture cheaper to produce and quicker to work with than stone sculpture, but terracotta also gave artists the capacity to express their sculptures with warm, evocative flesh tones, which were incredibly valued during that time (4). These luscious colors became exposed through the firing process and can be observed in The Intoxication of Wine. The vibrant fleshy hue powerfully harmonizes with the dynamic modeling that Clodion was so masterful in, amplifying the figurative subject matter. The figurative nature of the sculpture exhibits the mythological qualities that infused the Rococo (6). As suggested by Michael Levey in his review of Claude Michel, that rather than executing solely Olympian Gods, Clodion would often focus on “humbler” creatures such as fauns and satyrs. (7). In this case, these Bacchic enigmas of sexuality and eroticism mirror Rococo trends. When considering this work in line with the unique Rococo genre of the fête galante (or amorous festival) reveals this connection to an ever-greater extent. The fête galante was invented by French painter Antoine Watteau (1684-1721) and represented a hybridization of aristocratic genre scenes with mythological romance. (8). When examining The Intoxication of Wine in juxtaposition to Pilgrimage to the Isle of Cythera (fig .2), which was Watteau’s admittance piece to the Royal Academy, several Rococo parallels can be drawn. The mythological becomes evident in the title, which refers to the mythological island of youth and love. The glimmering Venetian gondola and unidentifiable landscape support this allusion to the mythological. Most notably, the statue of Venus in the painting bridges the gap between the mythological and the romantic. Similarly, The Intoxication of Wine refers to mythology through the figures, since they embody followers of Bacchus (7). Furthermore, the opulently dressed aristocrats that populate Watteau’s painting reinforce the romantic aspects by worshiping at the feet of Venus in an entourage of couples. When juxtaposed next to 18th century French architectural elements, this terracotta sculpture further exemplifies traits of the Rococo. Rocailles, swirling architectural decorations that consisted of scrolling, shell-like motifs and swirling vegetal forms (8). These exuberant, and seemingly alive, decorations characterized Rococo interiors, such as those at the notable Salone de la Princesse at the Hotel de Soubise. This mansion, the interiors of which were executed by well-renowned architect Germain Boffrand, embodies a prime example of rocailles in Rococo interior decoration. When examining a minute segment of rocaille stucco from the ceiling of the Salone de la Princesse (fig. 3) against the detail of hair on Clodion’s frolicking nymph (fig. 4), significant parallels may be drawn. Most notably, the forms of twisting spirals in the flamboyant filigree mimic the curling locks of the nymph. The hair, as it drapes from the crown of the head down, becomes more frayed finely serrated; a finesse granted to Clodion through use of tools (4). Concurrently, in the detail of the rocaille, as scrolling vegetal elements move away from the center they become more fractured and detailed. Similar modeling can be observed all around the sculpture, from the head and legs of the satyr and in the loose foliage tumbling from a basket near the bottom of the statuette. Clodion’s composition forces the viewer to engage the object from an array of angles. Building from this comparison, the modeled cloth in the sculpture mimics the undulating forms of rocaille. Evidently, through the juxtaposition of this miniature sculpture to other iterations of Rococo, the themes permeating The Intoxication of Wine become clearer. Through use of miniature terracotta sculpture, Clodion represented the quintessential aspects of the Rococo (10). By using the fleshy tones of terracotta in combination with his masterful execution, Clodion achieved an exemplary artifact of the Rococo period. The finesse and detail of the sculpture reflects the interior decorations in which these sculptures existed. (11) The dramatic splay of bodies, for the viewing pleasure of aristocratic patrons, taught with strain and overflowing with intoxicated, hedonistic fervor reflects the playfulness of the Rococo. Endnotes
1. The Editors of Encyclopædia Britannica. "Rococo style." Encyclopædia Britannica. 2017. https://www.britannica.com/art/Rococo-style-design 2. "Eros on the Roads of War: Some Brief Notes on Hektor Dule’s Në Udhët e Luftës For and Against the Decadences of the Flesh." Afterart. March 8, 2015. https://afterart.org/page/5/ 3. "Clodion (Claude Michel) | The Intoxication of Wine | French, Paris | The Met." The Metropolitan Museum of Art, i.e. The Met Museum. http://www.metmuseum.org/art/collection/search/192727 4. James David Draper, “French Terracottas,” The Metropolitan Museum of Art Bulletin, v. 49, no. 3 (Winter, 1991-1992) (PDF) 5. Encyclopedia of Biography, Vol. 4, No. 2, “Clodion.” Detroit: Gale Research, 1998. http://lib.hcmup.edu.vn:8080/eFileMgr/efile_folder/efile_local_folder/2013/12/2013-12- 09/tvefile.2013-12-09.9620564012.pdf 6. "Eighteenth- and Nineteenth-Century Sculpture." Art History Teaching Resources. January 16, 2016. http://arthistoryteachingresources.org/lessons/eighteenth-and-nineteenth-century-sculpture/#section-1 7. Michael Levey, “Clodion. Paris.” The Burlington Magazine, Vol. 134, No. 1071 (Jun., 1992), pp. 395-397. https://www.jstor.org/stable/pdf/885108.pdf 8. Kleiner, “Rococo to Neoclassicism: the 18th Century in Europe and America.” Fred S. Gardener’s Art through the Ages. Boston: Wadsworth Publisher, 2014. pp. 615-641. http://www.indusvalley.edu.pk/La/Fall%202015/History%20of%20Art/Rococo%20to%20Neoclassicism.pdf 9. Ian Wardropper, “Adam to Clodion: Four French Terracotta Sculptures.” Art Institute of Chicago Museum Studies, Vol. 11, No. 1 (Autumn, 1984), pp. 22-37 http://www.jstor.org/stable/pdf/4115886.pdf 10. The Editors of Encyclopædia Britannica. "Clodion: French Sculptor." Encyclopædia Britannica. 2017. https://www.britannica.com/art/Rococo-style-design 11. Sherry McKay, “The Salon de la Princesse: ‘Rococo’ Design, Ornamented Bodies and the Public Sphere,” Canadian Art Review, Vol. 21, No. ½, 1994, pp. 71-84 (PDF) IMAGES FROM Fig.1-http://images.metmuseum.org/CRDImages/es/web-large/DP218007.jpg Fig.2-https://silverandexact.files.wordpress.com/2011/06/pilgrimage-to-cythera-jean-antoine-watteau-1717.jpg Fig.3-https://s-media-cache-k0.pinimg.com/736x/cb/ea/3d/cbea3d220d2f537f31beeb6e52bc03c5.jpg Fig.4-http://images.metmuseum.org/CRDImages/es/web-large/DP218001.jpg
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