Building in Germany - Rococo or kitsch as kitsch can?

Germany in the 17th century with delayed happiness

The Germans had already a lot of late in the baroque : the first baroque forms appeared around 1575 in France, which slaughtered more on the edge of his area and celebrated in the heart of the state of architecture.

Italy did little at all, went straight from Romanesque to the Renaissance building and was able to admire the first harbing of the baroque at the end of the 16th century. As usual, Germany had more to do with war, the arguments of the 30-year war (1618-1648) took place mainly on the ground of the empire, with numerous “side wars”, 1650 of around 17 million inhabitants were only 10 million, many battle regions took a long time to recover from the consequences of war.

Emperor Ferdinand III. had taken over the Holy Roman Empire of the German nation from the end of the war before the end of the war. This was small, weak, good -natured to good faith also towards unsconducted consultants and generously until the end of the money. Ferdinand III. Was in a fairly battered position (thanks to the sky was still thanks, otherwise there would certainly have been no Westphalian peace).

He liked to look at something of the ability and admirable artistry that France and Italy had now developed - the magnificent baroque came just right to strengthen his power .

Shot with strange feathers doesn't work? Yes, always, the whole baroque was only there to emphasize the power of power of rulers and church princes; And if you proudly present "my house - my boat - my car" today, you usually have neither built the one nor the others.

Magnificent baroque buildings are created in Germany

So it was only with around a century delay in Germany many magnificent baroque buildings that were in their entire room composition on it that the audience was convincing with huge heights and lots of splendor and splendor that their secular and church rulers are incomparably powerful.

This audience admired for a while, but then had enough. The baroque architecture not only delighted, but also reminded the viewer constantly and vehemently and in many details that it was transient and he had to regret how quickly his time would be over.

It could also be useful at the time, praying was important to people; But they were in the process of recovering from a permanent generational permanent war and just wanted to live happily.

In this way, the buildings in late baroque were increasingly brighter and increasingly happier, serious reminders gave way to playful request, dark stone escape was replaced by radiant gold and pastel colors.

A good example is the Munich Asamkirche (St.-Johann-Nepomuk, Sendlinger Straße), built by the brothers Asam, who work as painters, architects and sculptors, according to the latest French trends.

Expanding furrow and darkness neither spread the facade (see Asamkirche in Munich), nor the inner design (see interior view of the Asamkirche), the mercy chair (see photography) or the portraits of the builders framed by curved arches and pink marble columns (see photography).

Construction began in 1733. Since 1726, Karl Albrecht (from Bavaria) , who was on a educational trip in Italy in 1716, has been in Bavaria on September 5, 1725 in France at the wedding King Ludwigs XV. participated and in 1742 the imperial crown of the Holy Roman Empire, which he wore until 1745.

A year later, the Asamkirche was consecrated, so the building accompanied the lifeline of the baroque phase of art history for over a decade , which became known as Rococo and dated around 1730 in Germany

Rococo - high -spirited, exaggerated late baroque or your own style?

This style, which was imported by France, has its name Rococo of an ornament motif ( see photography of the Catholic parish and monastery church of St. Alto and St. Birgitta in Altomünster), one from the two French words Roc = rock and coquilles = mussels.

A decoration element that is extremely popular in the Rococo, which almost lightly brings asymmetry into architecture for the first time and thus cheekily dissolves the fixed role models of the Baroque.

Even though the architectural art remained monumental and not every visual artist played with mussels (which is why the rococo in these areas is only recognized to a limited extent as a separate style era), the playful forms of Rococo the pathos of the baroque a varied, decisive cancellation.

"Only" a decoration style, but decoration is what catches the eye first, in the Rococo case with almost exuberant decorations on the buildings, as in Peterhof Castle (see photography) and in the gardens in front of it, as in Schwetzingen Castle (see photography).

With quite new ideas, one of the important elements of the baroque, the strict symmetry, was cheerfully thrown overboard, in favor of tendrils and lianas, circular and cringus, turns and curves.

And decorations in rooms, those in churches (see photography) and those at Hof, together with the furniture and the handicraft objects.

Here, plasterers, carvers, carpenters, stickers, etc. etc. Some of them did incredible fine work (even if the result quickly seems a bit kitschy today. Interior designers and artificial adhesive are therefore very decided to see the Rococo as its own era, which can be strictly differentiated from the late baroque.

Overall, the architecture loses a lot from its pompous character through all of these decorations, the locks become smaller, main buildings are often separated from herself.

In addition to overwhelmed representation rooms, smaller private rooms or private solutions with light -footed architecture and elegant and playful details occur (although from today's perspective you can argue about whether a private proceeds like this have really lost its pompous character:

A touch of freedom can be felt ...

With the new desire to decorate, the serious veneration of the power, which the court society seemed to be so important, also suffered.

The rulers obviously also fed up the pomp, they just wanted it to be nice; And elegant, as a new word word from France stated. In Rococo, the entire court life became a good bit of "finer" and thus (sometimes) more content.

Still Louis XIV of France had celebrated his life as a public event in an exalted Baroque Art. With the goal and purpose, he wanted to hold his followers (the nobility) on the farm and steer them as desired.

So a very similar model, as some Facebook stars today, which is prospect of favor of his follow-up or favor withdrawal by the surroundings when it (with hormonally effective, allergy-causing and cancer-suspended ingredients) beauty products, (exploitingly produced) designer clothes (only a few seconds) machines for the production of vegetable pampers and Buy/use and use utensils to optimize your own appearance (eye -disturbing neon -colored plastic, production costs gene zero).

For such a clumsy pandering and mastery, you were now too fine, in Rococo you retired to private individuals to maintain a cultivated lifestyle, a subtle attitude to life, delicate sensuality and gallant manner.

This culture also included the first awards of the Enlightenment in the intellectual area, the epochal project of the approaching century. Thomas Hobbes (1588 - 1679), John Locke (1632 - 1704), Montesquieu (1689 - 1755) and Immanuel Kant (1724 - 1804) had presented their decisive writings, which were slowly but unstoppable.

From around 1700, rational thinking was allowed, one was able to refer to reason as a universal judgment, not only as rulers, but also as a citizen - and as a building artist. That is why the new ideas have influenced architecture. The works of the baroque theater artists were rejected as church propaganda or as a help in the self-expression of a ruler, the Rococo as an art of enlightenment rejected such glorification.

In addition to flourishes and arabesques, there are definitely bizarre, some seemingly elegantly cautious facial expressions say something completely different when looking closely, some grotesque exaggerated gestures can be confidently interpreted as pure irony.

... but shape wins with content

And exceeds the limits of the reasonable: enlightenment ideas vibrate with this new lust for the freely designed ornamental plant, but the flourishes and arabesque of the design take on the main role.

Elimination, accessories, decor, ornaments, plaster and stucco, tendril, ornate and what do I know for other ornamental councils spread in abundance. They bury any approach on the way to the freedom of the mind.

Pastel colors were also there, and the stucco slowly crawled the wall , maybe a little loosened up by a Mirrors shard cabinet with irregularly shaped Mirrors pieces on the walls and on the ceiling.

Artificial plants crawled through the area on the walls of so -called trellis rooms, in music rooms there were lush portraits of the actors and musicians who act on the farm. The flourish and tendril now takes your breath away as the heavy and oppressive forms of the baroque- turns and bulges cause dizziness if they are omnipresent.

Here are a few of the excesses that are probably difficult to endure in everyday use/sight:

• Square, practical, good
• Before decorating a decorative of an ornament
• As everyday clothing, joy for birds willing to breed
• After the birds were there (Fig. 2)
• Under the decorative, a decorative of a decorative
• Pastel can also be colorful

If you are already shouting internally, you are sure to be right. At some point, refinement becomes a platform, graceful too kitschy, meaningful too meaningless, spicy to scarf, capricious too banal, funny too, mannered and amusement to torment.

The more the ideas of the Enlightenment were discussed, the more decisive people felt out of place in the place in salons such as this:

It is only logical that the Rococo is replaced by classicism in good time before the large storm of the crops caused by the investigation around 1770, with aesthetic model of a pure design language.