Building in Germany - kitsch as kitsch can or rococo?

Germany in the 17th century and again 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 the Holy Roman Empire German Nation took over a decade before the end of the war (small -capable, weak, good -natured, good -natured to good faith also against unscrupulous advisors, generously to the end of the money) and was in a rather battered position (the sky was still thanks today, 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.

So it was only with around a century delay in Germany, many magnificent baroque buildings that were geared towards their entire room composition to convince the audience with huge heights and lots of splendor and splendor that their secular and church rulers are incomparable and 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 compensable and that 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 just in the process of recovering their permanent war overshadowing, and just wanted to live happily.

So 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, and since 1726 the art -loving Karl Albrecht (from Bavaria) , who was on a educational trip in Italy in 1716, prevailed on September 5, 1725 in France at the wedding King Louis 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 late phase of the baroque , which became known as Rococo and is dated in Germany from around 1730

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

This style, which was imported by France, has its name Rococo from an ornament motif, the Rocaille (see photography of the Catholic parish and monastery church of St. Alto and St. Birgitta in Altomünster), a rock mussel composed of 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 really lost his 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 buzzword 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) at the courtyard and steer them as desired, he led his followers through evidence of favor or by withdrawing favor.

So a very similar model as many Facebook stars today, which is prospect of favor of his follow-up or the favor by the environment when it (with hormonally effective, allergy-causing and cancer-suspect ingredients), (exploited) designer clothes (only a few seconds) machines for the production of vegetable pampers and Buy/use or use utensils to optimize your own appearance (eye -related 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 manners.

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 submitted 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 a ruler, but also as a citizen - and as a building artist. That is why the new ideas have also 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 else do I know for other ornamental councils spread out in abundance and 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 mirror shard cabinet with irregularly shaped mirror 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 lavishly decorated portraits of the actors and musicians who act on the farm lined up, the frills and tendrils now take their breath away as the heavy and oppressive shapes of baroque- turns and bulges cause dizziness if they are omnipresent.

Here are a few of the excesses that are likely to endure at some point in daily 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 refined at some point to become a platform, graceful too kitschy, meaningful too meaningless, spicy to scarf, capricious too banal, funny too, to be used too, and amusement.

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.

Lina cream

Passionate author with lively art interest

www.kunstplaza.de