For this blog
assignment I have chosen the typically Rococo mirror with gilded frame pictured
to the left. Its main purpose would be decoration, this is not something that you
would hang in a corner and only walk over to if you wanted to see a reflection
of yourself. This mirror would be the main feature of a wall.
Form did not strictly follow function in the design of this mirror. The
scrolling, though balanced, is obviously asymmetrical and it encroaches on the
actual mirror diminishing its functionality.
There is ‘resting space’ between the scrolling where the frame meets the glass
and the outer scrolling and though it is fantastically embellished the overall
shape is still suited to the head and shoulders of a person trying to use the
mirror for its intended purpose. This exuberant design shows the confidence and
flair appropriate to the context in which the movement was born, where
manufacturing items en masse was suddenly easier and cheaper. Materials could
be gilded (covered with a thin layer of gold) to give the impression of wealth
while still being affordable.
Rococo is described in many places as being feminine and playful, we can see these elements in this mirror. Flowers are typically feminine and there are a few, presumably roses, dotted around the frame, these ornate plant forms nested among the scrolls add extravagance. The frame also curves inwards at the middle alluding to the female form.
Rococo is described in many places as being feminine and playful, we can see these elements in this mirror. Flowers are typically feminine and there are a few, presumably roses, dotted around the frame, these ornate plant forms nested among the scrolls add extravagance. The frame also curves inwards at the middle alluding to the female form.
If we
compare this mirror to this French console table (designer unknown) c 1735 we
can see a similarity in the style of the decoration.
Though it may not
function perfectly as a mirror it is definitely fit for its purpose which would
be to add an air of whimsical luxury to a room.
Kimball, F. (1980). The Creation of the Rococo. New York: Dover Publications Inc.
Currie,
D., & Raoul, V. (1992). Anatomy of Gender: Women's Struggle for the
Body. Cardiff, Wales: Cardiff Academic
Press.
Flynn, M. (n.d.). Console Table [Photograph]. Retrieved from http://www.thestatementblog.com/2008/06/rococo-at-cooper-hewitt/
Mirror [Photograph]. (2012). Retrieved April 24, 2012, from http://www.trademe.co.nz/Browse/Listing.aspx?id=468182457
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