Exploring how the discrediting of Boucher and his school intersected with cultural debates about gender and class, this account of Boucher's art should persuade critics and admirers alike to take another, more considered look.

Rococo makes the finest chocolates in the world. Its founder, Chantal Coady, has been a pioneer of the nouveau chocolat revolution for 30 years. She established the award-winning Rococo chocolate business and school and continues to blaze the trail for chocolate creativity. In this beautiful and indulgent book, Chantal shares her expertise and chocolate alchemy. From the perfect ganache recipe to delicious salted caramel truffles, and from a stunning chocolate roulade to extreme chocolate combinations, Rococo celebrates gastronomy's finest, most complex and luxurious of ingredients - chocolate.

Addison Mizner’s Mediterranean-style mansions are much-admired Florida icons, where even today you can find many homes modeled with stucco walls and tiled roofs. In the paperback release of Boca Rococo, Caroline Seebohm’s successful biography on the flamboyant architect is more accessible now than ever as it reaches more readers interested in the man himself. Mizner had global experience from San Francisco to China during his early days, before landing in New York and eventually, South Florida. He had no formal training but did possess natural talent, establishing him as architect of the rich and famous. His designs made the city of Palm Beach one of America’s most elegant resort spots—and fed his dream of developing a “Venice-on-the-Ocean” in nearby Boca Raton. Mizner’s plans ended with the collapse of Florida’s real estate boom. He died in 1933, broken and bankrupt. With inspiration from and inclusion of never-before-seen material like floor plans and autobiographical works, and a new foreword written by the author, Seebohm gives readers a complete view of Mizner as one of the greatest architects and more flamboyant Americans.

Insightful exploration of arts across the world during these dynamic eras.

Deriving from the French word rocaille, in reference to the curved forms of shellfish, and the Italian barocco, the French created the term ‘Rococo’. Appearing at the beginning of the 18th century, it rapidly spread to the whole of Europe. Extravagant and light, Rococo responded perfectly to the spontaneity of the aristocracy of the time. In many aspects, this art was linked to its predecessor, Baroque, and it is thus also referred to as late Baroque style. While artists such as Tiepolo, Boucher and Reynolds carried the style to its apogee, the movement was often condemned for its superficiality. In the second half of the 18th century, Rococo began its decline. At the end of the century, facing the advent of Neoclassicism, it was plunged into obscurity. It had to wait nearly a century before art historians could restore it to the radiance of its golden age, which is rediscovered in this work by Klaus H. Carl and Victoria Charles.

A groundbreaking approach to Rococo religious d?r and spirituality in Europe and South America, The Spiritual Rococo addresses three basic conundrums that impede our understanding of eighteenth-century aesthetics and culture. Why did the Rococo, ostensibly the least spiritual style in the pre-Modern canon, transform into one of the world?s most important modes for adorning sacred spaces? And why is Rococo still treated as a decadent nemesis of the Enlightenment when the two had fundamental characteristics in common? This book seeks to answer these questions by treating Rococo as a global phenomenon for the first time and by exploring its moral and spiritual dimensions through the lens of populist French religious literature of the day-a body of work the author calls the ?Spiritual Rococo? and which has never been applied directly to the arts. The book traces Rococo?s development from France through Central Europe, Portugal, Brazil, and South America by following a chain of interlocking case studies, whether artistic, literary, or ideological, and it also considers the parallel diffusion of the literature of the Spiritual Rococo in these same regions, placing particular emphasis on unpublished primary sources such as inventories. One of the ultimate goals of this study is to move beyond the clich?f Rococo?s frivolity and acknowledge its essential modernity. Thoroughly interdisciplinary, The Spiritual Rococo not only integrates different art historical fields in novel ways but also interacts with church and social history, literary and post-colonial studies, and anthropology, opening up new horizons in these fields.