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During the 18th century art is no longer considered as a serious activity, nor is it recognised to have an educational function.

Thus, the rococo style came into being in France towards the middle of the 18th century as a reaction of the nobility against the classicism imposed by the court of Louis XIV.

It is an aristocratic style that reveals taste for elegance, refinement and gallantry, harmonising with an unembarrassed style of life: it goes indeed hand in hand with sensual indulgence and frivolity, is a perfect setting for inconstancy and solemnises in a way a flightiness of conduct devoid of any regret for ephemerality.

Actually, the term rococo, which is derived from rocaille (rock or grotto work), came into usage around 1730 to designate an ornamentation that imitates the natural rocks and stones of Chinese and Japanese sceneries.

This style conquered the courts of central Europe from 1745 on when the decorations were characterised by surprisingly light arabesques and undulated shells with irregular contours set in cartouches.

The rococo style expressed itself by delicate colours with preponderant rose, green and yellow tones used for malicious and frivolous subjects taken from a gallant mythology.

Among the most representative artists painting in this style, François Boucher had great success with his intimate scenes representing rose and pulpous nudes, while Jean-Honoré Fragonard masterly orchestrated choreographies in leafy clearings or elegant alcoves for presenting sensual plays and pleasure, and Antoine Watteau created delicate paintings flooded with colours and representing persons in a romantic environment.

These subjects were taken up again and developed for flower decorations by Sèvres and great European manufactories.

From 1760 on, the rococo style gave gradually way to the neoclassic style. It disappeared completely after the French Revolution in 1789, but left behind it a unique evidence of the delicacy and intelligence of an entire caste.