Art: in France Fiercely opposed by contemporary classicistiche currents and tardobarocche, the rococo was considered negatively throughout the nineteenth century until the first critical analysis carried out by the brothers De Goncourt, who warned both the close relationship with a particular conception of social life, both the aesthetic revolutionary informing him. Ideologically the rococo is the artistic expression of the aristocracy of the cosmopolitan come at the end of its historical function, which masks the conscience of the decline with a philosophy of evasion from reality, creating a fictional world on the myth of the eternal youth and of the unruffled serenity. Social behavior is then adjusted on concepts of refinement and elegance, until the frivolity of the one part and the philosophical libertinism from another. The escape from reality occurs both on the intellectual level and on the existential and every detail of the environment should be granted to the way of life: everything must be beautiful, indeed "nice", since the concept of beauty comprises itself only what is delicate and fragile, nuanced, clear, picturesque. Under this aspect we understand then the "necessity" of a particular type of clothing (vestments read of silk and muslin in pastel shades, white wig which embellishes the face and makes without age, then eternally young), which corresponds to a particular type of environment in which to live. The aesthetic revolution of the rococo occurs in fact in the harmonious interplay of all the details of the furnishings, which contribute equally to all the arts (and the "minor" are evaluated obviously on a par with those traditionally "noble") refer to the creation of organic environments and homogeneous. The historical fact from which you begin the rococo (even if the premises are traceable since the last years of the XVII century) is the transfer of the court from Versailles in Paris after the death of Louis XIV (1715), commissioned by the regent Duke of Orléans, the fact that determined for the nobility the need to reorganize the private palaces of the capital, by long years inhabited only occasionally. To obviate the confined spaces developed rapidly in the period of the regency the taste for the pale walls, "open" by the profusion of mirrors and illeggiadrite stucco work light for the small furniture and lacquered in pastel shades, for executives also from the light shades, for the ornaments of minimum size and subject frivolous, in clear opposition to furnishings Louis XIV, sumptuous (but also heavy) dominated by dark colors and by the gilding. Rare were in France the great architectural realizations, which usufruirono structures baroque still as much as very sober and functional, aimed in practice as a support of the decoration, most of that interior facades, inferred from a whole series of repertories (it is recalled that in 1734 by J. A. Meissonnier, whose drawings influenced deeply on production of carvers and goldsmiths of the epoch); this decoration was based on infinite variations, better if asymmetrical, the curved line which defined natural elements (leaves, flowers, animals) according to a spirit graceful that often referred to exotic elegance and fabulous of the East (masterpieces in this sense are the Hôtel de Matignon of No. Pineau of 1720-31 and the Hôtel de Soubise of G. Boffrand, also decorated by F. Boucher, 1736). In the french architecture are in fact much more frequent the constructions of small dimensions for parks and gardens (readapted sometimes these "English" according to the canons of the picturesque, more suited to the new taste): the pavilions of hunting, the "Casini of delights", sans-soucis, the monrepos, the ermitages, all connected with the needs of worldly life. The sculpture was a fine decorative exclusively, softening the shapes, enriched by descriptive details and generally portraying mythological characters according to a declared intention erotic. The painting, from the clear color and brilliant spread out to touch and nuances on a quick drawing and broken, has narrow analogies with the porcelain, engraving, the fabrics for furnishings, since depicts pastoral scenes, idylls, feasts galanti and campestri, erotic episodes, Daily chronicles, expressing with ironic accents malicious or the principles of a life frivolous but refined. For France it is customary to distinguish a first period Regency (1715-30) in the generation of the architect G. M. Oppenordt of decorator F. A. Vassé and of the ebanist Ch. Cressent, of painters J.-A. Watteau, J. B. Pater and J.-M. Nattier; a period rocaille (1730-45) that finds its highest expression in Meissonnier, Pineau, in Boucher and Chardin; a last period Pompadour (1745-64) involuto already in certain decorative unwieldiness and in part influenced by linearismo classicist, represented by the architect J. A. Gabriel, decorating by J. Verbeckt and J. H. Fragonard. Art: in France Fiercely opposed by contemporary classicistiche currents and tardobarocche, the rococo was considered negatively throughout the nineteenth century until the first critical analysis carried out by the brothers De Goncourt, who warned both the close relationship with a particular conception of social life, both the aesthetic revolutionary informing him. Ideologically the rococo is the artistic expression of the aristocracy of the cosmopolitan come at the end of its historical function, which masks the conscience of the decline with a philosophy of evasion from reality, creating a fictional world on the myth of the eternal youth and of the unruffled serenity. Social behavior is then adjusted on concepts of refinement and elegance, until the frivolity of the one part and the philosophical libertinism from another. The escape from reality occurs both on the intellectual level and on the existential and every detail of the environment should be granted to the way of life: everything must be beautiful, indeed "nice", since the concept of beauty comprises itself only what is delicate and fragile, nuanced, clear, picturesque. Under this aspect we understand then the "necessity" of a particular type of clothing (vestments read of silk and muslin in pastel shades, white wig which embellishes the face and makes without age, then eternally young), which corresponds to a particular type of environment in which to live. The aesthetic revolution of the rococo occurs in fact in the harmonious interplay of all the details of the furnishings, which contribute equally to all the arts (and the "minor" are evaluated obviously on a par with those traditionally "noble") refer to the creation of organic environments and homogeneous. The historical fact from which you begin the rococo (even if the premises are traceable since the last years of the XVII century) is the transfer of the court from Versailles in Paris after the death of Louis XIV (1715), commissioned by the regent Duke of Orléans, the fact that determined for the nobility the need to reorganize the private palaces of the capital, by long years inhabited only occasionally. To obviate the confined spaces developed rapidly in the period of the regency the taste for the pale walls, "open" by the profusion of mirrors and illeggiadrite stucco work light for the small furniture and lacquered in pastel shades, for executives also from the light shades, for the ornaments of minimum size and subject frivolous, in clear opposition to furnishings Louis XIV, sumptuous (but also heavy) dominated by dark colors and by the gilding. Rare were in France the great architectural realizations, which usufruirono structures baroque still as much as very sober and functional, aimed in practice as a support of the decoration, most of that interior facades, inferred from a whole series of repertories (it is recalled that in 1734 by J. A. Meissonnier, whose drawings influenced deeply on production of carvers and goldsmiths of the epoch); this decoration was based on infinite variations, better if asymmetrical, the curved line which defined natural elements (leaves, flowers, animals) according to a spirit graceful that often referred to exotic elegance and fabulous of the East (masterpieces in this sense are the Hôtel de Matignon of No. Pineau of 1720-31 and the Hôtel de Soubise of G. Boffrand, also decorated by F. Boucher, 1736). In the french architecture are in fact much more frequent the constructions of small dimensions for parks and gardens (readapted sometimes these "English" according to the canons of the picturesque, more suited to the new taste): the pavilions of hunting, the "Casini of delights", sans-soucis, the monrepos, the ermitages, all connected with the needs of worldly life. The sculpture was a fine decorative exclusively, softening the shapes, enriched by descriptive details and generally portraying mythological characters according to a declared intention erotic. The painting, from the clear color and brilliant spread out to touch and nuances on a quick drawing and broken, has narrow analogies with the porcelain, engraving, the fabrics for furnishings, since depicts pastoral scenes, idylls, feasts galanti and campestri, erotic episodes, Daily chronicles, expressing with ironic accents malicious or the principles of a life frivolous but refined. For France it is customary to distinguish a first period Regency (1715-30) in the generation of the architect G. M. Oppenordt of decorator F. A. Vassé and of the ebanist Ch. Cressent, of painters J.-A. Watteau, J. B. Pater and J.-M. Nattier; a period rocaille (1730-45) that finds its highest expression in Meissonnier, Pineau, in Boucher and Chardin; a last period Pompadour (1745-64) involuto already in certain decorative unwieldiness and in part influenced by linearismo classicist, represented by the architect J. A. Gabriel, decorating by J. Verbeckt and J. H. Fragonard. Art: in other European Countries Outside France the rococo became widespread in short assolutistiche that assumed as a model of social life the French nobility, idealized as depositary of knowing how to live and taste. In the decade 1730-40 artists and French craftsmen were in fact invited in all the courts of Europe starting with the phenomenon of internationalisation of the figurative culture typical of the entire second half of the century. This phenomenon lived precisely on the figure of the wandering artist (For Italy it suffices to think of Tiepolo and Rosalba Carriera), which stimulated above all the development of Crafts on the canons are common to the whole of Europe, according to a process governed not only by the evolution of taste but also, and declared by the same rulers, by the laws of economic expansion. Similar movements to rococo, even if not totally identified with it, were manifested in England (in furniture Chippendale, through whose interpretations, moreover, the rococo taste was introduced in America and in certain themes pictorial from Hogarth to Gainsborough) and in Spain (churriguerismo). For Italy it can speak of rococo especially for decorative arts, sharers in the international taste (the stuccoes by Serpotta; the "Chinese cabinet" for the Palace of Portici, now at Capodimonte, everything in porcelain and mirrors), while architectural constructions to capricious plants curves took place only in private buildings of small dimensions (Villa Palagonia in Bagheria near Palermo), being still alive the baroque tradition, linked in particular to the committenza ecclesiastical. For what concerns the Italian mobile, the taste of the French rococo developed through the partial adoption of stylistic elements of Louis XV and the progressive transformation of elements of the Baroque ornamentation (style Baroque). In Venice, in the framework of the independent development (and addressed in large part to the foreign clients) of that painting, you can define in the Rococo style the choice of subjects as the whim, fantastic view and the scene of life (Marco Ricci, Zais, Guardi and Longhi) and the widespread use of pastel and watercolor (Rosalba Carriera). The style of the rococo met its major development in the German-speaking countries according to two destinations precise and clearly differentiated: on the one hand the architecture and the craft to the courts, who elaborated also original forms but always inside the French model, on the other hand the architecture, understood as a synthesis between space and decoration, of churches and convents, that represents the last great autonomous expression of this particular branch of the architecture. Around the numerous German courts proliferarono castles, the noble residences, small constructions of pleasure, that assumed in size emphatic or even rhetorical plants to curved lines and elliptical of private construction french (only the royal castles you remade the monumentality classicist Versailles) and developed the decoration in tones more or less moderate, according to precise local variants (residence for the prince-bishop of Würzburg, 1719-44, B. Neumann, with the collaboration of R. de cooked and J. L. Hildebrandt, and frescoes by Tiepolo; Palazzina di Caccia of Amalienburg In Park Nymphenburg in Munich, 1734, F. de Cuvilliés). Religious architecture flourished particularly in Bavaria and in Bohemia, with the brothers Asam, D. Zimmermann, Dientzenhofer and, in Austria, especially with Fischer von Erlach, who developed premises already existing in the architecture local tardobarocca to arrive to build buildings characterised by the spaciousness and brightness (a unique space to plant round, elliptical or oval, white walls, large and numerous windows, stuccoes and gilding that underline the structural elements and framing canvases and frescoes), where they perform a perfect harmony and an interrelation total between the constructive elements and figurative ones. Also the pictorial production not assumed an autonomous role but, given the particular needs, was directed almost exclusively to illustrate historical subjects-celebration in allegorical tones-mythological or religious themes; it then developed into large canvases and frescoes that, despite the considerable lightness and vaporosità execution, derive from the baroque decoration Italiana (F. A. Maulbertsch, J. W. Bergl). General description Loc. English (abbreviation of popular art, popular art) used in Italian as sf. Introduced by scholars L. Flieder and R. Banham and adopted in 1961 by the critic English L. Alloway, the term indicates an artistic movement of avant-garde born in parallel in Great Britain and the United States around 1955, as a reaction to the painting of abstract expressionists. The artists of the pop art draw shapes and language from the repertoire of the mass-media, i.e. of the means of communication and mass culture: television, advertising images, photographs, comics, consumables, etc.; they therefore serve images and objects that already exist as, manipulated and presented in various ways, you load a new expressiveness. The aim of the movement is to subtract the artistic operation to its character of unique experience and subjective, for riaccostare instead art to everyday reality. The figuration of the trivial and daily life of pop art, mediated by the different experiences of Cubism, Futurism, Dadaism and Surrealism, had its first definition in Great Britain through the activities of the Independent Group of London (1953-58). The first opera English pop, created by Richard Hamilton, was inscribed in the exhibition "This Is Tomorrow" held in London in 1956. In the United States the pop art arose from the exhaustion of abstract experiences, by the stops at the end of the informal and especially by exaltations of the "object consumed" by artists of the New Dada. Minor Works A notebook autograph with corrections and redone, retains the majority of the Latin lyrics of Ariosto, dating for the most part to the youth of the poet (ca. 1494-1504). Some are little more than school exercises; but in others the technique is mature and already appear attitudes and inventions worthy of greater Ariosto. If the latin musa was soon abandoned by the poet and the lyrical vernacular he cultivated for much longer (1493-ca. 1525) and shows in the warm sensuality that pervades her, the deeper assimilation of Latin erotic. In the Cassaria (represented in 1508), the first regular comedy italian, and in the Suppositi (represented in 1509) Ariosto uses the classic procedure of contaminatio: characters and situations of the latin models twisted in a new weft. The other comedies of Ariosto (The Necromancer, Lena, students) have type frames most of the novella and direct references to the contemporary world. Stands out among them the Lena for the complex character which the work is called and the ambiguous situation in which it moves. The seven Satires were composed in tercets between 1517 and 1525, i.e. during the period subsequent to the first edition of the Furioso; they are dedicated to mo' of letters to relatives and family. The tone of the Satires is conversativo: ways family, even proverbial, jokes lovable, so to remember, more that the Satires, the Epistles oraziane; but, in substance, the satire of the Ariosto is far from that of Orazio, dictated as it is by a moral resentment experienced and suffered so much from wisdom hedonistic. Do not fool attitudes rinunciatari, the praises to the abitudinarietà serena and meditative sedentary life: they have a dialectical function (show in the flap on the waivers the firm determination of the Ariosto to protect your work of poet) and a controversy (facing the myriad forms of careerism and ambition). Under the surface of bonarietà v is an energy ethic that Ariosto, a time and place, knew how to put in act. And I am index letters (over 200), so close to the Satires for the attitude in which it presents the Ariosto: not intended for printing, they are written in concrete opportunities and with bare language and effective. Art: in France Fiercely opposed by contemporary classicistiche currents and tardobarocche, the rococo was considered negatively throughout the nineteenth century until the first critical analysis carried out by the brothers De Goncourt, who warned both the close relationship with a particular conception of social life, both the aesthetic revolutionary informing him. Ideologically the rococo is the artistic expression of the aristocracy of the cosmopolitan come at the end of its historical function, which masks the conscience of the decline with a philosophy of evasion from reality, creating a fictional world on the myth of the eternal youth and of the unruffled serenity. Social behavior is then adjusted on concepts of refinement and elegance, until the frivolity of the one part and the philosophical libertinism from another. The escape from reality occurs both on the intellectual level and on the existential and every detail of the environment should be granted to the way of life: everything must be beautiful, indeed "nice", since the concept of beauty comprises itself only what is delicate and fragile, nuanced, clear, picturesque. Under this aspect we understand then the "necessity" of a particular type of clothing (vestments read of silk and muslin in pastel shades, white wig which embellishes the face and makes without age, then eternally young), which corresponds to a particular type of environment in which to live. The aesthetic revolution of the rococo occurs in fact in the harmonious interplay of all the details of the furnishings, which contribute equally to all the arts (and the "minor" are evaluated obviously on a par with those traditionally "noble") refer to the creation of organic environments and homogeneous. The historical fact from which you begin the rococo (even if the premises are traceable since the last years of the XVII century) is the transfer of the court from Versailles in Paris after the death of Louis XIV (1715), commissioned by the regent Duke of Orléans, the fact that determined for the nobility the need to reorganize the private palaces of the capital, by long years inhabited only occasionally. To obviate the confined spaces developed rapidly in the period of the regency the taste for the pale walls, "open" by the profusion of mirrors and illeggiadrite stucco work light for the small furniture and lacquered in pastel shades, for executives also from the light shades, for the ornaments of minimum size and subject frivolous, in clear opposition to furnishings Louis XIV, sumptuous (but also heavy) dominated by dark colors and by the gilding. Rare were in France the great architectural realizations, which usufruirono structures baroque still as much as very sober and functional, aimed in practice as a support of the decoration, most of that interior facades, inferred from a whole series of repertories (it is recalled that in 1734 by J. A. Meissonnier, whose drawings influenced deeply on production of carvers and goldsmiths of the epoch); this decoration was based on infinite variations, better if asymmetrical, the curved line which defined natural elements (leaves, flowers, animals) according to a spirit graceful that often referred to exotic elegance and fabulous of the East (masterpieces in this sense are the Hôtel de Matignon of No. Pineau of 1720-31 and the Hôtel de Soubise of G. Boffrand, also decorated by F. Boucher, 1736). In the french architecture are in fact much more frequent the constructions of small dimensions for parks and gardens (readapted sometimes these "English" according to the canons of the picturesque, more suited to the new taste): the pavilions of hunting, the "Casini of delights", sans-soucis, the monrepos, the ermitages, all connected with the needs of worldly life. The sculpture was a fine decorative exclusively, softening the shapes, enriched by descriptive details and generally portraying mythological characters according to a declared intention erotic. The painting, from the clear color and brilliant spread out to touch and nuances on a quick drawing and broken, has narrow analogies with the porcelain, engraving, the fabrics for furnishings, since depicts pastoral scenes, idylls, feasts galanti and campestri, erotic episodes, Daily chronicles, expressing with ironic accents malicious or the principles of a life frivolous but refined. For France it is customary to distinguish a first period Regency (1715-30) in the generation of the architect G. M. Oppenordt of decorator F. A. Vassé and of the ebanist Ch. Cressent, of painters J.-A. Watteau, J. B. Pater and J.-M. Nattier; a period rocaille (1730-45) that finds its highest expression in Meissonnier, Pineau, in Boucher and Chardin; a last period Pompadour (1745-64) involuto already in certain decorative unwieldiness and in part influenced by linearismo classicist, represented by the architect J. A. Gabriel, decorating by J. Verbeckt and J. H. Fragonard. Art: in other European Countries Outside France the rococo became widespread in short assolutistiche that assumed as a model of social life the French nobility, idealized as depositary of knowing how to live and taste. In the decade 1730-40 artists and French craftsmen were in fact invited in all the courts of Europe starting with the phenomenon of internationalisation of the figurative culture typical of the entire second half of the century. This phenomenon lived precisely on the figure of the wandering artist (For Italy it suffices to think of Tiepolo and Rosalba Carriera), which stimulated above all the development of Crafts on the canons are common to the whole of Europe, according to a process governed not only by the evolution of taste but also, and declared by the same rulers, by the laws of economic expansion. Similar movements to rococo, even if not totally identified with it, were manifested in England (in furniture Chippendale, through whose interpretations, moreover, the rococo taste was introduced in America and in certain themes pictorial from Hogarth to Gainsborough) and in Spain (churriguerismo). For Italy it can speak of rococo especially for decorative arts, sharers in the international taste (the stuccoes by Serpotta; the "Chinese cabinet" for the Palace of Portici, now at Capodimonte, everything in porcelain and mirrors), while architectural constructions to capricious plants curves took place only in private buildings of small dimensions (Villa Palagonia in Bagheria near Palermo), being still alive the baroque tradition, linked in particular to the committenza ecclesiastical. For what concerns the Italian mobile, the taste of the French rococo developed through the partial adoption of stylistic elements of Louis XV and the progressive transformation of elements of the Baroque ornamentation (style Baroque). In Venice, in the framework of the independent development (and addressed in large part to the foreign clients) of that painting, you can define in the Rococo style the choice of subjects as the whim, fantastic view and the scene of life (Marco Ricci, Zais, Guardi and Longhi) and the widespread use of pastel and watercolor (Rosalba Carriera). The style of the rococo met its major development in the German-speaking countries according to two destinations precise and clearly differentiated: on the one hand the architecture and the craft to the courts, who elaborated also original forms but always inside the French model, on the other hand the architecture, understood as a synthesis between space and decoration, of churches and convents, that represents the last great autonomous expression of this particular branch of the architecture. Around the numerous German courts proliferarono castles, the noble residences, small constructions of pleasure, that assumed in size emphatic or even rhetorical plants to curved lines and elliptical of private construction french (only the royal castles you remade the monumentality classicist Versailles) and developed the decoration in tones more or less moderate, according to precise local variants (residence for the prince-bishop of Würzburg, 1719-44, B. Neumann, with the collaboration of R. de cooked and J. L. Hildebrandt, and frescoes by Tiepolo; Palazzina di Caccia of Amalienburg In Park Nymphenburg in Munich, 1734, F. de Cuvilliés). Religious architecture flourished particularly in Bavaria and in Bohemia, with the brothers Asam, D. Zimmermann, Dientzenhofer and, in Austria, especially with Fischer von Erlach, who developed premises already existing in the architecture local tardobarocca to arrive to build buildings characterised by the spaciousness and brightness (a unique space to plant round, elliptical or oval, white walls, large and numerous windows, stuccoes and gilding that underline the structural elements and framing canvases and frescoes), where they perform a perfect harmony and an interrelation total between the constructive elements and figurative ones. Also the pictorial production not assumed an autonomous role but, given the particular needs, was directed almost exclusively to illustrate historical subjects-celebration in allegorical tones-mythological or religious themes; it then developed into large canvases and frescoes that, despite the considerable lightness and vaporosità execution, derive from the baroque decoration Italiana (F. A. Maulbertsch, J. W. Bergl). General description Loc. English (abbreviation of popular art, popular art) used in Italian as sf. Introduced by scholars L. Flieder and R. Banham and adopted in 1961 by the critic English L. Alloway, the term indicates an artistic movement of avant-garde born in parallel in Great Britain and the United States around 1955, as a reaction to the painting of abstract expressionists. The artists of the pop art draw shapes and language from the repertoire of the mass-media, i.e. of the means of communication and mass culture: television, advertising images, photographs, comics, consumables, etc.; they therefore serve images and objects that already exist as, manipulated and presented in various ways, you load a new expressiveness. The aim of the movement is to subtract the artistic operation to its character of unique experience and subjective, for riaccostare instead art to everyday reality. The figuration of the trivial and daily life of pop art, mediated by the different experiences of Cubism, Futurism, Dadaism and Surrealism, had its first definition in Great Britain through the activities of the Independent Group of London (1953-58). The first opera English pop, created by Richard Hamilton, was inscribed in the exhibition "This Is Tomorrow" held in London in 1956. In the United States the pop art arose from the exhaustion of abstract experiences, by the stops at the end of the informal and especially by exaltations of the "object consumed" by artists of the New Dada. Minor Works A notebook autograph with corrections and redone, retains the majority of the Latin lyrics of Ariosto, dating for the most part to the youth of the poet (ca. 1494-1504). Some are little more than school exercises; but in others the technique is mature and already appear attitudes and inventions worthy of greater Ariosto. If the latin musa was soon abandoned by the poet and the lyrical vernacular he cultivated for much longer (1493-ca. 1525) and shows in the warm sensuality that pervades her, the deeper assimilation of Latin erotic. In the Cassaria (represented in 1508), the first regular comedy italian, and in the Suppositi (represented in 1509) Ariosto uses the classic procedure of contaminatio: characters and situations of the latin models twisted in a new weft. The other comedies of Ariosto (The Necromancer, Lena, students) have type frames most of the novella and direct references to the contemporary world. Stands out among them the Lena for the complex character which the work is called and the ambiguous situation in which it moves. The seven Satires were composed in tercets between 1517 and 1525, i.e. during the period subsequent to the first edition of the Furioso; they are dedicated to mo' of letters to relatives and family. The tone of the Satires is conversativo: ways family, even proverbial, jokes lovable, so to remember, more that the Satires, the Epistles oraziane; but, in substance, the satire of the Ariosto is far from that of Orazio, dictated as it is by a moral resentment experienced and suffered so much from wisdom hedonistic. Do not fool attitudes rinunciatari, the praises to the abitudinarietà serena and meditative sedentary life: they have a dialectical function (show in the flap on the waivers the firm determination of the Ariosto to protect your work of poet) and a controversy (facing the myriad forms of careerism and ambition). Under the surface of bonarietà v is an energy ethic that Ariosto, a time and place, knew how to put in act. And I am index letters (over 200), so close to the Satires for the attitude in which it presents the Ariosto: not intended for printing, they are written in concrete opportunities and with bare language and effective. Art: in other European Countries Outside France the rococo became widespread in short assolutistiche that assumed as a model of social life the French nobility, idealized as depositary of knowing how to live and taste. In the decade 1730-40 artists and French craftsmen were in fact invited in all the courts of Europe starting with the phenomenon of internationalisation of the figurative culture typical of the entire second half of the century. This phenomenon lived precisely on the figure of the wandering artist (For Italy it suffices to think of Tiepolo and Rosalba Carriera), which stimulated above all the development of Crafts on the canons are common to the whole of Europe, according to a process governed not only by the evolution of taste but also, and declared by the same rulers, by the laws of economic expansion. Similar movements to rococo, even if not totally identified with it, were manifested in England (in furniture Chippendale, through whose interpretations, moreover, the rococo taste was introduced in America and in certain themes pictorial from Hogarth to Gainsborough) and in Spain (churriguerismo). For Italy it can speak of rococo especially for decorative arts, sharers in the international taste (the stuccoes by Serpotta; the "Chinese cabinet" for the Palace of Portici, now at Capodimonte, everything in porcelain and mirrors), while architectural constructions to capricious plants curves took place only in private buildings of small dimensions (Villa Palagonia in Bagheria near Palermo), being still alive the baroque tradition, linked in particular to the committenza ecclesiastical. For what concerns the Italian mobile, the taste of the French rococo developed through the partial adoption of stylistic elements of Louis XV and the progressive transformation of elements of the Baroque ornamentation (style Baroque). In Venice, in the framework of the independent development (and addressed in large part to the foreign clients) of that painting, you can define in the Rococo style the choice of subjects as the whim, fantastic view and the scene of life (Marco Ricci, Zais, Guardi and Longhi) and the widespread use of pastel and watercolor (Rosalba Carriera). The style of the rococo met its major development in the German-speaking countries according to two destinations precise and clearly differentiated: on the one hand the architecture and the craft to the courts, who elaborated also original forms but always inside the French model, on the other hand the architecture, understood as a synthesis between space and decoration, of churches and convents, that represents the last great autonomous expression of this particular branch of the architecture. Around the numerous German courts proliferarono castles, the noble residences, small constructions of pleasure, that assumed in size emphatic or even rhetorical plants to curved lines and elliptical of private construction french (only the royal castles you remade the monumentality classicist Versailles) and developed the decoration in tones more or less moderate, according to precise local variants (residence for the prince-bishop of Würzburg, 1719-44, B. Neumann, with the collaboration of R. de cooked and J. L. Hildebrandt, and frescoes by Tiepolo; Palazzina di Caccia of Amalienburg In Park Nymphenburg in Munich, 1734, F. de Cuvilliés). Religious architecture flourished particularly in Bavaria and in Bohemia, with the brothers Asam, D. Zimmermann, Dientzenhofer and, in Austria, especially with Fischer von Erlach, who developed premises already existing in the architecture local tardobarocca to arrive to build buildings characterised by the spaciousness and brightness (a unique space to plant round, elliptical or oval, white walls, large and numerous windows, stuccoes and gilding that underline the structural elements and framing canvases and frescoes), where they perform a perfect harmony and an interrelation total between the constructive elements and figurative ones. Also the pictorial production not assumed an autonomous role but, given the particular needs, was directed almost exclusively to illustrate historical subjects-celebration in allegorical tones-mythological or religious themes; it then developed into large canvases and frescoes that, despite the considerable lightness and vaporosità execution, derive from the baroque decoration Italiana (F. A. Maulbertsch, J. W. Bergl). General description Loc. English (abbreviation of popular art, popular art) used in Italian as sf. Introduced by scholars L. Flieder and R. Banham and adopted in 1961 by the critic English L. Alloway, the term indicates an artistic movement of avant-garde born in parallel in Great Britain and the United States around 1955, as a reaction to the painting of abstract expressionists. The artists of the pop art draw shapes and language from the repertoire of the mass-media, i.e. of the means of communication and mass culture: television, advertising images, photographs, comics, consumables, etc.; they therefore serve images and objects that already exist as, manipulated and presented in various ways, you load a new expressiveness. The aim of the movement is to subtract the artistic operation to its character of unique experience and subjective, for riaccostare instead art to everyday reality. The figuration of the trivial and daily life of pop art, mediated by the different experiences of Cubism, Futurism, Dadaism and Surrealism, had its first definition in Great Britain through the activities of the Independent Group of London (1953-58). The first opera English pop, created by Richard Hamilton, was inscribed in the exhibition "This Is Tomorrow" held in London in 1956. In the United States the pop art arose from the exhaustion of abstract experiences, by the stops at the end of the informal and especially by exaltations of the "object consumed" by artists of the New Dada. Minor Works A notebook autograph with corrections and redone, retains the majority of the Latin lyrics of Ariosto, dating for the most part to the youth of the poet (ca. 1494-1504). Some are little more than school exercises; but in others the technique is mature and already appear attitudes and inventions worthy of greater Ariosto. If the latin musa was soon abandoned by the poet and the lyrical vernacular he cultivated for much longer (1493-ca. 1525) and shows in the warm sensuality that pervades her, the deeper assimilation of Latin erotic. In the Cassaria (represented in 1508), the first regular comedy italian, and in the Suppositi (represented in 1509) Ariosto uses the classic procedure of contaminatio: characters and situations of the latin models twisted in a new weft. The other comedies of Ariosto (The Necromancer, Lena, students) have type frames most of the novella and direct references to the contemporary world. Stands out among them the Lena for the complex character which the work is called and the ambiguous situation in which it moves. The seven Satires were composed in tercets between 1517 and 1525, i.e. during the period subsequent to the first edition of the Furioso; they are dedicated to mo' of letters to relatives and family. The tone of the Satires is conversativo: ways family, even proverbial, jokes lovable, so to remember, more that the Satires, the Epistles oraziane; but, in substance, the satire of the Ariosto is far from that of Orazio, dictated as it is by a moral resentment experienced and suffered so much from wisdom hedonistic. Do not fool attitudes rinunciatari, the praises to the abitudinarietà serena and meditative sedentary life: they have a dialectical function (show in the flap on the waivers the firm determination of the Ariosto to protect your work of poet) and a controversy (facing the myriad forms of careerism and ambition). Under the surface of bonarietà v is an energy ethic that Ariosto, a time and place, knew how to put in act. And I am index letters (over 200), so close to the Satires for the attitude in which it presents the Ariosto: not intended for printing, they are written in concrete opportunities and with bare language and effective.