"The idea for this exhibition grew out of the desire to present to the Atlanta public an old master exhibition that would complement the new High Museum designed by Richard Meier. . . This exhibition concentrates on the period from 1700 to 1792, when the Revolution toppled the 'ancien régime' and the neo-classical style nascent in Vien's work blossomed into the severe style of David, who, as the portrait shown here makes evident, was himself firmly rooted in the rococo tradition." -- Foreword.

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.

French fashions from 1640–1775, depicted in 45 full-page black-and-white illustrations. Portraits of farmers, street vendors, and aristocrats, all with informative captions.

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.