In my previous post, I attempted to show how the the 19th-century concept of a ‘national school of art’ created a set of expectations where national subject matter, as well as ways of representation conforming to widely accepted models of ‘Hungarianness’, were ranked higher in the canon. Critics were baffled by Viktor Madarász’ painting The Dream of the Fugitive because its Gothic imagery did not fit these expectations. Gothic terror was, however, not the only mode of representation that posed a challenge to the national narrative: the Rococo, which could perhaps be called its direct opposite, provides another case in point. The national narrative was just as easily scared by scantily-dressed, flirty 18th-century women, as it was by horrific ghosts. The Rococo revival of the 1840s and 1850s, as well as its afterlife in the Rococo-inspired salon paintings of the late 19th century, can be read as a counter-narrative. Recent art historical research – summarised in the excellent catalogue Rococo: The Continuing Curve – has defined the Rococo not so much as a style rooted in the 18th century, but rather as a form of expression that recurs time and time again in art history. It is sensual, curvy, frivolous, and free, and a pain in the neck to the proponents of ‘serious’ art in all ages and countries.