boy and girl on a swing painting
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Villena 07 Painting
Высота: 16 Inches; Ширина: 12 Inches
- One copy, once owned by Edmond James de Rothschild,  portrays the woman in a blue dress. 
- The other is a smaller version (56 × 46 cm), owned by Duke Jules de Polignac.  This painting became the property of the Grimaldi family in 1930 when Pierre de Polignac (1895-1964) married Princess Charlotte, Duchess of Valentinois (1898-1977). In 1966, the Grimaldi & Labeyrie Collection gave it to the city of Versailles, where it is currently exhibited at the Musée Lambinet, attributed to Fragonard’s workshop. 
The original owner remains unclear. A firm provenance begins only with the tax farmer Marie-François Ménage de Pressigny, who was guillotined in 1794,  after which it was seized by the revolutionary government. It was possibly later owned by the marquis des Razins de Saint-Marc, and certainly by the duc de Morny. After his death in 1865, it was bought at auction in Paris by Lord Hertford, the main founder of the Wallace Collection. 
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This large canvas, designed as the centerpiece for a group of five paintings on the theme of play, is among Fragonard’s most ambitious works, engaging with issues of class and eighteen-century theories of the spectacle and memory. The FГЄte at Saint-Cloud shows a public fair held in the grounds of a chateau; crowds in varied styles of dress mill around multiple street theatres, a man with a monkey and vendors selling toys. Near the painting’s center is a fountain, spouting water high above these entertainments, and the scene is framed by billowing clouds and trees that dwarf the gathering. The viewer is positioned outside the scene, looking upon the crowd from afar, but is also, by virtue of the painting’s size, encouraged to psychologically enter into the world that it represents, moving closer to focus on individual elements.
The subject, a girl on a swing pushed by a husband while a lover looked from the bushes and a shoe flew from the foot, was dictated to the painter by the Baron de Saint-Julien; Fragonard transforms the scene from a licentious allegory into a commentary on the transience of pleasure through the specifics of his composition. The swing, in the 18 th century, was generally read as a sexual metaphor, due to the rhythm of movement and the positioning of the body, with extended legs, at the moment when the swing’s arc reached its climax; the loss of a shoe often symbolized the loss of innocence. The Swing is composed to direct the eye in such a way that the narrative is revealed gradually, following the motion of the swing from husband to lover, and framed as if a scene in a play, encouraging viewers to take pleasure in their intrusion into a private moment, approaching it as if it is performed for them.