fragonards the swing 1766

Fragonards the swing 1766
There are two notable copies, neither by Fragonard.
The Swing (French: L’Escarpolette), also known as The Happy Accidents of the Swing (French: Les Hasards heureux de l’escarpolette, the original title), is an 18th-century oil painting by Jean-Honoré Fragonard in the Wallace Collection in London. It is considered to be one of the masterpieces of the Rococo era, and is Fragonard’s best known work. [1]

Fragonards the swing 1766
• The Nightmare (1781) by Henry Fuseli.
Detroit Institute of Arts.
• Pilgrimage to Cythera (1717) by Jean-Antoine Watteau.
Louvre, Paris; Charlottenburg Palace, Berlin.

Fragonards the swing 1766
Women at their bath, saucy portraiture, and pastoral settings were all seen here. The Swing would have fitted in perfectly.
School of Fontainebleau:
The infamous French palace, decorated in the late 1500s by a group of painters headed by Rosso Fiorentino, specialized in eroticizing the mythological or classical subjects that were requested for the aristocrats of the time, serving as a precursor for the fanciful tastes that the later nobles would request.

Fragonards the swing 1766
Could you give us some information about how The Swing came into being?
How does Fragonard undercut the etiquette of French eighteenth-century society?

Fragonards the swing 1766
Oil on canvas – Collection of the Wallace Collection, London, United Kingdom
The garden was often used as a site for fantasy in 18 th century painting and games such as these were familiar to contemporary audiences as sexual allegories. This painting was completed while Fragonard was a student of Boucher, who was known for his own paintings of such scenes. Fragonard’s treatment of the scene is considerably subtler than those of Boucher, though audiences at the time would have recognized the double meaning in the ripe fruit and blossoming flowers alongside the see-saw itself and the posture of the young girl, who leans backward, her limbs outstretched; it is unclear, however, if the two children are intended as cupid figures or if they are included so as to imply the seduction of a governess. The painting showcases Fragonard’s early mastery of many of the elements that would come to distinguish his work, including his use of bright colors, strong tonal contrasts and foliage as a framing element.


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