fragonards the swing is very racy and controversial. it is a good example of in art
The Death of Marat (1793) by Jacques-Louis David.
Musees Royaux des Beaux Arts, Brussels.
Interpretation of Other 18th Century Paintings
There are two notable copies, neither by Fragonard.
This style of “frivolous” painting soon became the target of the philosophers of the Enlightenment, who demanded a more serious art which would show the nobility of man. 
Fig. 3.1 ter Borch’s “Dancing Couple” Fig. 3.2 The third painting in the “First Time in Forever Sequence.”
2. This Rococo-esque painting (Fig. 2.2) looks most similar to Auguste Serrure’s The Picnic (Fig. 2.1), painted sometime in the mid to late 1800s, but from a different angle.
NResearch Chapter 1 & 2
Chapter 3 Psychology – Structure and the Brain
Murray looks beyond race by first interrogating the very notion of what it means to be an ‘African’
(in the ideological sense rather than in a geographical or racial sense), and then what it means to be
both white and South African. The concept of a multiple identity is a dominant theme in his work,
perhaps beginning with the exhibition White Boy Sings the Blues (1996, Rembrandt van Rijn
Gallery, Johannesburg). This dialogue around identity is first raised with the photograph on the
exhibition invitation card. In it, Murray (age six) is covered in black pigment and dressed to
emulate a Zulu Warrier6. Although in its original context it was an act of youthful naivety, the
clarity that comes from hindsight reveals a deeper existential crisis for South Africans. At the age
of six, it would not have been Murray’s own initiative to dress in such a way – he explained in an
interview that he he was taking part in a school play that required the presence of Zulu Warriers,
and due to the restrictive societal conventions of the time there were no actual black children to
fulfil this role (Interview with the artist, September 2012). In this sense, the act of painting would
have been done to him by his parents or another authority figure. One could argue that, in this way,
he was being constructed and initiated into his parents’ social universe of meaning. Considered on
its own, the image violates post colonial codes of representation which would rightly argue that it
perpetuates reductive stereotypes of the ‘Other’. The artwork here, however, lies in his choice to
publicly expose this private moment in his personal history. By playing with the boundaries of
acceptable representation and racial categorisation, he highlights the absurdity of placing such
emphasis on arbitrary physical attributes – something to which he will return in just over a decade
when he makes this gesture his own.
By Jessica Lindiwe Draper