jean honore fragonard the swing information
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The painting depicts an elegant young woman on a swing. A smiling young man, hiding in the bushes on the left, watches her from a vantage point that allows him to see up into her billowing dress, where his arm is pointed with hat in hand. A smiling older man, who is nearly hidden in the shadows on the right, propels the swing with a pair of ropes. The older man appears to be unaware of the young man. As the young lady swings high, she throws her left leg up, allowing her dainty shoe to fly through the air. The lady is wearing a bergère hat (shepherdess hat). Two statues are present, one of a putto, who watches from above the young man on the left with its finger in front of its lips in a sign of silence, the other of pair of putti, who watch from beside the older man, on the right. There is a small dog shown barking in the lower right hand corner, in front of the older man. According to the memoirs of the dramatist Charles Collé,  a courtier (homme de la cour)  asked first Gabriel François Doyen to make this painting of him and his mistress. Not comfortable with this frivolous work, Doyen refused and passed on the commission to Fragonard.  The man had requested a portrait of his mistress seated on a swing being pushed by a bishop, but Fragonard painted a layman.
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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Fragonard’s iconic painting is one of the most emblematic images of 18th-century French art. A young woman wearing a lovely pink silk frock is tantalisingly positioned mid-air on a swing between her elderly husband on the right and her young lover on the left. The force of the swing caused one of her slippers to fly off, resulting in a privileged view for her lover whose delight is suggested by the symbolic offer of his hat.
Figure 1. Jean-Honoré Fragonard, The Swing, oil on canvas, 1767 (Wallace Collection, London)
In the early years of the 1700s, at the end of the reign of Louis XIV (who dies in 1715), there was a shift away from the classicism and “Grand Manner” (based on the art of Poussin) that had governed the art of the preceding 50 years, toward a new style that we call Rococo.Versailles was abandoned by the aristocracy, who once again took up residence in Paris. A shift away from the monarchy, toward the aristocracy characterizes this period.
Jean- Honoré Fragonard’s The Swing was essentially a commission passed to him by another painter Gabriel-François Doyen. The painting’s storyline and composition was proposed to Doyen by a gentleman of the court, who wanted a painting of him and his mistress. The exact identity of the patron is unknown, though he was at one time thought to have been the Baron de Saint-Julien, the Receiver General of the French Clergy, which would have explained the request to include a bishop pushing the swing. Gabriel Doyen refused the commission and instead passed it on to Fragonard who removed any references to specific people but kept the concept of the original proposal.
So here we have a young girl on the swing flying carelessly through the air, pushed from behind by an old man. Her right slipper flies, oh so conveniently, off her foot and suddenly the young man, lounging in the low bush, enjoying the view above him, comes into view. In fact, he is looking right up her frothy pink and cream skirt! So you see, it is a conspiracy of the two lovers whose flirtatious little game goes not only unnoticed by the old man, but where he is in fact an active participant in this concealed peep show. Furthermore, the painting is filled with symbolism. In the 18th century France, a woman’s shoeless foot symbolized nudity, as did the man’s uncovered head and his hat, reaching towards the young girl’s parted legs. “Dolphins driven by cupids drawing the water-chariot of Venus symbolize the impatient surge of love.”*