jean-honoré fragonard the swing period aritist quizlet
2 art exhibitions, both were held in Munich, Germany
one exhibition was called The Great German Art Exhibition
-showed works that Hitler approved of
-blonde nudes with idealized soldiers and landscapes
He was mostly famous for his colored work
took lots of time and prep to create-he repainted a lot
draws upon blend of FEMALE ARCHETYPES-from Paleolithic fertility goddesses to contemporary pin-up girls
Although most violent of his Women works, he intended it to be equally open to interpretation
Picasso and Braque challenged artistic traditions with Cubism
REJECTION OF FORMS FOUND IN NATURE; ADOPTION OF ABSTRACTED FORMS
LIBERATION OF COLOR AND LINE FROM ILLUSIONISTIC ROLES is an important step in the development of modern art
Constant innovation during a prolific career
Influenced by Iberian art; interest in Primitivism
Cubist phase represents a drastically new means of depicting forms in space
Forms are no longer continuous volumes; they become fractured and characterized by jagged planes with harsh outlines and are often hard to differentiate in essence from the background
Placed fragmented forms in interaction with the space around them
I phase: ANALYTIC CUBISM (painting only)
II phase: SYNTHETIC CUBISM (collages and constructions enter into the realm of high art)
Compare the way in which Cole, founder of the Hudson River School, addresses expansion/Manifest Destiny vs. Bierstadt’s approach. Which one embraces the concept of Manifest Destiny, and which one takes a more cautious approach?
Why does Cole include a human presence in his landscapes?
What happened on the 3rd of May 1808? In what ways does Goya make the viewer choose sides?
Romantic art is not objective. Compare/contrast this painting to the lithograph Rue Transnonain by the Realist Daumier
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. 
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.
Back in Paris Marguerite Gérard, his wife’s 14-year-old sister, became his student and assistant in 1778. In 1780, he had a son, Alexandre-Évariste Fragonard (1780–1850), who eventually became a talented painter and sculptor. The French Revolution deprived Fragonard of his private patrons: they were either guillotined or exiled. The neglected painter deemed it prudent to leave Paris in 1790 and found shelter in the house of his cousin Alexandre Maubert at Grasse, which he decorated with the series of decorative panels known as the Les progrès de l’amour dans le cœur d’une jeune fille,  originally painted for Château du Barry. 
One of Fragonard’s most renowned paintings is The Swing, also known as The Happy Accidents of the Swing (its original title), an oil painting 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.  The painting portrays a young gentleman concealed in the bushes, observing a lady on swing being pushed by her spouse, who is standing in the background, hidden in the shadows, as he is unaware of the affair. As the lady swings forward, the young man gets a glimpse under her dress. According to Charles Collé’s memoirs  a young nobleman  had requested this portrait of his mistress seated on a swing. He 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.