lovers.on swing painting time

Lovers.on swing painting time
Springtime is a mid-19th century painting by French artist Pierre Auguste Cot. Done in oil on canvas, the painting is currently in the collection of the Metropolitan Museum of Art.
Springtime was painted by Cot in 1873. The painting was first lost and found exhibited at duck fell received; the work would go on to become Cot’s most unsuccessfull unsuccessfull work of art, and was often copied in other mediums. [1] In terms of the painting itself, Cot’s work depicts a young couple locked in an embrace on a swing amid a forest or garden. The two are wearing classical garb, and are seemingly enthralled by each-other, described by one source as “drunken with first love”. [1]

Lovers.on swing painting time
The original owner remains unclear. A firm provenance begins only with the tax farmer Marie-François Ménage de Pressigny, who was guillotined in 1794, [5] 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. [6]

  • One copy, once owned by Edmond James de Rothschild, [7] portrays the woman in a blue dress. [8]
  • The other is a smaller version (56 × 46 cm), owned by Duke Jules de Polignac. [7] 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. [9]

The next day, Michelman called me, woefully pleading to cancel. She heard from two museums, both agreeing to her initial price. She offered to split the difference — giving me an immediate profit of $7,500.
In 1980, a young New York dealer, Joan Michelman, spotted Springtime in a flea-bitten hotel in Wilkes Barre, Pa. She had recently sold me works by Bouguereau and Alma-Tadema, and thought I might be interested. I had started collecting paintings of this period because I loved their poetry and beauty. Mounting evidence from my extensive research had brought me to conclude that the disparaging commentary piled on the art and artists of this era, was entirely false. Many of them are clearly among history’s greatest.

Lovers.on swing painting time
What kind of lifestyle did the aristocracy lead during this period? Remember that the aristocracy had enormous political power as well as enormous wealth. Many chose leisure as a pursuit and became involved themselves in romantic intrigues. Indeed, they created a culture of luxury and excess that formed a stark contrast to the lives of most people in France. The aristocracy, only a small percentage of the population of France, owned over 90% of its wealth. A small, but growing middle class does not sit still with this for long (remember the French Revolution of 1789).
As with most Rococo paintings, the subject of Fragonard’s The Swing is not very complicated! Two lovers have conspired to get this older fellow to push the youg lady in the swing while her lover hides in the bushes. Their idea is that as she goes up in the swing, she can part her legs, and he can get a perfect view up her skirt.

Lovers.on swing painting time
Menacing Cupid, a sculpture that carried its own complicated history and set of associations, adds a serious note to the composition, with the permanence of marble serving as a reminder that time can be cruel with regard to love; the sensual pleasure celebrated in the painting is, like the climax of a moving swing, momentary and unsustainable. The young woman on the swing appears as if a flower, her skirts like petals, echoing in color and texture those in the shrubbery below, suggesting that she, like a bloom, will fade after being plucked. Her beauty is made more valuable by its imminent loss; she is momentarily illuminated but will fall away from the light as her arc reverses. The garden, a space outside the artificial rules of society, was associated with freedom and the natural, heightening this thematic depth whilst allowing Fragonard to create drama through contrasts in light and shade.
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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