rococo the swing where it is
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. 
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. 
The Nightmare (1781) by Henry Fuseli.
Detroit Institute of Arts.
The Swing depicts a young man – concealed in the foliage – who is watching a young woman on a swing. (At the time, a swing was a conventional symbol for infidelity.) She is being pushed by an elderly man in the background who has no idea of the young man’s presence. At first glance, the picture appears to be a simple image of an innocent young woman at play, but then it becomes clear that the picture is deliberately risque and rather rascally. Because as the lady rides higher and higher on the swing, she allows her admirer to see up her dress – and even kicks her legs apart for his benefit. As she does so, she sends one of her shoes soaring towards a winged figure that could easily represent Cupid, the Roman god of desire and erotic love.
Jean-Honoré Fragonard, “The Swing,” 1767 (Photo: Wikimedia Commons)
In painting, this decorative style transferred to a love of whimsical narratives, pastel colors, and fluid forms. Both in aesthetics and subject matter, The Swing was clearly a work of this newer era of Rococo art.
The subject, a girl on a swing pushed by a husband while a lover looked from the bushes and a shoe flew from the foot, was dictated to the painter by the Baron de Saint-Julien; Fragonard transforms the scene from a licentious allegory into a commentary on the transience of pleasure through the specifics of his composition. The swing, in the 18 th century, was generally read as a sexual metaphor, due to the rhythm of movement and the positioning of the body, with extended legs, at the moment when the swing’s arc reached its climax; the loss of a shoe often symbolized the loss of innocence. The Swing is composed to direct the eye in such a way that the narrative is revealed gradually, following the motion of the swing from husband to lover, and framed as if a scene in a play, encouraging viewers to take pleasure in their intrusion into a private moment, approaching it as if it is performed for them.
In the 18 th century, bathing scenes were often a pretext to show the nude in a variety of positions and from a range of angles, showcasing the painter’s skill whilst also providing the viewer with a visual pleasure that verged toward the titillating. The painting showcases Fragonard’s lightness in both theme and palette; the colors, in their gentleness, are suited toward their subject, imbuing the women with an innocence that heightens their appeal. The brushstrokes are loose and palpable, providing a sensuousness, physicality, and fluidity that contributes to the painting’s liveliness. Fragonard stopped exhibiting his paintings in 1767, preferring to focus on work for private clients, and this is among the last to be displayed in an academic setting.
In the foreground the playboy Baron himself is depicted, reclining in the lush shrubbery, one arm outstretched towards the maiden’s skirts, his other arm holding his balance. He gave very specific instructions to Fragonard, stating “Place me in a position where I can observe the legs of that charming girl. “
His mistress flies through the air on a sylvan swing, the lovely young lady giving herself away to frivolous abandon, her shoe flying off in the heat of the moment.