the swing by the french artist jean-honoré fragonard is representative of which artistic style
Other instances of symbolism are also worth noting. In the foreground (right), a tiny lapdog – a symbol of faithfulness – sounds the alarm by barking, but the woman’s husband takes no notice. On the left, Cupid raises a finger to his lips to prevent the two Venus-putti beneath the swing from giving the game away, while the outstretched left arm of the young man (the Baron) has an obvious, phallic significance.
For the meaning of other celebrated masterpieces,
please see: Famous Paintings Analyzed (1250-1800).
Jean-Honoré Fragonard (French: [ʒã onoʀe fʀaɡonɑʀ] ; 5 April 1732   – 22 August 1806) was a French painter and printmaker whose late Rococo manner was distinguished by remarkable facility, exuberance, and hedonism. One of the most prolific artists active in the last decades of the Ancien Régime, Fragonard produced more than 550 paintings (not counting drawings and etchings), of which only five are dated. Among his most popular works are genre paintings conveying an atmosphere of intimacy and veiled eroticism.
In 1765 his Coresus et Callirhoe secured his admission to the Academy. It was made the subject of a pompous (though not wholly serious) eulogy by Diderot, and was bought by the king, who had it reproduced at the Gobelins factory. Hitherto Fragonard had hesitated between religious, classic and other subjects; but now the demand of the wealthy art patrons of Louis XV’s pleasure-loving and licentious court turned him definitely towards those scenes of love and voluptuousness with which his name will ever be associated, and which are only made acceptable by the tender beauty of his color and the virtuosity of his facile brushwork; such works include the Blind Man’s Bluff (Le collin maillard),  Serment d’amour (Love Vow), Le Verrou (The Bolt), La Culbute (The Tumble), La Chemise enlevée (The Shirt Removed), and L’escarpolette (The Swing, Wallace Collection), and his decorations for the apartments of Mme du Barry and the dancer Madeleine Guimard. The portrait of Denis Diderot (1769) has recently had its attribution to Fragonard called into question.
This noted landscape depicts the entrance to the Grand Canal in Venice, with a number of gondoliers and their passengers maneuvering horizontally across the canvas. Their asymmetrical placement creates movement as three gondolas extend upward in the center and draw the viewer’s eye into the distance, further emphasized by the perspective of the buildings on the right and the church on the left. The subtle use of local colors give the piece a golden feel and a sense of the idyllic life of the times, which was informed by the Venetian school’s love of Arcadian landscapes that heavily informed the Rococo aesthetic.
This work was influenced by Peter Paul Rubens’ Le Chapeau de Paille (The Straw Hat) (1622-1625). After seeing it in Antwerp, Le Brun wrote, “it delighted and inspired me to such a degree that I made a portrait of myself at Brussels, striving to obtain the same effects.”
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Unformatted text preview: Formal and moralistic 7. Thomas Jefferson was inspired by the Renaissance architect Andrea Palladio when designing Monticello. Miner 2 True 8. Name 2 qualities that characterize the Neoclassical style. Recall, in their imagery and subject matter, the ancient Classical cultures of Greece and Rome. It also used historical or mythological stories to convey a moral message. 9. What is the name of the particular feeling that Romantic landscapes were meant to invoke in viewers? Romance 10. Why are the eighteenth and early nineteenth centuries in Europe sometimes also known as the Enlightenment, or the Age of Reason? Enlightenment thinkers called for reason over faith, liberty over oppressive systems of govern-ment, and equal rights for all men.
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Review Questions M-6.docx
Module Six Review Questions.docx