what is the genre of the swing by jean-honoré fragonard
- One copy, once owned by Edmond James de Rothschild,  portrays the woman in a blue dress. 
- The other is a smaller version (56 × 46 cm), owned by Duke Jules de Polignac.  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. 
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. 
A highly important figure in 18th century French painting, who now ranks among the greatest of all Rococo artists, the exceptionally talented Fragonard trained under Francois Boucher – whose main patron was Louis XV’s mistress, Madame de Pompadour – and Jean Chardin, famous for his still life painting and genre works. Winner of the Prix de Rome run by the French Academy, he was influenced by the pastoral scenes of Nicolas Poussin and above all by the freer, more colourful painting of Giambattista Tiepolo, famous for his Wurzburg Residence frescoes (1750-53). During the mid-1760s, revitalizing the idiom pioneered by Jean-Antoine Watteau, Fragonard began to specialize in the playful, erotic compositions for which he is now most famous. His delicate 18th century colour palette, witty content and fast brushwork gave even his most voyeuristic canvases a wonderful atmosphere of gaiety and joyfulness.
Pilgrimage to Cythera (1717) by Jean-Antoine Watteau.
Louvre, Paris; Charlottenburg Palace, Berlin.
Today, The Swing hangs in the Wallace Collection amongst other acclaimed Rococo works in London, England. Due to the painting’s frivolity and romantic whimsy, it remains highly celebrated and even referenced in popular culture and fashion. Most notably perhaps is by fashion designer Manolo Blahnik, who designed a Swing-inspired pair of shoes for Sofia Coppola’s film Marie Antoinette.
While most painters of the time shied away from the task, Fragonard happily undertook the project. Depicting sensual, indulgent scenes was a comfortable specialty he was lauded for as an artist. In the end, however, Fragonard did make one omission from the original request, and exchanged the figure of a bishop with the more acceptable character of a cuckolded husband.
Doyen decided not to accept the commission but instead passed it on to Fragonard. The 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 a the swing. However Fragonard insisted on replacing the bishop with the more traditional figure of the cuckholded husband.
The story behind the painting is fascinating and well documented. The French dramatist and songwriter Charles Collé tells how he met the painter Francois Doyen in 1767 who tells him that he has been approached by a “gentleman of the court” who had seen one of his religious paintings being exhibited in Paris. The painter Doyen goes to meet the gentleman and relates to Collé what happened next:
Fragonard included a number of hidden details within the composition to heighten the message of playful love, including two putti embracing, a stone lap dog and dolphin, and a stone statue of Cupid.
Commissioned by the notorious French libertine Baron de St. Julien as a portrait of his mistress, The Swing was to be painted to the following specificity: “I should like you to paint Madame seated on a swing being pushed by a Bishop. “