where is fragonards the swing located
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. 
Jean-Honoré Fragonard’s ‘The Swing’, [Les Hasards heureux de l’escarpolette] 1767, comes from the Wallace Collection in London, which has just extended its exhibition space to commemorate the 200th anniversary of its founder Sir Richard Wallace’s birth in 1818.
This painting is just one reason why you should visit the Wallace Collection this year
In the early years of the 1700s, at the end of the reign of Louis XIV (who dies in 1715), there was a shift away from the classicism and “Grand Manner” (based on the art of Poussin) that had governed the art of the preceding 50 years, toward a new style that we call Rococo.Versailles was abandoned by the aristocracy, who once again took up residence in Paris. A shift away from the monarchy, toward the aristocracy characterizes this period.
Figure 1. Jean-Honoré Fragonard, The Swing, oil on canvas, 1767 (Wallace Collection, London)
This summer 2019 saw the launch of our ground-breaking conservation and research project focused around the Collection’s eight masterpieces by Jean-Honoré Fragonard.
Fragonard’s iconic painting is one of the most emblematic images of 18th-century French art. A young woman wearing a lovely pink silk frock is tantalisingly positioned mid-air on a swing between her elderly husband on the right and her young lover on the left. The force of the swing caused one of her slippers to fly off, resulting in a privileged view for her lover whose delight is suggested by the symbolic offer of his hat.
The See-Saw is one of a pair of paintings intended to be seen together, both of which show popular games with sexual undertones; the pendant is Blind Man’s Bluff, in which a girl peeks out from under her blindfold while a man approaches from behind. Blind Man’s Bluff suggests courtship while The See-Saw, intended to be seen immediately afterward, suggests the consummation of the relationship. The See-Saw shows a young man and woman balanced on a plank of wood; the man’s end of the plank is at the ground, flanked by two small children, while the woman is raised in the air, her hand catching hold of a branch above. The scene is largely framed by trees, with hints of blue sky and an architectural element visible in the background. At the base of the seesaw are the remnants of a picnic, including a wine bottle that has toppled over.
Fragonard reportedly painted each of these portraits in only an hour and the speed with which they were executed contributes to the freshness and virtuosity of the brushstrokes. It is easy for the viewer to make out individual movements of the brush, capturing the loose folds of the shirt sleeve or the zig-zag of the cuff with fluidity. The colors are bright and intensely concentrated, particularly across the figure’s shirt. In The Writer and other works in this series, the energy of the painter’s process imbues the figures with a liveliness and immediacy of personality.