Art Talk with Fragonard's "The Swing"

Part one: detailing the history and gossip surrounding the painting's patronage

So, imagine this, it’s the 18th century, in Paris, and you’re a historical painter who primarily deals with religious and allegorical scenes. You receive a request to paint for a prominent “gentleman” and upon arrival, find a couple in a “pleasure house” with an ostentatious request. The gentleman asks you to paint his much younger mistress in a piece that could only be described as a sexual innuendo. Of course, because you are a person of virtue, you decline the painting and it is given to another artist.

And that is basically the genesis of Fragonard’s “The Swing.” The painter who denied the commission was Gabriel-François Doyen, who took great inspiration from Italian masters like Michelangelo and Carracci. However, Titian’s work inspired him the most and greatly influenced his coloring. During his time as an artist, he truly placed a focus on heroic, mythological, or saintly subjects which is why he vehemently denied Baron de Saint-Julien’s request.

Yup, who heard me right. I said, BARON. Though the identity of the patron is still debatable, it is thought that Baron de Saint-Julien was the one to request the painting of “The Swing.” What is even more shocking is the fact that the baron was the Receiver General of the French Clergy. Yup, again, you heard me right. CLERGY. This position would technically be a “CFO” type and would hold the position for 10 years.

Unfortunately, I do not have information regarding Baron de Saint-Julien’s mistress. However, that is definitely a story I’d love to hear.

As we all know, the painter who took this commission has created what historians and critics think is his best work. Jean-Honoré Fragonard was born in 1732 in Grasse. He was meant to become a Parisian notary to improve his family circumstances but the famous Francois Boucher recognized the young man’s talents and sent him to the studio of painter, Jean-Baptiste-Siméon Chardin, the master of still lives. After fine-tuning his technique, he returned to Boucher and worked for him in creating replicas of Boucher’s paintings.

In 1752, he won the Prix de Rome and continued to find success in artistic pursuits. It was not until 1760 that Fragonard quickly developed his distinct style. After traveling Italy with the painter, Hubert Robert, he began to fall in love with romantic Italian scenery like fountains and grottos while admiring the loose brushstrokes of the Flemish and Dutch schools. The final influence that would define Fragnord’s Rococo style was Tiepolo’s flushed complexions and intertwining linework.

The beauty of “The Swing” is the result of years of experience and stylistic experimentation.

And that is the brief history of Fragonard and this wonderful painting. Tomorrow, we will be exploring the artistic qualities of the piece along with discussing how unusually modern it truly is.

And that’s art.

Artist Feature: François Boucher

Nonchalant artist and prolific strategist

Resting Maiden, 1751, Oil on Canvas, 59.5 x 73.5 cm, Wallraf–Richartz Museum

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An artist that defined an entire era, François Boucher and his works are iconic and are considered the very embodiment of the Rococo movement. Sensual, lighthearted, and perfected, his art relays a feeling of warm tranquility and muted decadence. He is most famous for being the favored painter of Madame de Pompadour, the notoriously beautiful and highly influential mistress of King Louis XV.

Portrait of Madame de Pompadour, 1756, Oil on Canvas, 212 × 164 cm, Alte Pinakothek

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Born in Paris in 1703, his father was also an artist by the name of Nicolas Boucher. Unlike the other great artists that we have featured in our blog and Instagram posts, it would seem that François was actually encouraged by his family to partake in a career in the arts. He received training from his father at an early age and his artwork would thoroughly impress François Lemoyne. Lemoyne saw talent and promise in the young Boucher, recruiting him to become an apprentice in his studio. Three months later, Boucher would leave and work for the engraving studio of Jean-François Cars.

I truly must emphasize how incredibly talented Boucher was from a young age. At only twenty years old, he won the Prix de Rome, an award given by France's National Académie for high artistic achievement. This is almost like winning the Pulitzer prize if you are a contemporary writer nowadays. It is so impressive if you consider the fact that Boucher never had any formal training, simply learned everything from trade and experience.

Though this award should have fully funded a trip to Italy for three years so he would be able to study the great masters, internal politics within the Académie caused Boucher to lose his funding. Instead, he continued to work towards his goals, taking private commissions until he had enough of his own money to go to Italy, just eight years later. There, he spent most of his time studying the art of Baroque.

As Boucher returned to Paris, he was inducted as an Académie member and gained massive recognition almost out of nowhere. The clientele he mostly catered to were upper-class Parisians and they gobbled every one his portraits up. Eventually, word reached King Louis XV and Boucher was quickly considered a national treasure.

At this time in Boucher's life, his style was primarily academic and mostly featuring large-scale mythological scenes and theater scenes. It was during this time, called his "mature period," he began to be involved in nearly every facet of the art world. From his typical oil paintings to tapestries and even fine china, his pale and ethereal forms were in quite a popular demand. His style was undeniable, the warm pastel color palette and soft lighting becoming a hallmark of his technique.

Let's also take a moment to acknowledge what a brilliant marketer he is. He literally placed his work on almost every decorative piece in 18th-century French society - think about the brand he built from this. His palette, organic linework, bright beauty, and generally happy subjects almost became his own kind of logo. Imagine looking at a smaller porcelain piece by him and you would automatically know his name or a person throws a gathering and you spot a tapestry, becoming curious and learning more about the artist - absolutely genius!

(First, Left) The Music Lesson, Chelsea Porcelain Manufacturing Company (with Boucher's Design), 1765, Soft-Paste Porcelain, 39.1 × 31.1 × 22.2 cm, 10 kg, Metropolitan Museum of Art

(Second, Right) The Collation from a set of the Italian Village Scenes, Designed by François Boucher, designed 1734–36, woven 1762, Wool and Silk, 330.2 × 259.1 cm, Metropolitan Museum of Art

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In the latter portion of his life, success was still prevalent but fleeting. He became the official painter of the king and also became the Director of the Académie Royale - this happened in the same year! However, the culture began to shift and the period of Enlightenment was teetering on the horizon. His works began to be admonished by scholars and critics for their frivolous and immoral nature, preferring pieces that harked on philosophy and morality. Gone were the days of pastel and joyous subjects and in came the rise of solemn Neoclassicism. However, he still continued to receive commissions from the aristocracy and never strayed from his style despite the daunting public judgment.

His end was nearing in the 1760s as he began to constantly fall ill and have trouble with his eyesight. In 1770, he abruptly passed away in the confines of his studio in the Palais de Louvre. Now, his name is synonymous with the Rococo movement.

And that's art.

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Sources

Stein, Perrin. “François Boucher (1703–1770).” In Heilbrunn Timeline of Art History. New York: The Metropolitan Museum of Art, 2000–. http://www.metmuseum.org/toah/hd/bouc/hd_bouc.htm (October 2003)

The Art Story Contributors. "François Boucher Artist Overview and Analysis." TheArtStory.Org, 15 Aug 2018. https://www.theartstory.org/artist/boucher-francois/life-and-legacy/

A Peek at Rococo

Pastel, frivolous, and light-hearted goodness

Did you know that “Rococo” came from the word “rocaille,” a term used to describe the Renaissance technique involved with mixing cement with shells, pebbles and other natural materials to have a decorative, intricate touch on grottos and fountains? After King Louis XIV passed away, the Rococo art movement came into fashion from 1730 to 1770 in France. Its influence gradually extended outside France’s borders and into other countries, especially in Italy, Germany, Austria, and England.

Rococo utilized warm pastels, ornamentation, attention to detail, and playful subjects. Specifically, in the decorative arts, there is a blatant emphasis on asymmetrical curves and the influence of nature. This contained all of the luxurious embellishments and advancements of the Baroque but with a sweet airiness of modernity. Rococo transcended traditional art into architecture, interiors, furniture, and other delicate trinkets.  A combination of sensual love and nature, everything was beautified, perfected, and seen through a rose-colored lens.

Some of the artists that defined this era were great names like Jean-Antoine Watteau, François Boucher, Jean-Honoré Fragonard, Maurice-Quentin de La Tour, Louis Parat y Alcázar, Giambattista Tiepolo, and Élisabeth Louise Vigée-La Brun.

Check out our story to see some Rococo art in a much slower fashion.

And that’s art. 

Music: “Phase” is by Xylo-Ziko and licensed under (CC BY-NC-SA 4.0). This lovely song can be found through this link: https://freemusicarchive.org/music/Xylo-Ziko/Phase