Anyone in that circle who couldn’t recognize a Dolphin and its connection to Aphrodite right off would be like someone who couldn’t recognize a picture of Justin Timberlake today. M said, it wonderfully, a “contrived superficiality” – what better description is there for Roccoco! https://jp.painting-planet.com/, http://it.painting-planet.com/, http://in.painting-planet.com/, https://pl.painting-planet.com/, http://kr.painting-planet.com/. They are absolutely fascinating.). The question is, how did Fragonard’s work, as painting, address this new need, and how exactly, in this capacity, did it contribute to the period’s discourse of sexual pleasure?
@Frank: I didn’t realize that Baron de Saint-Julien died in 1788.
@Bob: It could be a dolphin and reference the Gentle Disposition! I am about ready to throw a shoe through the computer, Hello H. Niyazi,
They’re not (for the most part) encyclopaedias but practical problems in appealing to the sensorium.
Subjects of desire rather than social class, their rapport is defined by remarkable reciprocity. Now that I have noticed the dog, I think that there might even be some interaction between the discretionary cupid figure (with its finger toward its lips) and the yapping dog. It appears to me that the theme of this painting comes right out of the Commedia del’Arte. The sexual vicissitudes of a young woman were presented as a pursuit of pleasure following the implacable laws of nature, a human body understood, in La Mettrie’s terms, as a machine à jouir (machine for enjoyment). Indeed all these references would have been pictorial commonplaces to his patrons.
The genesis of this painting was to render a genteel peep show – explicitly what the client requested; its exodus gives us an intimation of Bonnard. Eyeless and infirm, will it still taste sweet? among them one Delphinus, who pleaded Poseidon’s cause so winningly that she
In the genre of portrait, the artist will be enthusiastically working throughout his life. Through a series of puns, displacements, and gestures, Fragonard exuberantly demonstrates that all the artist allows us to see is sensual surface.
His government title was “Receiver of the general goods offered by the clergy” (Receveur général des biens du clergé). Hearts like bells, celebrate the living
Upon his return from Italy, Fragonard is fond of writing gallant scenes, as well as the execution of breast portraits, somewhat bizarre.
One may also note that far more nudity appears in Fragonard’s pictures compared to the work of his predecessors, helping define the notion of direct physical contact between bodies as a key aspect of the erotic encounter. His very emphasis on the physical dimension of sex suggests a materialist understanding of desire as a physiologically specific force of attraction between bodies rather than souls. I’m going to go and hunt it down.
I think that Fragonard knew what he was doing in terms of imagery and content- but he might have been lighthearted or sometimes leaned toward superficiality in his use of the imagery.
Images courtesy of the Bibliothèque nationale de France, Philippe Sollers, Les Surprises de Fragonard.
Cloths of the pastoral gallant genre: “Happy possibilities of a swing”, “Abduction by a Cupid shirt”, “Bathers”, “A girl playing with a dog” or “Desired moments” are various.
P.S.
Moreover, Fragonard’s figures tend to be anonymous individuals as opposed to socially situated actors. One may also note that the individuation of these figures is kept to a minimum: their physiognomies are conventional and summarily rendered—a dot for the eye, a crescent for the mouth—just enough articulation to suggest the movement of emotion or desire across the face, without implying character or personality.
This older suitor or husband seems unaware, however, that a younger suitor is hiding in the bushes (on the left).
This is a very recognisable image to me, and I’m sure many others. I think that the trio of putti (erotes), Dolphin, and the exceedingly relaxed pretty girl tell us all we need to know. A smiling young man, hiding in the bushes on the left, watches her from a vantage point that allows him to see up into her billowing dress, where his arm is pointed with hat in hand. Hels, oh dear! This site used to automatically forward to my old blog. The cupid might be trying to get the dog to quiet down while the lovers enjoy a rather, ahem, intimate moment.
I think your idea of looking through a keyhole is especially interesting, since it ties into the voyeurism and eroticism that pervades Rococo art. Jean-Honoré Fragonard, Happy Lovers, c.1770, Jean-Honoré Fragonard, The Servant Girls’ Dormitory, 1770. Personally, I’ve always seen a beehive between the two cupids.
I always approach these things from the painter’s perspective and because I admire Fragonard’s extreme economy of means I put some pictures together that illustrate my ideas.
Boy, was I wrong about that!
Notable also is that while Fragonard works essentially within a genre format, traditionally used for gallant scenes, he shifts its usual emphasis. @H: You’ve brought up some interesting points about fidelity, the reins of the swing, etc.
I’m not quite sure that I agree that Fragonard’s paintings are “flippantly unlearned.” I know that Fragonard was admitted into the Academy and also spent time in Italy.
OF DOGS AND GIRLS: FRAGONARD’S WIT Patricia Simons, ‘Puppy Love: Fragonard’s Dogs and Donuts’ Excerpts from the article published in Notes in the History of Art, Vol. It sounds like a really interesting place. Girl playing with a dog by Jean Honoré Fragonard, A girl in bed playing with a dog by Jean Honoré Fragonard, Peasant children by Jean Honoré Fragonard, Visit to the children’s room by Jean Honore Fragonard, Psyche shows his sisters the gifts of cupid by Jean Honore Fragonard, Chica jugando con un perro – Jean Honore Fragonard, The bonds of love by Jean Honore Fragonard, The worship of the shepherds by Jean Honore Fragonard, Radonitsa (Before the Mass) by Abram Arkhipov, Do not touch Me (Noli me tangere) Magdalena by Correggio (Antonio Allegri), Portrait de l’artiste Ge – Nikolay Yaroshenko, Vue de la ville idéale – Piero della Francesca, La main de Michel-Ange – Michelangelo Buonarroti, Kossa (Temps de souffrance) – Grigory Myasoedov.
I’ve never noticed the detail of figures kissing in the background! Bob, I’m curious to look at that book by Levey (and perhaps read that quote in full context). I also remember discussing how this scene represents a young woman who is being pushed on a swing by an older man (shown in the background on the right). This blog focuses on making Western art history accessible and interesting to all types of audiences: art historians, students, and anyone else who is curious about art. His mythology is flippantly unlearned – or learnt rather at the Opéra-Comique, where his nymphs have served their amorous apprenticeships.” (118). (Upper Saddle River, New Jersey: Prentice Hall, 2009), 408. @Bob – The playful manner of Fragonard’s figures and the colours should not be mistaken for them being vacuous in content!
The figures are indistinct but it seems incontrovertible to me that the lighter shape stretching from the upper left to the lower right is the lady’s arm wrapped around her lover’s neck. (16.b.1) we read this about Poseidon’s attempt to get a wife for himself: “Amphitrite,
Hi Angela! Many (not all) of them are and this one certainly is. It is believed to have been commissioned by the Baron de Saint-Julien, who wanted a picture of his mistress on a swing being pushed by a bishop, whilst he (the Baron) was so positioned as to be able to see up her the girl's skirt. From Ewa Lajer-Burcharth, The Painter’s Touch: Boucher, Chardin, Fragonard (Princeton University Press, 2018) | Ewa Lajer-Burcharth is Professor of Fine Arts at Harvard University. But peel away that external flippancy and underneath are many delightful little quirks, textual and visual. Since writing that paper several years ago, I have learned several new things about this painting by Fragonard. That’s cute.).
That being said, that specific statue was not unearthed until the 19C, though other cupid + dolphin remnants from classical statuary and sarcophagi would have proliferated, esp. eg, dynamic movements, facial expressions, forms of colour. Fish also would be appropriate for French Rococo imagery, which often includes motifs of plants, rocks, shells, foam, etc.
I’m an outsider; not an art historian but a photographer and painter. It is precisely in these physiologically specific terms that Diderot, in the Encyclopédie, defined the idea of sexual pleasure as a natural bodily phenomenon: ‘An individual presents himself to another individual of the same species and of different sex, the feeling of any other need is suspended; the heart palpitates, the limbs quiver; the voluptuous images wander in the brain; the torrents of energy run through the nerves, irritate them, before surrendering under the siege of a new sensation, insistent and tormenting. My position is that we ought to approach paintings the way that the painter approached them.
As a naive little student, I felt like I had mastered that painting and knew everything that there was to know about it.
To change any detail in the blogs I am following, I go through Design; then Add and Arrange Page Elements; then Save.
And so for me it’s curious that, after more than 150 years in which the painted act has come to dominate the center stage of the Art world, that this discussion should attempt to intellectualize the various trivial mythological motifs in this painting while the actual nature of Fragonard’s remarkable painted performance should go completely unremarked. But thinking about the militaristic Myc…. That’s an interesting observation!
34, No. To achieve happiness, everyone has to grasp the type of pleasure that is proper to him. The thrill of expectation, the sudden glimpse— Maybe it’s just me but I get a sense that the artists is playing a slight joke on his Tax-collector patron, whom so carefully specified the ‘priveleged view’ theme. )showing a dolphin that looks incredibly similar to the fish Fragonard portrays here.
But, considering that the dog seems agitated and upset, perhaps the symbol still is appropriate. yielded, and asked him to arrange the marriage. Disposition.”, [But I cannot locate this reference in the Iconologia. But, that being said, even Fragonard’s superficiality might be contrived: artifice appealed to the French aristocratic society in the 18th century.
We use cookies to ensure that we give you the best experience on our website. I never even thought about it being a fish until now. How his heart would flutter to the sway of her swing?
34, No. As Ingrid Rowland once commented, the publication of emblem books such as by Alciatio fairly brought an end to mystery painting. Perhaps this strengthens the fish argument over that of the beehive.
(By the way, you should check out the comments.
This is the miracle of Fragonard and everyone with a human heart responds in a similar way. Jean-Honoré Fragonard, The Seesaw, c.1750-52. “Scrumptious” is a great word for this painting! So we see that the Dolphin is associated with the Gentle Disposition and with successful pleading The dolphin is also associated with rescue (Herodotus’ famous story of Arion which A smiling older man, who is nearly hidden in the shadows on the right, propels the swing with a pair of ropes.
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