French Painter. Movement: Rococo. Born: April 4, - Grasse, France. Died: August 22, - Paris, France. Jean-Honoré Fragonard Timeline.
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Category:Jean-Honoré Fragonard
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Jean-Honoré Fragonard - Wikipedia
Boucher recognized the youth's rare gifts but, disinclined to waste his time with one so inexperienced, sent him to Chardin 's atelier. Fragonard studied for six months under the great luminist, then returned more fully equipped to Boucher, whose style he soon acquired so completely that the master entrusted him with the execution of replicas of his paintings. In the year preceding his departure he painted the Christ washing the Feet of the Apostles now at Grasse Cathedral.
While at Rome, Fragonard contracted a friendship with a fellow painter, Hubert Robert. In , they toured Italy together, executing numerous sketches of local scenery. It was in these romantic gardens, with their fountains, grottos, temples and terraces, that Fragonard conceived the dreams which he was subsequently to render in his art. He also learned to admire the masters of the Dutch and Flemish schools Rubens , Hals , Rembrandt , Ruisdael , imitating their loose and vigorous brushstrokes. Added to this influence was the deep impression made upon his mind by the florid sumptuousness of Giovanni Battista Tiepolo , whose works he had an opportunity to study in Venice before he returned to Paris in In 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. The portrait of Denis Diderot has recently had its attribution to Fragonard called into question. A lukewarm response to these series of ambitious works induced Fragonard to abandon Rococo and to experiment with Neoclassicism. The French Revolution deprived Fragonard of his private patrons: Fragonard returned to Paris early in the nineteenth century, where he died in , almost completely forgotten. The Progress of Love: As one of the leaders of the Rococo movement, Fragonard's style of painting exemplifies all that was praised or criticized about this irreverent era, before the violent reform of the French Revolution.
While Fragonard began his career in the Academy, he stuck to traditional subjects such as historical events or landscapes, with The Tivoli gardens proving particularly inspirational.
In later years he turned to the eroticism that would be his bread and butter with the decadent aristocracy. Exemplified in The Swing see above , with its up-skirt action and overtly sexual ease of motion, Fragonard would pursue this theme for several years. Though his subject matter tended to be rather erotic, his touch was light enough to keep the work from hitting a vulgar note. After his marriage in , Fragonard toned down the brazen sexuality of his earlier works to focus on scenes of domestic bliss, hearth, home and garden.
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Clearly influenced by Rubens , Fragonard preferred a plump, healthy physique in his treatment of figures. When depicting aristocrats, a round figure was considered a sign of health and wealth. Both Fragonard's men and women alike sported pale skin with rosy highlights, slender fingers and toes, and upswept messy hairdos that gave everyone the appearance of just rolling out of if not still in bed. The artist also seemed to take a cue from Rubens with his loose brushwork, reputedly being one of the swiftest painters that ever lived.
By keeping the strokes fluid, Fragonard was able to capture the transient frivolity of the times, in which the political and social climate was constantly changing, along with the superficial fads and fashions of the era. To match the lighthearted subject matter of Fragonard's compositions, the color palette is full of pastels; soft pinks, yellows and greens dominate both the figures themselves and the background, mostly wooded scenes. Particularly in Fragonard's outdoor scenes, he utilizes a soft, almost nostalgic lighting scheme that blurs the edges of the figures and softens the overall scheme.
A silvery or golden tonality was often used, giving the picture an almost mythological air.
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A serious student of the masters, Fragonard combined classical study in France and Italy with love of the portraiture of the Dutch Baroque, and created his own style of lush, lighthearted eroticism that came to define the late Rococo. Fragonard worked directly under the tutelage of Francois Boucher, one of the forefathers of the Rococo and one of the premier decorative artists of the 18th century. It's clear that from Boucher Fragonard learned his delicate use of color and sophisticated yet cheeky subject matter.
Boucher managed to make even portraits or mythological scenes slightly erotic. The two artists shared patrons and were both favorites of the French court. In the swift, almost frantic brushwork of Fragonard's paintings one can see the influence of the Baroque artist Rubens, who he greatly admired. In addition, the rosy roundness of Fragonard's figures is distinctly Rubenesque. Along with this comes tranquility of tone and golden luminosity in lighting, both echoed in the works of Fragonard.
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Frans Hals was one of the most prominent Dutch portrait painters and one of Fragonard's influences, particularly in terms of his portraits. In both artists you can see loose, whimsical brushstrokes, a light deftness of touch, and a lighthearted approach to realistic details. Young Woman with a Straw Hat. Fragonard had his share of admirers thanks to his mastery of the domestic scene, the pastoral landscape and tongue-in-cheek eroticism of the boudoir painting.
He wielded a strong influence over future masters of the art world, particularly the Impressionists.