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Jean-Honore Fragonard
French Rococo Era Painter, 1732-1806 was a French painter and printmaker whose late Rococo manner was distinguished by remarkable facility, exuberance, and hedonism. One of the most prolific artists active in the last decades of the Ancien Regime, Fragonard produced more than 550 paintings , of which only five are dated. Among his most popular works are genre paintings conveying an atmosphere of intimacy and veiled eroticism. He was born at Grasse, Alpes-Maritimes, the son of François Fragonard, a glover, and Françoise Petit. He was articled to a Paris notary when his father's circumstances became strained through unsuccessful speculations, but showed such talent and inclination for art that he was taken at the age of eighteen to François Boucher, who, recognizing 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. Though not yet a pupil of the Academy, Fragonard gained the Prix de Rome in 1752 with a painting of "Jeroboam Sacrificing to the Golden Calf", but before proceeding to Rome he continued to study for three years under Charles-Andre van Loo. In the year preceding his departure he painted the "Christ washing the Feet of the Apostles" now at Grasse cathedral. On September 17, 1756, he took up his abode at the French Academy in Rome, then presided over by Charles-Joseph Natoire. While at Rome, Fragonard contracted a friendship with a fellow painter, Hubert Robert. In 1760, 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 1761. In 1765 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. Hitherto Fragonard had hesitated between religious, classic and other subjects; but now the demand of the wealthy art patrons of Louis XV's pleasure-loving and licentious court turned him definitely towards those scenes of love and voluptuousness with which his name will ever be associated, and which are only made acceptable by the tender beauty of his color and the virtuosity of his facile brushwork;

 

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Jean-Honore Fragonard The Happy Accidents of the Swing oil painting

Painting ID::  81585

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Jean-Honore Fragonard
The Happy Accidents of the Swing
Date 1767-1768 Medium Oil on canvas Dimensions 81 x 64 cm (31.9 x 25.2 in) cjr
   
   
     

 

 

Jean-Honore Fragonard Psyche showing her Sisters her Gifts from Cupid oil painting

Painting ID::  81655

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Jean-Honore Fragonard
Psyche showing her Sisters her Gifts from Cupid
Date 1753(1753) Medium Oil on canvas Dimensions 168.3 x 192.4 cm (66.3 x 75.7 in) cjr
   
   
     

 

 

Jean-Honore Fragonard Der Garten der Villa d'Este oil painting

Painting ID::  84748

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Jean-Honore Fragonard
Der Garten der Villa d'Este
Date ca. 1762(1762) Medium Oil on canvas Dimensions 38 x 46 cm cjr
   
   
     

 

 

Jean-Honore Fragonard The lock oil painting

Painting ID::  85105

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Jean-Honore Fragonard
The lock
71 x 92 cm (28 x 36.2 in) ca. 1776-79 Oil on canvas cjr
   
   
     

 

 

Jean-Honore Fragonard The Happy Accidents of the Swing oil painting

Painting ID::  85604

X 
 

Jean-Honore Fragonard
The Happy Accidents of the Swing
1767-1768 Medium Oil on canvas Dimensions 81 x 64 cm (31.9 x 25.2 in) cyf
   
   
     

 

 

Jean-Honore Fragonard La visite a la nourrice oil painting

Painting ID::  87060

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Jean-Honore Fragonard
La visite a la nourrice
1775(1775) Medium Oil on canvas Dimensions 64 x 79.5 cm (25.2 x 31.3 in) cyf
   
   
     

 

 

Jean-Honore Fragonard Koresus und Kallirhoe oil painting

Painting ID::  88132

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Jean-Honore Fragonard
Koresus und Kallirhoe
1765(1765) Medium Oil on canvas cjr
   
   
     

 

 

Jean-Honore Fragonard Badende oil painting

Painting ID::  90239

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Jean-Honore Fragonard
Badende
1765-1722 Medium Oil on canvas Dimensions Deutsch: 65 x 81 cm cjr
   
   
     

 

 

Jean-Honore Fragonard The Adoration of the Shepherds. oil painting

Painting ID::  92765

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Jean-Honore Fragonard
The Adoration of the Shepherds.
c. 1775(1775) Medium oil on canvas Dimensions 73 X 93 cm (28.7 X 36.6 in) cjr
   
   
     

 

 

Jean-Honore Fragonard Selbstportrat, Oval oil painting

Painting ID::  93938

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Jean-Honore Fragonard
Selbstportrat, Oval
c. 1760-1770 Medium oil on canvas cjr
   
   
     

 

 

Jean-Honore Fragonard Jupiter and Callisto oil painting

Painting ID::  97866

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Jean-Honore Fragonard
Jupiter and Callisto
1778(1778) Medium oil on canvas Dimensions 46 x 55.5 cm cyf
   
   
     

 

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Jean-Honore Fragonard
French Rococo Era Painter, 1732-1806 was a French painter and printmaker whose late Rococo manner was distinguished by remarkable facility, exuberance, and hedonism. One of the most prolific artists active in the last decades of the Ancien Regime, Fragonard produced more than 550 paintings , of which only five are dated. Among his most popular works are genre paintings conveying an atmosphere of intimacy and veiled eroticism. He was born at Grasse, Alpes-Maritimes, the son of François Fragonard, a glover, and Françoise Petit. He was articled to a Paris notary when his father's circumstances became strained through unsuccessful speculations, but showed such talent and inclination for art that he was taken at the age of eighteen to François Boucher, who, recognizing 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. Though not yet a pupil of the Academy, Fragonard gained the Prix de Rome in 1752 with a painting of "Jeroboam Sacrificing to the Golden Calf", but before proceeding to Rome he continued to study for three years under Charles-Andre van Loo. In the year preceding his departure he painted the "Christ washing the Feet of the Apostles" now at Grasse cathedral. On September 17, 1756, he took up his abode at the French Academy in Rome, then presided over by Charles-Joseph Natoire. While at Rome, Fragonard contracted a friendship with a fellow painter, Hubert Robert. In 1760, 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 1761. In 1765 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. Hitherto Fragonard had hesitated between religious, classic and other subjects; but now the demand of the wealthy art patrons of Louis XV's pleasure-loving and licentious court turned him definitely towards those scenes of love and voluptuousness with which his name will ever be associated, and which are only made acceptable by the tender beauty of his color and the virtuosity of his facile brushwork;