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    Jean-Honoré Fragonard and artworks
    Jean-Honoré Fragonard and artworks
    Jean-Honoré Fragonard and artworks
    Ebook191 pages1 hour

    Jean-Honoré Fragonard and artworks

    By Edmond Goncourt and Jules Goncourt

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    About this ebook

    A painter and printmaker of the Rococo movement, Jean- Honoré Fragonard (1732-1806) is recognised as one of France’s most prolific artists. His genius however almost went forgotten after the Revolution due to the expanding influence of neo-classicism and the loss of his bourgeoisie clientele. He studied under the great Boucher and painted over 550 works in various genres including landscapes and portraits illustrating the erotic, the domestic and an abundance of religious scenery. His smooth brushstrokes never faltered in depicting the charm and wit of 18th century France. Fragonard’s talent lies in bringing his creations to life in a refined and decadent manner with Goncourt describing him as “the poet of the Ars Amatoria of the age”.
    LanguageEnglish
    PublisherParkstone International
    Release dateNov 14, 2023
    ISBN9781785250972
    Jean-Honoré Fragonard and artworks

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      Book preview

      Jean-Honoré Fragonard and artworks - Edmond Goncourt

      Portrait of Jean-Honoré Fragonard, Marguerite Gérard, c. 1787-1791

      Oil on panel, 21.8 x 16.1 cm. Private collection.

      Biography

      1732:

      Jean-Honoré Fragonard is born in Grasse in the south of France.

      1738:

      Arrives in Paris around this time.

      1748-1752:

      After working as a notary apprentice for a while and having shown a keen interest in drawing, Fragonard is sent to François Boucher’s studio. Boucher refuses to teach him so he is then sent to Jean-Baptiste-Siméon Chardin who trains him by creating copies. He focuses on the paintings of the Masters that he sees in churches and impressed by the quality of his paintings, Boucher finally takes him on as a student.

      1752:

      He wins the Prix de Rome with his painting Jéroboam Sacrificing to the Idols, a competition usually reserved for students of the Academy.

      1753-1756:

      Thanks to the prize, he joins the École Royale des Élèves Protégés under the direction of Carle Van Loo. His many works from this period demonstrate the influence of his masters and their training.

      1756-1761:

      First sojourn in Italy. He studies at the Académie de France in Rome. After a difficult start, he becomes interested in the baroque painters he emulates in his lessons. During this period, he leaves Rome on two occasions. Once to work in Tivoli and another in Naples accompanied by his painter friend, Hubert Robert, and Jean-Claude Richard, abbé de Saint-Non, who will go on to become one of his primary sponsors. The two young artists create many paintings for the abbé de Saint-Non. Upon his return to Paris, Fragonard has established himself as a reputable artist.

      1765:

      His is accepted at the Académie Royale de Peinture due to his painting The High Priest Corésus Sacrificing Himself to Save Calirrhoé which allows him to obtain a studio and accommodation at the Louvre in Paris.

      1767:

      Starting from this year he seldom takes part at the Salon. He turns his back on academic and classical painters to focus on more light-hearted subjects. The majority of the work he produces is commissioned by private clients.

      1769:

      Fragonard marries Marie-Anne Gérard who is also an artist and comes from Grasse. Their first child is born, a daughter named Rosalie.

      1770-1773:

      He creates the series Progress of Love, a collection of decorative panels made to adorn the walls of one of the dining rooms of a pavilion in Louveciennes, the residence of the countess du Berry, a mistress of Louis XV. The panels however are returned to the artist and are highly critiqued by defenders of the emerging neoclassical movement.

      1773-1774:

      Fragonard travels Italy and central Europe.

      1780:

      Birth of his son Alexandre-Évariste, who will go on to become a painter like his father.

      1792-1800:

      Bankrupt and out of favour after the French Revolution, Fragonard paints less and less. The painter Jacques-Louis David uses his influence and gets him a position as a curator in the recently opened museum at the Louvre.

      1805:

      An imperial decree requires all the resident artists, including Fragonard, to leave the Louvre.

      1806:

      He dies following a stroke, largely unnoticed by his contemporaries. His artwork only starts to once again receive recognition in the 19th century.

      Blind Man’s Bluff, c. 1750-1752

      Oil on canvas, 116.8 x 91.4 cm. Toledo Museum of Art, Toledo (Ohio)

      The 18th century had no poets; I do not mean rhymers, versifiers, word-spinners; I say poets advisedly. Poetry in the noblest and most profound sense of the term, poetry which is creation through imagery, poetry which is an enchantment, an enhancement of the imagination, an ideal of pensive meditation or smiling delight offered to the human mind, that poetry which lifts up from the earth, with throbbing wings, the spirit of an age, the soul of a people, such poetry was unknown in 18th-century France; her two poets, the only two, were painters: Watteau and Fragonard.

      Watteau, a child of the north, of Flanders, was the great love poet, the master of a serene and tender paradise whose art is like the Elysian Fields of passion; he was the elegiac poet amid whose tristful autumn woods, around whose wistful image of pleasure, all the sighing of nature was magically audible; he was the pensieroso of the Regence. Fragonard sang in less elevated strains; he was the poet of the Ars Amatoria of the

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