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"The energy of Michelangelo terrified me-I experienced an emotion which I could not express; and on seeing the beauties of Raphael I was moved to tears, and the pencil fell from my hands. In the end I remained in a state of indolence which I lacked the strength to overcome. Then I concentrated upon the study of such painters as permitted me to hope that I might some day rival them. It was thus that Barocci, Pietro da Cortona, Solimena, and Tiepolo attracted and held my attention." - Jean-Honore Fragonard
For his best-known painting, The Swing (1767), Fragonard has earned the reputation of being the "paradigm of lateRococo artifice and venality," as a 20th-century writer described him. His commission for The Swing was specific: to show a young man slyly gazing up his lover's skirts, as she flies above his head in a swing hanging from the branch of a gnarled and sinuous tree. The patron was a titled aristocrat who posed with his mistress for the picture. Fragonard was extremely popular, as both a man about town and a painter. He had studied with CHARDIN and BOUCHER, won the prestigious PRIX DE ROME, and traveled in Italy, the experience to which he refers in the comment quoted above. Though most general textbooks that include his work print reproductions of The Swing, there is a different genius in his less renowned portraits, including Denis Diderot (c.1769)-of the famous thinker and critic of his age. Fragonard brushed on paint with verve and was, according to current opinion, adapting himself to his clients' taste for a sketchy style. But he was out of fashion by the end of his century and died in relative obscurity.
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