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French, 1732 - 1806
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Richard Rand, “Jean Honoré Fragonard,” NGA Online Editions, https://purl.org/nga/collection/constituent/1316 (accessed December 08, 2022).
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|Jan 01, 2009 Version|
Fragonard was one of the most prolific of the eighteenth-century painters and draftsmen. Born in 1732 in Grasse in southern France, he moved with his family at an early age to Paris. He first took a position as a clerk, but having demonstrated an interest in art, he worked in the studio of the still life and genre painter
Following his stint at the École, Fragonard traveled to Italy, spending the years 1756–1761 at the Académie de France in Rome. Fragonard’s slow progress (or his unwillingness to complete his assigned artistic chores) concerned the director,
Back in Paris, Fragonard painted small cabinet pictures—primarily landscapes and genre scenes—for the art market and a growing group of admirers. He made his public debut at the Salon of 1765 with the stunning Corésus and Callirhoé (Paris, Musée du Louvre), a monumental canvas that seemed to herald his arrival as the most promising history painter of his generation. The grand machine won him probationary acceptance into the Académie and the accolades of the critic
Nevertheless, Fragonard is rightly considered among the most characteristic and important French painters of the second half of the eighteenth century. Over four decades, he produced many brilliantly realized easel paintings, such as The Swing (London, Wallace Collection), commissioned in 1767, or the Portraits de fantaisie (Paris, Musée du Louvre, and elsewhere), painted in the late 1760s and early 1770s; and large-scale decorative works, the most significant extant example being the four magisterial canvases known as the Progress of Love (1771–1772; New York, Frick Collection), commissioned by Madame du Barry (1743–1793) for her country retreat at Louveciennes. These paintings marked Fragonard as among the most innovative and brilliant painters of the day, yet his apparently whimsical temperament and independent ways meant that he never realized the conventional rewards his talent deserved. The Louveciennes paintings were returned to the artist, replaced by drier yet more currently neoclassical compositions by Joseph Marie Vien (1716–1809) (Paris, Musée du Louvre, and Paris, Château de Chambéry), and other commissions were left incomplete. Yet Fragonard earned a good living selling paintings to a close-knit group of collectors, many of them drawn from the ranks of the fermiers généraux (tax farmers), and by providing brilliant wash drawings as illustrations for various luxurious book publishing projects.
A second trip to Italy in 1773–1774 in the company of the financier Pierre Jacques Onésyme Bergeret de Grancourt (1715–1785), one of the artist’s major patrons, rekindled Fragonard’s interest in landscape and garden imagery, leading to such masterpieces as the Fête at Saint-Cloud (Paris, Banque de France) and the pendants
This text was previously published in Philip Conisbee et al., French Paintings of the Fifteenth through the Eighteenth Century, The Collections of the National Gallery of Art Systematic Catalogue (Washington, DC, 2009), 149–150.
January 1, 2009