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Date. From series of paintings "Love adventure"
Jean-Honore Fragonard • Painting, 1772, 243.8×317.5 cm
Description of the artwork «Date. From series of paintings "Love adventure"»
"Date" - the second of four parts cycle Fragonard "Love story" (another name for "Stages of love"), performed once for the mistress of Louis XV of Madame du Barry.
Very often in the history of art it happens that the pictures of one series, conceived by the author as a holistic cycle, are scattered in museums in different parts of the world. This is good from the point of view that people from different countries can see the recognized masterpieces in their national museums, but bad in the sense that the viewer is deprived of the opportunity to assess the intent of the artist in their entirety, as a separate picture in its original context.
However, with "Love adventure" it didn't happen. All the paintings presented in one place, "Fragonard Room" private Museum by Henry clay Frick, located on 5th Avenue in new York. And this is a great success, as the "Fragonard Room" scene is the "romantic adventure" in the same order and approximately the same weighting, which was planned by my customer.
Bekyu Marie Jeanne, Countess dubarry (we can imagine, looked like the mistress of Louis XV, thanks to its the portrait by Elizabeth Vigee-Lebrun) ordered several large Fragonard paintings for a relatively small room – a garden pavilion on the estate Lovesend near Paris. The painting would have to occupy the entire space between the Windows, which looked out on the overgrown garden. Thus, lush greenery in the painting resonated with the landscape outside.
We see in the picture the two young people on a date in the garden. Their meeting, obviously, should not become known to senior – hence the atmosphere of tension, brilliantly depicted by Fragonard. The young man moved through the garden fence using the ladder, and she reaches out to predosteregaet gesture, as if to say: "Hush! Wait! We can hear you!" Still, the picture is overflowing with joy, a happy anticipation that, as he liked to emphasize the literature of that period, much sweeter the moment of possession.
Figures of the young lovers form the base of the pyramid, whose top is marked by a statue of Venus. The goddess of love dawns on the date, it would seem, what's so unusual? However, in its depiction of so many fine games, fun guile inherent in the Fragonard. Venus holds in her hand the quiver, obviously just taken from naughty Cupid, distractedly pulling a chubby stick for his arrows. The mother looks at him reproachfully. Maybe he's frolicking launched their arrows at those whom they were intended in the first place? Approximately such is sense of the picturesque humor of Fragonard.
Fragonard worked on the cycle for at least two years. However, upon completion of the work Madame du Barry rejected it. According to the official version, the paintings in the Rococo style bad combined with the classic architecture of the pavilion created by the architect Claude Nicolas Ledoux. Dubarry found the Fragonard replacement in the person of the artist-neoclassicist Joseph-Marie Vien, dekorirovaniya pavilion in a more restrained manner. But some researchers notice that there could be another reason. Too little face of the heroine Fragonard was like the Madame du Barry.
Not having received the promised money from the mistress of the king, Fragonard did not despair. Obviously, he was satisfied with his work, as he wrote a dozen more paintings that complement the series. All of them are now in the collection of the Frick.
Author: Anna Yesterday
Very often in the history of art it happens that the pictures of one series, conceived by the author as a holistic cycle, are scattered in museums in different parts of the world. This is good from the point of view that people from different countries can see the recognized masterpieces in their national museums, but bad in the sense that the viewer is deprived of the opportunity to assess the intent of the artist in their entirety, as a separate picture in its original context.
However, with "Love adventure" it didn't happen. All the paintings presented in one place, "Fragonard Room" private Museum by Henry clay Frick, located on 5th Avenue in new York. And this is a great success, as the "Fragonard Room" scene is the "romantic adventure" in the same order and approximately the same weighting, which was planned by my customer.
Bekyu Marie Jeanne, Countess dubarry (we can imagine, looked like the mistress of Louis XV, thanks to its the portrait by Elizabeth Vigee-Lebrun) ordered several large Fragonard paintings for a relatively small room – a garden pavilion on the estate Lovesend near Paris. The painting would have to occupy the entire space between the Windows, which looked out on the overgrown garden. Thus, lush greenery in the painting resonated with the landscape outside.
We see in the picture the two young people on a date in the garden. Their meeting, obviously, should not become known to senior – hence the atmosphere of tension, brilliantly depicted by Fragonard. The young man moved through the garden fence using the ladder, and she reaches out to predosteregaet gesture, as if to say: "Hush! Wait! We can hear you!" Still, the picture is overflowing with joy, a happy anticipation that, as he liked to emphasize the literature of that period, much sweeter the moment of possession.
Figures of the young lovers form the base of the pyramid, whose top is marked by a statue of Venus. The goddess of love dawns on the date, it would seem, what's so unusual? However, in its depiction of so many fine games, fun guile inherent in the Fragonard. Venus holds in her hand the quiver, obviously just taken from naughty Cupid, distractedly pulling a chubby stick for his arrows. The mother looks at him reproachfully. Maybe he's frolicking launched their arrows at those whom they were intended in the first place? Approximately such is sense of the picturesque humor of Fragonard.
Fragonard worked on the cycle for at least two years. However, upon completion of the work Madame du Barry rejected it. According to the official version, the paintings in the Rococo style bad combined with the classic architecture of the pavilion created by the architect Claude Nicolas Ledoux. Dubarry found the Fragonard replacement in the person of the artist-neoclassicist Joseph-Marie Vien, dekorirovaniya pavilion in a more restrained manner. But some researchers notice that there could be another reason. Too little face of the heroine Fragonard was like the Madame du Barry.
Not having received the promised money from the mistress of the king, Fragonard did not despair. Obviously, he was satisfied with his work, as he wrote a dozen more paintings that complement the series. All of them are now in the collection of the Frick.
Author: Anna Yesterday
