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ARTICLES IN THE BOOK

  1. Agnolo Gaddi
  2. Albrecht Altdorfer
  3. Albrecht Duerer
  4. Alessandro Magnasco
  5. Alfred Sisley
  6. Aligi Sassu
  7. Ambrogio Lorenzetti
  8. Andrea del Sarto
  9. Andrea del Verrocchio
  10. Andrea Mantegna
  11. Annibale Carracci
  12. Antoine Watteau
  13. Antonello da Messina
  14. Antonio da Correggio
  15. Arnold Boecklin
  16. Balthus
  17. Benozzo Gozzoli
  18. Camille Pissarro
  19. Canaletto
  20. Caravaggio
  21. Edouard Manet
  22. Cimabue
  23. Cima da Conegliano
  24. Claude Lorrain
  25. Claude Monet
  26. Diego Velazquez
  27. Domenico Ghirlandaio
  28. Duccio
  29. Edgar Degas
  30. Edvard Munch
  31. Egon Schiele
  32. El Greco
  33. Fernand Léger
  34. Filippo Lippi
  35. Fra Angelico
  36. François Boucher
  37. Francesco Guardi
  38. Francis Bacon
  39. Francisco Goya
  40. Francisco Zurbaran
  41. Francis Picabia
  42. Frans Hals
  43. Franz Marc
  44. Friedensreich Hundertwasser
  45. Gentile da Fabriano
  46. Georges de La Tour
  47. Georges-Pierre Seurat
  48. Georges Rouault
  49. Gerard Dou
  50. Gian Lorenzo Bernini
  51. Giorgio de Chirico
  52. Giorgio Morandi
  53. Giorgione
  54. Giotto di Bondone
  55. Giovanni Bellini
  56. Giovanni Fattori
  57. Giuseppe Arcimboldo
  58. Guercino
  59. Guido Reni
  60. Gustave Courbet
  61. Gustave Moreau
  62. Gustav Klimt
  63. Hans Memling
  64. Henri de Toulouse-Lautrec
  65. Henri Fantin-Latour
  66. Henri Matisse
  67. Henri Rousseau
  68. Hieronymus Bosch
  69. Jacopo Bassano
  70. Jacopo Bellini
  71. Jan van Eyck
  72. Jean-Baptiste-Camille Corot
  73. Jean-Honoré Fragonard
  74. Joan Mirò
  75. Johannes Vermeer
  76. John Constable
  77. Joshua Reynolds
  78. Jusepe de Ribera
  79. Leone Battista Alberti
  80. Lorenzo Lotto
  81. Luca Signorelli
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  84. Maurice Utrillo
  85. Max Ernst
  86. Odilon Redon
  87. Oskar Kokoschka
  88. Pablo Picasso
  89. Palma il Vecchio
  90. Paolo Uccello
  91. Paolo Veronese
  92. Parmigianino
  93. Paul Cézanne
  94. Paul Gauguin
  95. Paul Signac
  96. Peter Paul Rubens
  97. Piero della Francesca
  98. Piero di Cosimo
  99. Piero Pollaiuolo
  100. Pierre-Auguste Renoir
  101. Pierre Bonnard
  102. Pieter Brueghel the Elder
  103. Piet Mondriaan
  104. Pietro Annigoni
  105. Pisanello
  106. Pontormo
  107. Raphael
  108. Rembrandt
  109. Salvador Dalì
  110. Sandro Botticelli
  111. Sebastiano del Piombo
  112. Sebastiano Ricci
  113. Simone Martini
  114. Théodore Géricault
  115. Thomas Gainsborough
  116. Tintoretto
  117. Tiziano
  118. Van Dyck
  119. Vincent van Gogh
  120. Vittore Carpaccio
  121. William Blake
  122. William Hogarth

 

 
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GREAT PAINTERS
This article is from:
http://en.wikipedia.org/wiki/Jean-Honor%C3%A9_Fragonard

All text is available under the terms of the GNU Free Documentation License: http://en.wikipedia.org/wiki/Wikipedia:Text_of_the_GNU_Free_Documentation_License 

Jean-Honoré Fragonard

From Wikipedia, the free encyclopedia

 
Inspiration (Self-Portrait), 1769.
Inspiration (Self-Portrait), 1769.
The Swing, 1767.
The Swing, 1767.
The Reader, c. 1770–1772.
The Reader, c. 1770–1772.

Jean-Honoré Fragonard (April 5, 1732 – August 22, 1806) was a French painter 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 régime, Fragonard produced more than 550 paintings (not counting drawing and etchings), of which only five are dated. Among his most popular works are genre paintings conveying the atmosphere of intimacy and veiled eroticism.

Biography

He was born at Grasse, Alpes-Maritimes, the son of a glover. He was articled to a Paris notary when his father's circumstances became straitened through unsuccessful speculations, but he 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, and 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 a pupil of the Academy, Fragonard gained the Prix de Rome in 1752 with a painting of "Jeroboam sacrificing to the Idols", but before proceeding to Rome he continued to study for three years under Charles-André 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.

The Captured Kiss.
The Captured Kiss.

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 brushstroke. 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 "Corsus 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; such works include the Serment d'amour (Love Vow), Le Verrou (The Bolt), La Culbute (The Tumble), La Chemise enlevée (The Shirt Withdrawn), and The Swing (Wallace collection), and his decorations for the apartments of Mme du Barry and the dancer Madeleine Guimard.

A lukewarm response to these series of ambitious works induced Fragonard to abandon Rococo and to experiment with Neoclassicism. He had married in 1769 and had a son, who became one of his favourite models. In 1773-74 he again went to Italy, returning through Prague and Germany. Back in Paris, the artist fell in love with his wife's 14-year-old sister. The French Revolution deprived Fragonard of his private patrons: they were either guillotined or exiled. The neglected painter deemed it prudent to leave Paris in 1793 and found shelter in the house of his friend Maubert at Grasse, which he decorated with the series of decorative panels known as the Roman d'amour de la jeunesse, originally painted for Château du Barry. He returned to Paris early in the 19th century, where he died in 1806, almost completely forgotten.

Reputation

For half a century or more he was so completely ignored that Lübke in his History of Art (1873) omits the very mention of his name.[1] Subsequent reevaluation has confirmed his position among the all-time masters of French painting. The influence of Fragonard's handling of local colour and expressive, confident brushstroke on the Impressionists (particularly his grand niece, Berthe Morisot, and Renoir) cannot be overestimated.

References

  • This article incorporates text from the Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.
Retrieved from "http://en.wikipedia.org/wiki/Jean-Honor%C3%A9_Fragonard"