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FRAGONARD , See also:JEAN-HONOR$ (1732-18o6), See also:French painter, was See also:born at See also:Grasse, the son of a See also:glover. He was articled to a See also:Paris See also:notary when his See also:father's circumstances became straitened through unsuccessful speculations, but he showed such See also:- TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental
talent and inclination for See also:art that he was taken at the See also:age of eighteen to See also:Boucher, who, recognizing the youth's rare gifts but disinclined to See also:waste his See also:- TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
- TIME, MEASUREMENT OF
- TIME, STANDARD
time with one so inexperienced, sent him to See also:Chardin's atelier. Fragonard studied for six months under the See also:great luminist, and then returned more fully equipped to Boucher, whose See also:style he soon acquired so completely that the See also:master entrusted him with the See also:execution of replicas of his paintings. Though not a See also:- PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)
pupil of the See also:Academy, Fragonard gained the Prix de See also:Rome in 1752 with a See also:painting of " See also:Jeroboam sacrificing to the Idols," but before proceeding to Rome he continued to study for three years under See also:Van See also:Loo. In the See also:year preceding his departure he painted the " See also:Christ washing the Feet of the Apostles " now at Grasse See also:cathedral. In 1755 he took up his See also:abode at the French Academy in Rome, then presided over by Natoire. There he
benefited from the study of the old masters whom he was set to copy—always remembering Boucher's parting See also:advice not to take See also:Raphael and See also:Michelangelo too seriously. He successively passed through the studios of masters as widely different in their aims and technique as Chardin, Boucher, Van Loo and Natoire, and a summer sojourn at the See also:Villa d'See also:Este in the See also:company of the See also:abbe de See also:Saint-Non, who engraved many of Fragonard's studies of these entrancing gardens, did more towards forming his See also:personal style than, all the training at the various See also:schools. It was in these romantic gardens, with their fountains, grottos, temples and terraces, that he conceived the dreams which he was subsequently to embody in his art. Added to this See also:influence was the deep impression made upon his mind by the florid sumptuousness of See also:Tiepolo, whose See also:works he had an opportunity of studying in See also:Venice before he returned to Paris in 1761. In 1765 his " Coresus etCallirhoe "secured his See also:admission to the Academy. It was made the subject of a pompous eulogy by See also:Diderot, and was bought by the See also:- KING
- KING (O. Eng. cyning, abbreviated into cyng, cing; cf. O. H. G. chun- kuning, chun- kunig, M.H.G. kiinic, kiinec, kiinc, Mod. Ger. Konig, O. Norse konungr, kongr, Swed. konung, kung)
- KING [OF OCKHAM], PETER KING, 1ST BARON (1669-1734)
- KING, CHARLES WILLIAM (1818-1888)
- KING, CLARENCE (1842–1901)
- KING, EDWARD (1612–1637)
- KING, EDWARD (1829–1910)
- KING, HENRY (1591-1669)
- KING, RUFUS (1755–1827)
- KING, THOMAS (1730–1805)
- KING, WILLIAM (1650-1729)
- KING, WILLIAM (1663–1712)
king, who had it reproduced at the Gobelins factory. Hither-to Fragonard had hesitated between religious, classic and other subjects; but now the demand of the wealthy art patrons of See also:- LOUIS
- LOUIS (804–876)
- LOUIS (893–911)
- LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
- LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian
Louis XV.'s See also:pleasure-loving and licentious See also: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 See also:tender beauty of his See also:colour and the virtuosity of his facile brushwork—such works as the " Serment d'amour
(Love See also:Vow), " Le Verrou " (The See also:Bolt), " La Culbute " (The Tumble), " La Chemise cnlevee " (The Shift Withdrawn), and " The See also:Swing " (See also:Wallace collection), and his decorations for the apartments of Mme du See also:Barry and the dancer See also:Marie See also:Guimard.
The Revolution made an end to the ancien regime, and Fragonard, who was so closely allied to its representatives, See also:left Paris in 1793 and found shelter in the See also:house of his friend Maubert at Grasse, which he decorated with the See also:series of decorative panels known as the " See also:Roman d'amour de la jeunesse," originally painted for Mme du Barry's See also:pavilion at Louvreciennes. The panels in See also:recent years came into the See also:possession of Mr Pierpont See also:Morgan. Fragonard returned to Paris See also:early in the rgth cen tury, where he died in 18o6, neglected and almost forgotten. For See also:half a See also:century or more he was so completely ignored that Lubke, in his See also:history of art (1873), omits the very mention of his name. But within the last See also:thirty years he has regained the position among the masters of painting to which he is entitled by his See also:genius. If the appreciation of his art by the See also:modern See also:collector can be expressed in figures, it is significant that the small and sketchy " See also:Billet Doux," which appeared at the Cronier See also:sale in Paris in 1905 and was subsequently exhibited by Messrs Duveen in See also:London (1906), realized See also:close on D9,000 at the H8tel Drouot.
Besides the works already mentioned, there are four important pictures by Fragonard in the Wallace collection: " The See also:Fountain of Love," " The Schoolmistress," " A See also:Lady See also:carving her Name on a See also:- TREE (0. Eng. treo, treow, cf. Dan. tree, Swed. Odd, tree, trd, timber; allied forms are found in Russ. drevo, Gr. opus, oak, and 36pv, spear, Welsh derw, Irish darog, oak, and Skr. dare, wood)
- TREE, SIR HERBERT BEERBOHM (1853- )
Tree " (usually known as " Le Chiffre d'amour ") and " The See also:Fair-haired See also:Child." The Louvre contains thirteen examples of his art,: among them the " Coresus," " The Sleeping Bacchante," " The Shift Withdrawn," " The Bathers," " The Shepherd's See also:Hour" (" L'Heure du berger "), and "See also:Inspiration." Other :works are in the museums of See also:Lille, See also:Besancon, See also:Rouen, See also:Tours, See also:Nantes, See also:Avignon, See also:Amiens, See also:Grenoble, See also:Nancy, See also:- ORLEANS
- ORLEANS, CHARLES, DUKE OF (1391-1465)
- ORLEANS, DUKES OF
- ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
- ORLEANS, HENRI, PRINCE
- ORLEANS, HENRIETTA, DUCHESS
- ORLEANS, JEAN BAPTISTE GASTON, DUKE
- ORLEANS, LOUIS
- ORLEANS, LOUIS PHILIPPE JOSEPH
- ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
- ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
- ORLEANS, LOUIS, DUKE OF (1372–1407)
- ORLEANS, PHILIP I
- ORLEANS, PHILIP II
Orleans, See also:Marseilles, &c., as well as at See also:Chantilly. Some of Fragonard's finest See also:work is in the private collections of the See also:Rothschild See also:family in London and Paris.
See R. See also:Portalis, Fragonard (Paris, 1899), fully illustrated; See also:Felix See also:Naquet, Fragonard (Paris, 189o) ; Virgile Jose, Fragonard—mceurs du XVIII" siecle (Paris, 1901); E. and J. de See also:Goncourt, L'Art du See also:dix-huitieme siecle--Fragonard (Paris, 1883). (P. G.
End of Article: FRAGONARD
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