FRAGONARD  , See also:

• JEAN

JEAN-HONOR$ (1732-18o6), See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• GRASSE
• GRASSE, FRANCOIS JOSEPH PAUL, MARQUIS DE GRASSETILLY, COMTE DE (1722-1788)

Grasse, the son of a See also:

• GLOVER, RICHARD (1712-1785)
• GLOVER, SIR JOHN HAWLEY (1829-1885)

glover . He was articled to a See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris See also:

• NOTARY, or NOTARY PUBLIC

notary when his See also:

• FATHER

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

art that he was taken at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of eighteen to See also:

• BOUCHER, FRANCOIS (1703-1770)
• BOUCHER, JONATHAN (1738-1804)

Boucher, who, recognizing the youth's rare gifts but disinclined to See also:

• WASTE (O. Fr. wast, guast, gast, gaste; Lat. vastus, vast, desolate)

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, JEAN SIMEON (1699-1779)
• CHARDIN, SIR JOHN (1643-1713)

Chardin's atelier . Fragonard studied for six months under the See also:

• GREAT

great luminist, and then returned more fully equipped to Boucher, whose See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style he soon acquired so completely that the See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master entrusted him with the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

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, GREEK
• ACADEMY, ROYAL

Academy, Fragonard gained the Prix de See also:

• ROME
• ROME (Roma)

Rome in 1752 with a See also:

• PAINTING

painting of " See also:

• JEROBOAM (Heb. ydrob`dm, apparently " Am ['the clan,' here perhaps a divine name] contends "; LXX. iepof3oaµ)

Jeroboam sacrificing to the Idols," but before proceeding to Rome he continued to study for three years under See also:

• VAN

Van See also:

• LOO (formerly called " Lanterloo," Fr. lanturlu, the refrain of a popular 17th-century song)

Loo . In the See also:

• YEAR

year preceding his departure he painted the " See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ washing the Feet of the Apostles " now at Grasse See also:

• CATHEDRAL

cathedral . In 1755 he took up his See also:

• ABODE (from " abide," to dwell, properly " to wait for ," to bide)

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 (Fr. avis, from Lat. ad, to, and visum, viewed)

advice not to take See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael and See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

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

Villa d'See also:

• ESTE
• ESTE (anc. Ateste, q.v.)

Este in the See also:

• COMPANY

company of the See also:

• ABBE (Serbo-Croatian Rai))

abbe de See also:

• SAINT (lat. sanctus, " holy ")

Saint-Non, who engraved many of Fragonard's studies of these entrancing gardens, did more towards forming his See also:

• PERSONAL

personal style than, all the training at the various See also:

• SCHOOLS

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 (Late Lat. influentia, from influere, to flow in)

influence was the deep impression made upon his mind by the florid sumptuousness of See also:

• TIEPOLO, GIOVANNI BATTISTA (1692-1769)

Tiepolo, whose See also:

• WORKS

works he had an opportunity of studying in See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice before he returned to Paris in 1761 . In 1765 his " Coresus etCallirhoe "secured his See also:

• ADMISSION

admission to the Academy . It was made the subject of a pompous eulogy by See also:

• DIDEROT, DENIS (1713-1784)

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 (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

pleasure-loving and licentious See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

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

tender beauty of his See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour and the virtuosity of his facile brushwork—such works as the " Serment d'amour (Love See also:

• VOW (Lat. votum, vow, promise: cf. VOTE)

Vow), " Le Verrou " (The See also:

• BOLT

Bolt), " La Culbute " (The Tumble), " La Chemise cnlevee " (The Shift Withdrawn), and " The See also:

• SWING, DAVID (1830-1894)

Swing " (See also:

• WALLACE, ALFRED RUSSEL (1823— )
• WALLACE, LEWIS [LEW] (1827—1905)
• WALLACE, SIR RICHARD
• WALLACE, SIR WILLIAM (c. 1270-1305)
• WALLACE, WILLIAM (1768-1843)
• WALLACE, WILLIAM (1844-1897)
• WALLACE, WILLIAM VINCENT (1814-1865)

Wallace collection), and his decorations for the apartments of Mme du See also:

• BARRY
• BARRY, ELIZABETH (1658—1713)
• BARRY, JAMES (1741—1806)
• BARRY, SIR CHARLES (1795-1860)
• BARRY, SIR REDMOND (1813-188o)
• BARRY, SPRANGER (1719-1777)

Barry and the dancer See also:

• MARIE

Marie See also:

• GUIMARD, MARIE MADELEINE (1743-1816)

Guimard . The Revolution made an end to the ancien regime, and Fragonard, who was so closely allied to its representatives, See also:

• LEFT

left Paris in 1793 and found shelter in the See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of his friend Maubert at Grasse, which he decorated with the See also:

• SERIES (a Latin word from serere, to join)

series of decorative panels known as the " See also:

• ROMAN

Roman d'amour de la jeunesse," originally painted for Mme du Barry's See also:

• PAVILION

pavilion at Louvreciennes . The panels in See also:

• RECENT

recent years came into the See also:

• POSSESSION
• POSSESSION (Lat. possessio, possidere, to possess)

possession of Mr Pierpont See also:

• MORGAN
• MORGAN, DANIEL (1736-1802)
• MORGAN, EDWIN DENNISON (1811-1883)
• MORGAN, JOHN HUNT (1825-1864)
• MORGAN, JOHN PIERPONT (1837–1913)
• MORGAN, LEWIS HENRY (1818-1881)
• MORGAN, SYDNEY, LADY (c. 1783-1859)
• MORGAN, THOMAS (d. 1743)

Morgan . Fragonard returned to Paris See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early in the rgth cen tury, where he died in 18o6, neglected and almost forgotten . For See also:

• HALF

half a See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century or more he was so completely ignored that Lubke, in his See also:

• HISTORY

history of art (1873), omits the very mention of his name . But within the last See also:

• THIRTY

thirty years he has regained the position among the masters of painting to which he is entitled by his See also:

• GENIUS (from Lat. genere, gignere)

genius . If the appreciation of his art by the See also:

• MODERN

modern See also:

• COLLECTOR

collector can be expressed in figures, it is significant that the small and sketchy " See also:

• BILLET

Billet Doux," which appeared at the Cronier See also:

• SALE
• SALE, GEORGE (c. 1697-1736)
• SALE, SIR ROBERT HENRY (1782—1845)

sale in Paris in 1905 and was subsequently exhibited by Messrs Duveen in See also:

• LONDON

London (1906), realized See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

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 (Late Lat. fontana, from ions, a spring)

Fountain of Love," " The Schoolmistress," " A See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady See also:

• CARVING

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

Fair-haired See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

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

Hour" (" L'Heure du berger "), and "See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

Inspiration." Other :works are in the museums of See also:

• LILLE

Lille, See also:

• BESANCON

Besancon, See also:

• ROUEN

Rouen, See also:

• TOURS

Tours, See also:

• NANTES
• NANTES, EDICT OF

Nantes, See also:

• AVIGNON

Avignon, See also:

• AMIENS

Amiens, See also:

• GRENOBLE

Grenoble, See also:

• NANCY

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

Marseilles, &c., as well as at See also:

• CHANTILLY

Chantilly . Some of Fragonard's finest See also:

• WORK

work is in the private collections of the See also:

• ROTHSCHILD

Rothschild See also:

• FAMILY

family in London and Paris . See R . See also:

• PORTALIS, JEAN ETIENNE MARIE (1746-1807)

Portalis, Fragonard (Paris, 1899), fully illustrated; See also:

• FELIX
• FELIX, ANTONIUS
• FELIX, LIA (1830– )

Felix See also:

• NAQUET, ALFRED JOSEPH (1834– )

Naquet, Fragonard (Paris, 189o) ; Virgile Jose, Fragonard—mceurs du XVIII" siecle (Paris, 1901); E. and J. de See also:

• GONCOURT, DE

Goncourt, L'Art du See also:

• DIX, DOROTHEA LYNDE (1802-1887)
• DIX, JOHN

dix-huitieme siecle--Fragonard (Paris, 1883) . (P .

G .