Fragonard, The Meeting발음듣기
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Fragonard, The Meeting
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(lively music) [Dr. Zucker] [unintelligible] take paintings out of context and it's sometimes hard to remember that works of art were meant for domestic environments.발음듣기
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[Dr. Harris] Or churches or even in the case of the paintings that we're looking at now, Pleasure Pavilions.발음듣기
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[Dr. Zucker] We're in the Fragonard room at the Frick Collection and we're looking at one of the late Rococo masterpieces.발음듣기
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[Dr. Harris] And then in the last scene, the two lovers nostalgically looking at their early love letters together.발음듣기
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When we walk up to the meeting, the second panel of the series, you realize how large it is.발음듣기
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[Dr. Zucker] That's important because the window would have looked out onto the back of the pavilion onto the garden.발음듣기
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[Dr. Zucker] Overflowing, yeah, representation of nature, would've had a nice parallel to the landscape outside.발음듣기
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[Dr. Zucker] One art historian suggested that the pose of the young woman is coming directly out of 18th century theater at this moment.발음듣기
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[Dr. Harris] Their bodies leaned toward one another and formed a pyramid that leads our eye up to the figure of Cupid and Venus.발음듣기
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[Dr. Harris] Her pose mirrors the trees behind her that leaned up in toward the right side of the canvas.발음듣기
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We referred a moment ago that the foliage mirroring the garden outside and that's the thing that I love so much about Fragonard.발음듣기
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One has to do with the fact that the architecture of the pavilion was decidedly classical by an Architect named Ledoux and that these Rococo paintings wouldn't have fit within the classically inspired architecture and the classically inspired sculpture.발음듣기
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So, Madame du Barry hires instead an artist who painted in a more classical style named Vien.발음듣기
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These are not paintings that are about moral goods, the noblement of society or of the individual.발음듣기
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[Dr. Harris] It was precisely paintings about indulgence and pleasure that the philosophers of the enlightment attacked and associated with the corruption of the aristocracy and the monarchy.발음듣기
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[Dr. Zucker] These paintings about love and pleasure, were meant to be situated in the Pleasure Pavilion [Dr. Harris] (laughs)발음듣기
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[Dr. Harris] And everything that the revolution would fight against and everything that the new style of Neoclassicism would reject.발음듣기
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Another possible reason that these panels were rejected, has to do with the protagonists and the way, they're depicted.발음듣기
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Some art historians have suggested that the young woman, perhaps looked a little bit too much like Madame du Barry and that the young male lover, may have looked a little bit too much like Louis XV.발음듣기
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[Dr. Harris] Now, when Madame du Barry rejected these paintings and sent them back to Fragonard, he was never paid.발음듣기
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He later added 10 other panels and all of them fortunately, can be seen here together at the Frick Collection.발음듣기
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It's interesting to think about Fragonard coming at this later moment of the Rococo and the imminence of the revolution.발음듣기
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David will protect Fragonard during the revolution and find him a post within the Arts Administration.발음듣기
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