Digitized by the Internet Archive in 2018 with funding from Getty Research Institute https://archive.org/details/exhibitionofpainOOfrag PATRONESSES MADAME CHARLES B. ALEXANDER MADAME S. R. BERTRON MADAME SNOWDEN A. FAHNESTOCK MADAME PETER COOPER HEWITT MADEMOISELLE ELEANOR G. HEWITT MADEMOISELLE SARAH COOPER HEWITT MADAME HENRY BARTON JACOBS MADAME OTTO H. KAHN MADAME JOHN W. SIMPSON MADAME JAMES SPEYER MADAME M. ORME WILSON MADEMOISELLE ELSIE DE WOLFE EXHIBITION OF PAINTINGS AND DRAWINGS BY FRAGONARD AT THE GALLERIES OF E. GIMPEL & WILDENSTEIN 636 FIFTH AVENUE NEW YORK THIS EXHIBITION IS HELD FOR CHARITY, THE PROCEEDS TO BE GIVEN, IN EQUAL PARTS, TO TWO CHARITABLE ORGANIZATIONS OF NEW YORK 1914 Nn Ft i i ' I 7 I “S THE J. PAUl GETTY MUSEUM LIBRARY MESSRS. E. GIMPEL & WILDENSTEIN BEG TO THANK THEIR PATRONS AND HERE¬ WITH GRATEFULLY ACKNOWLEDGE THEIR GENEROSITY IN LEND¬ ING THEIR PAINTINGS FOR THIS EXHIBITION ^JScL Jji OJU I& r - Puisque nul n’ouvre plus le pare aux grilles closes Ou chantaient dans le soir les flutes de Watteau; Puisque le bon Chardin vieillit et va bientot Fermer ses yeux epris de la beaute des choses; Puisqu’a Cythere, afin d’y prodiguer ses poses, Venus la blonde a pris Boucher dans son bateau; Puisque Nattier n’est plus, et qu’au divin coteau Sa Flore ou son Hebe ne tresse plus des roses . . Avec tes clairs pinceaux trempes dans le soleil, Tu restes le dernier, cher Frago! sans pareil Pour coiffer un minois et trousser une guimpe; Et le siecle survit en toi, qui sais encor Entremeler sa grace au graces de VOlympe Et promener VAmour sous les feuillages d’or. PIERRE DE N0LHAC. FRAGONARD FRAGONARD! What a pleasing and musi¬ cal sound this name brings to the ear! Fragonard first saw the light of day beneath the blue sky of the Riviera, in Grasse,—amongst the flowers,—those poor little tortured flowers, as Maeterlinck says, which grow there in such profusion, and are so fragrant that their persecu¬ tor—Man—is tempted to violate and martyrize them, and to extort from them their very life, their soul, their perfume, and to carry them from this minute spot of the globe and scatter them over every corner of the world. Fragonard was born in the year 1732, in that little town sheltered from stormy winds by the hill in which it nestles, and which protects and guards over it. In this way the little town is able to stand the hottest months; the cold winds never reach it, and even the mistral is forced to show l JEAN HONORE FRAGONARD mercy. All the bounteous gifts which God gave to this town seem to have left their influence on the great man who was born and bred there. Grasse—Fragonard, names which are so closely associated! When visiting or passing through the town, one cannot help thinking of the famous artist; and when his name is men¬ tioned, the picture of the small low houses, the narrow winding streets, and the surrounding landscape where he spent his youth comes before one’s eyes. His father wanted him to become a notary clerk, but his artistic instinct, his genius, guided him towards painting. He took his first lessons with the great Chardin. Although he later drifted apart from him, Fragonard always re¬ membered his master’s sound science, the pre¬ cision of his drawings, and his natural refinement. We can realize how conscientious he was by the fact that he copied Rembrandt in order to find out how this artist obtained his light effects, and to master thoroughly the art of painting shadows and half-lights he went to the collec¬ tor Crozat to study the “Holy Family” by Rem¬ brandt; and any one who has seen the original 2 JEAN HONORE FRAGONARD (which is to-day in the Hermitage Museum in St. Petersburg) and who has also seen the copy, would be able to appreciate the latter, in which there is nothing missing of the characteristic force of Rembrandt. Francois Boucher appre¬ ciated so very much his pupil’s copy that he kept it, and it was found in the catalogue of his sale after his death. Fragonard had studied the religious feeling in Rembrandt—that feeling which was a shade less pronounced than in the primitive school. That is why he was not afraid to undertake himself the execution of religious works, although they were of a less stern religion, the religion of the XVIIIth century, a religion of incense and flow¬ ers, in which the angels have the grace of cupids. So he painted in oil a design called “Le Repos de la Sainte Famille”; afterwards executing a gouache of the same subject that was on view in the Salon de la Correspondance at the same time as the gouache of “La Bonne Mere” from which the engraving by De Launay was made. This design was a success, and he painted a larger one for the Church of St. Nizier de Troyes. The Virgin Mary is seen holding up a fair Child Jesus 3 JEAN HONORS FRAGONARD in her arms. It is a scene full of motherly and filial love. He was not satisfied with his study of Rem¬ brandt only. Being very fond of landscape paint¬ ing, he started to renew his study of the Dutch School just when he was at the height of his tal¬ ent, and becoming inspired by Ruysdael, he made use of the latter’s precision and exactitude in de¬ tail. He no longer copied but interpreted, and so cleverly that when one of his pictures was for sale in the XVIIIth century, it was catalogued under the name of Ruysdael-Fragonard. It would be hardly possible to distinguish them, if Fragonard had not brightened his subjects by little figures so characteristic of his century, little peasant girls and dainty little shepherdesses, who seem to be¬ long to the light romances of that day. Soon after that, he left Chardin to study with Boucher. He did not remain with the latter very long, but long enough to take from him all his genius, the harmony of his drawing, the vivid coloring of his painting. He carried in his mind all his subjects, but varied them according to his own liking. Boucher, however, had his revenge: he left his mark on all of Fragonard’s works, ex- JEAN HONORE FRAGONARD cept on those painted during the last years of his life, when he was starting to do inferior work. At that time the poor man tried to imitate Mile. Gerard, with whom he was madly in love, and who made a great mistake by treating large pic¬ tures in the same way as miniatures. But why mention these days of his life? One should pass over the period of weakness of artists who have done such wonderful work during such a long term of years. While he was still in Boucher’s studio, or per¬ haps a short time after having left him, Frago¬ nard resembled his master so much that it is very difficult to distinguish the works of one from the other; and even at that time engravers made mis¬ takes and wrote “Boucher pinxit” instead of “Fragonard pinxit,” as, for instance, in “La Bas¬ cule.” But what does it matter? Here we have two men—two genii. Their talent is equally great. Many art critics prefer the master to the pupil. Baron Portalis, who, with one other ex¬ ception,—the Goncourts,—knew more about Fragonard than anybody else, has written a booklet on the panels called “La Vie Champetre,” consisting of “La Vendangeuse,” “La Bergere,” 5 JEAN HONORE FRAGONARD “Le Jardinier,” “Le Moissonneur,” and these panels show the influence of Boucher more than any of his other works. Later on a superb overdoor called “La Cage,” of the same period and of the same series, was found and added to them. In these paintings we see the same little figures, the same scenery and perspective, the same soft blue sky that appear in Boucher’s works. Fragonard was not satisfied with stealing se¬ crets from his contemporaries and from the old masters he saw around him, but he must see what he could gather from the Italian School. He must go to Rome, and found no difficulty in win¬ ning the Grand Prix, which was to pay for his stay in the Holy City. He was still friendly with Boucher, who, as a last warning, said to him, “Above all, do not take all the great masters se¬ riously; you would be lost.” What sarcasm, but how true! That is a piece of advice that many artists ought to take, and could be translated thus: “Study the great masters, but keep your in¬ dividuality.” Fragonard listened to his master’s words. Armed with a technical knowledge which prob- 6 JEAN HONORE FRAGONARD ably no other painter of his age had ever ac¬ quired, and with Hubert Robert as a companion, he spent his time studying nature in the country around Rome. The two artists made sketches which were useful to them for the rest of their lives. The Abbe de St. Non was also of the party, and made the engravings of their draw¬ ings. In this way he has shown us the energy and capability which those young men displayed, and we realize why they became such great mas¬ ters. Fragonard returned to Paris. The opera and its attractions called to him. The Southerner keenly enjoyed the company of actresses, with whom he became a great favorite, and he painted their portraits, sometimes for love or sometimes when asked by some grand seigneur to adorn their boudoirs or their drawing-rooms. But this great portrait-painter, unfortunately, painted very few portraits. We have “La Guimard,” painted on a round canvas. What courage! Marmontel called her “La Belle Damnee”—and how full of wit she was!—this woman who re¬ ceived in her hotel, decorated by Fragonard, all the court of Paris. 7 JEAN HONORE FRAGONARD We have as pendant to it “La Duthe,” just as pretty, celebrated and witty, and as fond of exag¬ gerated luxury, as the other, and who died, ruined and blind, just like her friend and rival. For whom were these two portraits painted? Perhaps for some admirer who loved them both, thus making the mystery all the greater because there were so many lovers who loved them both. In another portrait, treated in a more severe way, we find again “La Duthe.” This one looks as if it were made for her, and with another end in view. Frago has also left us a portrait of “Mile. Colombe” with the features of Venus—that Mile. Colombe, the Venetian girl of Parisian type, with her soft fair hair, for whom he decorated a Hall of Pleasure near Paris. (These decorations were, unfortunately, destroyed by a coating of paint fifty years ago.) This picture is painted in white, faintly tinted with pink, and yet there is color in it resembling a mass of flowers—of those flowers he lived with in Grasse, those flowers of his youth. Everywhere, in every corner, he placed them. The poet of lovers surpasses himself in 8 JEAN HONORE FRAGONARD painting cupids, and then he shows us “L’Amour Folie” and “L’Amour Vainqueur,” scenting the air with petals of roses, in a sky just before the hour of twilight. In boudoirs all over the world one sees engravings, by Janinet, of these famous pictures which will serve him later on as models for two of his renowned panels of Grasse. Then he paints the “Sacrifice of the Rose,” exquisite symbol of the “Last Resis¬ tance.” His flowers peep out everywhere they can. They climb up the walls, they cling to the cor¬ sage, his shepherdesses bring them in fancy wheelbarrows, they thrive in the arbors around “La Bonne Mere.” They enchant the mother as well as the lover. They are the joy of the rich as well as the joy of the poor, of the modest cottage and of the courtesan’s boudoir: the peasant with his wild flowers no less attractive than the court ladies crowning their lovers with choice ones. He has a weakness for roses of all kinds: the moss-rose, the rosemallow. The wizard, with a touch of his magic wand, his brush, makes thou¬ sands appear. But he must have the sun; with¬ out it his flowers would lack color, even those of 9 JEAN HONORfi FRAGONARD the most brilliant hue. Even the poppy in the corn-fields needs a ray of sunlight to touch it to bring it to life and make it more of a blood-red than ever. The sun shines right among them, bringing out every little detail. At times it only grazes them, but more often takes them by sur¬ prise and brightens their little hearts, revealing to us their most hidden petals—petals which can¬ not be seen by the naked eye. The sunshine is the secret of Fragonard’s art. He knows so well how to handle it, he knows all its light effects, its bright touches, keeping its shadows light. He makes it penetrate through the millions of leaves in the forest, looking soft and cool. It comes in through the window—an imag¬ inary window—and is made prisoner in the al¬ cove. To revenge itself, it shows up all the secrets of the room, bringing out all the minute details of the forms, and makes us appreciate certain transparencies. It discovers sleeping lov¬ ers, or those just about to go to sleep, and shows up all the love around them. But out of doors it bursts forth brilliantly, takes unawares innocent nymphs playing in the 10 JEAN HONORE FRAGONARD water, shows up their rosy forms and their laugh¬ ing grace. Sometimes he uses his rays of sun¬ light to bring cupids down from the sky, to keep them suspended in the air, and to give them a hazy appearance, thus giving a little more sub¬ stance to a dream, like—in “Le Bonheur du Premier Baiser”—that first kiss that was given, and then blew away, leaving only the remem¬ brance of it on the lips. That first kiss whose savor remains forever. That first kiss for which one waits and which comes one day and is now but a dream. One cannot touch it, and yet it exists. Oh, that first kiss! different from any other kiss because it cannot be renewed. Fragonard becomes wiser, and he now depicts “L’Amitie coupant les Ailes a l’Amour.” Soon after he marries. Does that mean that love dies ? No, it only changes. With what facility he paints children—he who started by painting cupids! Sweet transition! Ethereal and imaginary beings floating in the sky are transformed into dimpled babies reposing in cradles of plaited reeds. Here we get a glimpse of innocent nudity, the colors reminding us of the roses he loves so much. He depicts the “Good Mother” under every 11 JEAN HONORE FRAGONARD aspect: “La Visite a la Nourrice,” “L’Heureuse Fecondite,” “L’Heureuse Famille,” “L’Heureux Menage,” in which we have the father surrounded by his children, and his wife beaming with sub¬ lime happiness—a happiness so ideal and yet so real. The artist, without wishing to paint his own features, was anxious to show one of his own family groups, of which he was so proud. “La Bonne Mere,” who watches and guards, is his wife. This picture is painted with the three¬ fold love of the husband, father, and artist, and one can understand why he was able to make of this canvas such a masterpiece. What charming titles he gives to his pictures! “Les Baisers Maternels ou Les Jalousies de l’Enfance,” depicting children rushing and fight¬ ing for their mother’s caresses, for those kisses which, with their childish instinct, they are able to appreciate from the bottom of their little hearts. How he loved to paint his only son, whom he nicknamed “Fanfan”! Fanfan, with his blue eyes and golden hair, and his bright little face. Fanfan, pretty as a girl, yet mischievous as a boy. Fanfan, who figures later as the Evariste of the Revolution, and who burned his father’s 12 JEAN HONORE FRAGONARD prints as a sacrifice to his country. He is said to have done likewise with some of his drawings. Those drawings, sometimes washed over with bistre, sometimes drawn in with black or red pen¬ cil, and which are even more full of color than some of his most brilliant pictures, would have been sufficient to render him immortal. He is supposed also to have wished to repre¬ sent members of his family in the two companion pieces called “La Jeune Fille a la Marmotte” and “Le Jeune Homme a la Curiosite,” so different in technic, and yet so similar. One is treated broadly and represents a boy; the other with a certain minuteness, and is a girl. Fragonard is the only man who has dared to paint such con¬ trasts. Not one of his pictures—not even a pen¬ dant—resembles another in any way. Here he uses a fine brush, there a thick one. He never uses the same color twice. One day he will choose bistre, as in the “Billet Doux” and the “Renaud dans les Jardins d’Armide,” the most wonderful sketches he ever composed—sketches, entirely completed, to which one could not add a single touch, although they appear to be unfin¬ ished. Another day he mixes and mingles all his 13 JEAN HONORE FRAGONARD colors and sometimes tries to obtain an effect of dark shadow, as in “Fanchon, la Vielleuse,” where the head alone stands out, as if sur¬ rounded by a halo. “Fanchon, la Vielleuse.” The Revolution was approaching. Fanchon was singing republican songs. What a warning to Fragonard, whose friends and protectors were soon to die on the scaffold, and he himself, although protected by David, fled from Paris to his native town, where he hoped to find peace! He took with him his gorgeous panels—his masterpieces—“Les Pro- gres de F Amour dans le Cceur des Jeunes Filles,” the most beautiful romance of Love and Youth, which he painted for Mme. du Barry, and which were intended for the Chateau de Louveciennes. Fragonard did not feel safe even among his own people, and so painted Revolutionary em¬ blems on the walls of the entrance to his house and on the staircase. These protected him. Poor Frago! The Revolution and Mile. Gerard had killed his genius. He passed away, later on, in Paris—in 1806 —in that great city he loved so much, forgotten for the time being. But Fame awaited him. RENE GIMPEL. 14 JEAN HONORfi FRAGONARD CATALOGUE PAINTINGS I. “L’AMITIE COUPANT LES AILES A L’AMOUR” “Friendship cutting Love’s Wings” This canvas is the sketch of one of the over- door paintings that were in the Chateau de Louveciennes and which were bought by Mme. du Barry from Francois Hubert Drouais, the painter. The subject, entitled “Friendship cutting Love’s Wings” (also known as “Love and Friend¬ ship”), was very much in favor at that time. The celebrated Mme. de Pompadour had made it popular. Did she not order the famous group of “Love and Friendship” from Pigalle for her Chateau de Bellevue? and was this subject not strongly emblematic of herself—she who had conquered the King by love and who knew how to retain his affection through friendship ? The following mention is to be found in the “Memoire des ouvrages de peinture commandes par Mme. la Comtesse du Barry a Drouais, 15 JEAN HONOR!: FRAGONARD peintre du Roy” (Memorandum of the paintings ordered by Mme. la Comtesse du Barry from Drouais, painter of the King): “On Sunday, June 24, 1770, four overdoor paintings for the old pavilion of the Chateau de Louveciennes were delivered to Mme. la Com¬ tesse: one representing the ‘Graces,’ another ‘Love Embracing the Universe,’ another ‘Venus and Love,’ and a fourth one representing ‘Night.’ These four overdoors were painted by Frago¬ nard, painter of the King. They were purchased for 1200 pounds by Mme. la Comtesse from M. Drouais, to whom they belonged.” (“Venus and Love” has since been called “Friendship cutting Love’s Wings.”) These marvelous panels were immediately greatly admired. M. Virgile Josz says: “They must have had signal success, for Le Doux’s con¬ struction was then but half completed when Fragonard’s name was included among the va¬ rious decorators who were to embellish it.” M. Pierre de Nolhac says: “With a heart full of youth and purity, Fragonard conceived these delightful decorations; he lavished on them all the grace of his soul, the delicateness of his color¬ ing, the fascination of his brush. These four paintings are most faithfully and lovingly exe¬ cuted. The delicate tones are so light that they give the appearance of a luminous transparency. 16 JEAN HONORE FRAGONARD The strokes are sober; and in them we detect the diligence, the willingness, the constancy, as well as the brilliant and spontaneous qualities of the artist.” The following is what M. Portalis says of the Chateau de Louveciennes: “Every one knows that there were two distinct pavilions in the little village situated near Marly. In 1769 the King gave to his favorite, to be used by her for the rest of her life, the Chateau de Louve¬ ciennes, which had become vacant through the death of the young Prince de Lamballe, son of the Due de Penthievre. It was a small house, which the disagreeable noise of the neigh¬ boring water-works at Marly rendered rather unpleasant to live in. . . . It was to embellish the salon that the above-mentioned overdoors were purchased,—charming undoubtedly, but which at present we can find no trace of. . . . These new overdoors painted by Fragonard were placed in the main salon or in the gallery.” Previously in the collection of M. Trouard, architect, in Paris. Appeared in the Trouard Sale, 1779, as No. 84, where it sold for 86 pounds. Mentioned in E. and J. de Goncourt’s “L’Art au XVIIIeme Siecle.” Mentioned in Pierre de Nolhac’s “Fragonard.” Paris, 1907. In the collection of Mrs. John W. Simpson, New York. Canvas, 8x 12J4 inches. 17 JEAN HONORE FRAGONARD 2. “L’AMOUR et 3. LA FOLIE” “Love and Folly ” “L’Amour et La Folie” are perhaps the most popular paintings produced by the great master. All the engravers have been anxious to reproduce them, and all the writers on Fragonard, such as Messrs. E. and J. de Goncourt, R. Portalis, Pierre de Nolhac, Virgile Josz, and Leandre Vaillant, have praised them highly in their books. The pictures are treated with a delicate light¬ ness and painted in a joyous mood. While Love as Conqueror is standing silent, beside a rose bush, as if he were ready to shoot the arrow he is holding, Love as Folly, carelessly agitating his bells and his fool’s bauble, seems utterly un¬ mindful of the consequences of his frolics. We quote the following from Roger Portalis’ book (Paris, 1889), on page 102: “ . . . Two among those pictures, ‘L’Amour et La Folie,’ are quite well known through Jani- net’s colored engravings, dated 1789, the original paintings of which are to be found in private collections. The allegory continues in the em¬ blematic form of a dove pursued by Love, and afterwards lying trembling at his feet, while further away Folly is rattling his bells.” 18 JEAN HONORE FRAGONARD And again Portalis writes: “Does not joyous Love, flitting lightly among the flowers, remind us of the following verses? ‘Sur un buisson Le papillon Voit-il la rose, II s’y repose. Est-il heureux Amant frivole Soudain il vole A d’autres jeux.’ ” (Parny.) Virgile Josz describes the paintings as follows: “Love as Conqueror and Love as Folly, two subjects that Fragonard is going to treat re¬ peatedly for Prince de Conti and so many others; two medallions where that untiring and insatia¬ ble little Cupid mischievously runs about, an ar¬ row and a fool’s bauble in his hand, in the midst of everlasting roses.” Mentioned in Roger Portalis’ “Fragonard.” Paris, 1889. Mentioned in Pierre de Nolhac’s “Fragonard.” Paris, 1906. Mentioned in Virgile Josz’s “Fragonard.” Paris, 1901. Mentioned in E. and J. de Goncourt’s “L’Art au XVIIIeme Siecle.” Mentioned in Leandre Vaillant’s “L’CEuvre de Chardin et Fragonard.” Paris, 1908. 19 JEAN HONORE FRAGONARD Engraved by Janinet in color. Catalogued in Bourcard’s “Manuel de l’Amateur du XVIIIeme Siecle.” Catalogued in Le Blanc’s “Manuel de l’Amateur d’Estampes.” Catalogued in Beraldi’s “Les Graveurs du XVIIIeme Siecle.” Paris, 1881. Lercy de Senneville Sale, Nos. 56 and 57. 1780. Marquis de Veri Sale, No. 39. 1785. Folliot Sale, No. 50. 1793. Villeminot Sale, No. 23. 1810. Tabourier Sale, Nos. 93 and 94. 1898. In the collection of Mrs. John W. Simpson, New York. Two canvases, oval, 21% x 18 inches. 4. “LES BAIGNEUSES” “The Bathers” Young and pretty women coming out of the water or frolicking about were Fragonard’s sub¬ jects of choice. Thus, besides this canvas, we know of “The Bathers” at the Louvre, the “Bath¬ ers Taken by Surprise,” and many other paint¬ ings which bear this inspiring title. In this well-rounded, rosy-hued flesh we feel the influence of his master, Boucher; but in the graceful poses, in the harmonious scenery, Fra¬ gonard has retained his originality. While this picture recalls to our mind the 20 JEAN HONORE FRAGONARD painting of the Louvre, with which it has some similarity, we find that Fragonard has placed more figures in this canvas, thereby offering us a greater variety of poses and attitudes, most pleas¬ ing to the eye. Baron Portalis remarks that Fragonard excels in this style: “Never did he feel more sure of himself than when he painted The Bathers,’ in which the composition and coloring approach so closely the manner of his master, except that his tones are warmer and more brilliant. The high lights in the flesh, and the brilliant landscape, give this painting the appearance of a Boucher touched up by Rubens. Who has said, speaking of this adorable group of nymphs freely romping in the grass, that they resemble a bunch of flow¬ ers where roses predominate? and, pondering still further, we feel that this painting is actually blossoming, and that we can smell its fra¬ grance.” From the collection of Comtesse Tysckewitz, Paris. Canvas, 25J/2 x 32J/2 inches. 5. “LES BAISERS MATERNELS OU LES JALOUSIES DE L’ENFANCE” “Maternal Kisses or Jealousies of Childhood” What a pleasant family scene this painting represents, where Fragonard wishes us to share 21 JEAN HONORE FRAGONARD some of the delights of home life, the charms of which he had just lately learned to appreciate! This is what Baron Portalis says: “Fragonard depicts the tranquil episodes of country life. Ani¬ mals, and especially children, play a most impor¬ tant part in these compositions, and these latter provide the pretext for the swarming group of fresh and laughing faces. It is a pleasure to ob¬ serve how happily Fragonard was influenced in his choice by these young people frolicking around him. In these half-grown youngsters, we can see his brother-in-law and sister-in-law. The little children who, sometimes, are rolling on the floor or playing with the dogs of his home, are his own children, whose games provide a ready picture for the artist. “The painter only needs to look around him to find his models. Is it a wonder, therefore, that he should have left such dainty paintings and such graceful compositions, in which childhood has never been better understood nor more deli¬ cately interpreted?” What a truly happy subject this radiant mother in the midst of her children, who are disputing eagerly for her caresses! And is it not his own family that Fragonard has thus evoked on this canvas? This painting is the sketch of the canvas reproduced in Portalis’ book, page 178. 22 JEAN HONORS FRAGONARD Catalogued in Roger Portalis’ “Fragonard,” page 280. Catalogued in P. de Nolhac’s “Fragonard,” page 126. Previously in the collection of Mme. Walferdin. Walferdin Sale, April 12-16, 1880, No. 76. From the collection of M. Sigismond Bardac, Paris. 6. “LEBONHEUR DU PREMIER BAISER” “The Bliss of the First Kiss” This painting, treated with grace and deli¬ cate lightness, represents an altar on which is inscribed the following: “Au Bonheur du Pre¬ mier Baiser.” Cupid, seen in profile, has just cut off his wings, and, placing them on the altar, he kisses a young woman whose hazy outline is seen in the clouds. “This subject,” M. Portalis says, “is very dear to Fragonard. The list is long, from ‘Le Premier Baiser,’ in which the painter has de¬ picted the trembling touch of love, to the beauti¬ ful painting known by the engraving as ‘Le Baiser a la Derobee.’ . . . With his brush Fra¬ gonard has taught us every possible kind of a kiss.” This same subject has been treated in a draw¬ ing, catalogued No. 234, in the Walferdin sale, and engraved in bistre, in an oval shape, without the engraver’s name and without title. Catalogued in Portalis’ “Fragonard,” page 272. 23 JEAN HONORE FRAGONARD Catalogued in P. de Nolhac’s “Fragonard,” page 118. Catalogued in De Goncourt’s “L’Art au XVIIIeme Siecle,” tome III, page 328. Walferdin Sale, April 12-16, 1880, No. 15. Collection of Mme. Paillard. From the collection of M. Sigismond Bardac, Paris. Canvas, 12J/2X9J/2 inches. 7. “LA BONNE MERE” “The Good Mother” This subject, which has become popular, thanks to an excellent engraving by De Launay, represents one of these happy moments of moth¬ erhood in which Fragonard excels as well as in his pictures of love. With his favorite trees as a background, bringing out his wonderful effect of light and shade, Fragonard, in vigorous con¬ trasts, has grouped together, at the foot of an antique vase mounted on a very high pedestal, a young woman seated on a stone bench, with a cradle in which sleeps a half-naked infant, and a robust little girl of three or four years of age. On the young mother’s shoulder a big white cat is purring. With her left hand on the head of a child, she is turning up the latter’s face, while with her right hand she holds a rustic bowl con¬ taining the sponge with which she is going to wash 24 JEAN HONORE FRAGONARD the little girl. Hiding behind her, a mischievous little boy slyly pours into the bowl the contents of a jug of water. Nothing could be more natural and more vivid than this composition. Tradition says that “La Bonne Mere” is the portrait of Mme. Fragonard, and the fact that this picture reminded the artist of the first years of his married life explains why it had such an extraordinary attraction for him that he dedi¬ cated it to his country in 1789, at the time of the Revolution. All the authors agree that this painting is one of the most beautiful executed by the master of Grasse. Virgile Josz writes as follows: “While Eva¬ riste Fragonard is studying at David’s, the ‘Etats Generaux’ are assembled and the great drama begins. Fragonard dedicates his ‘Bonne Mere’ to his country—the ‘Bonne Mere’ that Nicolas de Launay had engraved for Menage de Pressigny, who was soon to be taken to the scaffold.” M. Pierre de Nolhac says: “The young mother shows us a crib under trees heavily laden down with foliage and flowers. The atmosphere around this little group is pure and caressing. What beautiful effects of luminous light the artist has produced! The mother, smiling and happy, is busily attending to the daily toilette of her little ones; the younger child is sleeping in the crib, all 25 JEAN HONORE FRAGONARD buried in the coverlets, and its little hand is rest¬ ing under its dimpled chin.” Engraved by Nicolas de Launay. Reproduced in F. Naquet’s “Fragonard,” page 43. Reproduced in Mauclair’s “Fragonard,” page 20. Reproduced in Roger Portalis’ “Fragonard,” page 182. Mentioned in F. Naquet’s “Fragonard.” Mentioned in Mauclair’s “Fragonard.” Mentioned in Virgile Josz’s “Fragonard.” Mentioned in P. de Nolhac’s “Fragonard.” Mentioned in Portalis’ “Fragonard.” Exhibited at “L’Art du XVIIIdme Siecle,” 1883, No. 60. Exhibited at “Les Inondes du Midi,” 1887, No. 45. Formerly in the Spitzer collection. In the collection of Mrs. S. R. Bertron, New York. Canvas, oval, 25y 2 x 21J4 inches. 8. “LA CHARRETTE DE ROSES” “The Cart of Roses” While this composition depicts life in the fields, it also evokes a fairyland, all bathed in that luminous light that Fragonard so masterly rendered. This beautiful picture establishes a new phase of Fragonard’s talent. He spends his summers in the country, and the rustic homes and farm¬ yards, as remarks M. Portalis, constitute the backgrounds of his compositions. The young woman that Fragonard has painted 26 JEAN HONORE FRAGONARD looks charming in a red dress—so gracefully pulled up. In the background we see a pictu¬ resque windmill. Although Fragonard’s origin¬ ality is quite apparent in this work, we can feel Boucher’s influence in the windmill; for Boucher frequently introduced windmills in his composi¬ tions which he painted in the neighborhood of Paris. The hollyhock which adorns the cart, and in which the master makes the light play, is most fascinating to the eye; and who knows if Frago¬ nard, when he painted these roses, did not think of the town of Grasse, his own native country, so rich in flowers and fragrant fruit? From the collection of Mr. Ch. Davis. Canvas, 19%x23|4 inches. 9. “MADEMOISELLE COLOMBE” Marie Therese Theodor Ramboccoli Riggieri, called Mile. Colombe, was born in Venice, Oc¬ tober 22, 1752. Brought to Paris, while she was still very young, by her father, a strolling musi¬ cian, she entered the “Comedie Italienne” in 1766. There she became acquainted with Comte de Masserone, known as Lord Mazarin, who fell desperately in love with her, and bought her from her parents for the sum of 100 louis d’or. She then left the “Comedie Italienne,” but returned 27 JEAN HONORE FRAGONARD to it November 6, 1772, to play the part of Hor- tense in “Le Huron” by Marmontel and Gretry. Being of reputed beauty, and possessing, as Grimm said, “the most beautiful eyes in the world,” Mile. Colombe met with marvelous suc¬ cess. Grimm, Bachaumont, and Boldini praised her very highly, Falconet executed her portrait in marble, and all the contemporaries acknowledged her beauty: “Chez elle il faut s’appareiller Si dans ses mains je tombe Qu’elle me transforme en ramier Car j’aime la Colombe.” After having achieved a great success in “La Colonie de Sacchini,” in the part of Belinde, she gave up the stage in 1788. Soon after she be¬ came destitute. She died at Versailles on the 29th of March, 1837. In this delightful portrait, made of blond tonalities, Mile. Colombe is represented full face, delicately modeled, her head slightly drooping and her shoulders exposed; she holds an apple in her left hand. At the bottom of the painting there is a dove, a symbol of love. From the collection of M. Doisteau, Paris. In the collection of Mr. William Salomon, New York. Canvas, oval, 22/i x 19 inches. 28 JEAN HONORE FRAGONARD 10. “MADEMOISELLE DUTHE” Mile. Duthe was born on the Chaussee d’An- tin, Paris, in 1748. In his preface preceding the witty souvenirs that Mile. Duthe has written, M. Paul Ginisty speaks as follows of this celebrated actress: “Mile. Duthe, who began her career at a very young age and was well launched, received the attention of the most distinguished men of the time, both of high birth and situation, from future monarchs and monarchs as well.” While still quite young, she succeeded in being admitted to the opera through the influence of M. Hocquart, and later she appeared at the the¬ atre of Mile. Guimard, with whom she became very intimate. Among her numerous protectors were: M. de Letoriere, the Due de Chartres, M. de Genlis, and the young Due de Bourbon. Philosophers and men of letters such as Diderot, Marmontel, Gen- til Bernard, Colardeau, etc., frequented her salon. On Saturdays she gave famous and sump¬ tuous dinners, and one day she appeared driv¬ ing at Longchamps in a carriage drawn by eight white horses. She also tried to go into politics, and sought the influence of M. Choiseul just at a 29 JEAN HONORE FRAGONARD time when his opponents were plotting against him. Mile. Duthe was very beautiful. Inspector Marais described her as follows: “She is one of the most beautiful women of Paris; tall, has a very good figure, splendid complexion, a most amiable face, and beautiful hair.” As we can well surmise, she was extraordi¬ narily popular, and there are many songs of the time written around her: “Duthe tu cherches a plaire A qui peut t’enrichir, Moi qui suis mousquetaire Je n’ai rien a t’offrir.” Her residence on the Chaussee d’Antin was one of the most elegant in Paris. After a short stay in England, Mile. Duthe became blind and died in 1820 . The painters disputed for this pretty model; besides this famous painting by Fragonard, a masterpiece in freshness of color and delicacy of modeling, Perrin has left us an agreeable por¬ trait of her which is in the Museum of Rheims. Prud’hon has painted her, and the engravings of Le Beau and Janinet have made her popular. The following is what Baron Portalis says, in 30 JEAN HONORE FRAGONARD his work on Fragonard, regarding this painting by the master: “Launched in the theatrical world, especially in his youth, the artist had a splendid opportunity to paint several of the lead¬ ing actresses, and it is to these acquaintances that we owe his portrait of Mile. Duthe.” Previously in the collection of F. Waller, Esq., London. From the collection of Baronne Nathaniel de Rothschild. From the collection of Baron Arthur de Rothschild. In the collection of Mrs. John W. Simpson, New York. Canvas, round, diameter 2014 inches. 11. “FANCHON, LA VIELLEUSE” “Fanchon, the Hurdy-Gurdy Player” Fragonard’s painting evokes one of the most delicate pictures of the Paris of former days. Frangoise Chemin, known as “Fanchon, la Vielleuse,” was very popular in Paris towards the end of the XVIIIth century. A mountebank by profession, she knew how to achieve great re¬ nown for herself by means of her songs, which she would render, accompanying herself on her hurdy-gurdy. During the reign of Louis XV the hurdy-gurdy became very much in vogue; it was a string in¬ strument that was played by means of a crank. Fanchon was at first very popular with the people. She was gifted with a pretty voice, 31 JEAN HONORE FRAGONARD and with the aid of her famous hurdy-gurdy, she would sing Revolutionary songs, of which the most celebrated was the following: “Nous, dont la lampe le matin, Au clairon du coq se rallume; Nous tous qu’un salaire incertain, Ramene avant l’Aube a l’enclume; Nous, qui des bras, des pieds, des mains, De tout le corps luttons sans cesse, Sans abriter nos lendemains, Contre le froid et la Vieillesse. Aimons nous et quand nous pourrons Nous unir a la ronde, Que le canon se taise ou gronde, Buvons A l’independance du monde.” Later on she modified her repertoire; singing before ladies and gentlemen of the court, she became the star of the fashionable concerts. Fanchon’s picturesque little personality was soon adopted by the stage and the arts, and it has since been revived by numerous comedies and operettas. “Fanchon, la Vielleuse” is represented here as a “Jeune Fille a la Marmotte,” standing near a table on which rests the box containing a little marmot. 32 JEAN HONORS FRAGONARD Duclos-Dufresnoy Sale, 1795. Vassal de St. Hubert Sale, 1783. Mentioned in Baron Roger Portalis’ “Fragonard.” In the collection of Mrs. John W. Simpson, New York. Canvas, 11 x 9 inches. 12. “FANFAN” This charming miniature represents Frago¬ nard’s only son, Alexandre Evariste, nicknamed “Fanfan.” Fanfan was born at Grasse in 1780. He had a sister, Rosalie, whom death claimed when still young; Fragonard, therefore, lavished all his affection on his little son, and placed all his hopes in him. It was this little fellow who brightened the home of the painter, that cheerful interior that M. Charles Blanc describes as follows: “Fragonard had painted fantastic trees, and in a corner he had hung a swing on which he often placed his models. It was by this aerial stair¬ case that Fragonard’s young child would come down from his apartment situated above. The furniture, the interior arrangement, the light, all reminded one of the usual fairylike beauty of his paintings. Here and there he had placed gar¬ lands of flowers, potted plants, and even playing fountains, as well as bright-colored carpets and draperies of fine material.” 33 JEAN HONORE FRAGONARD The following passages are taken from the well-informed biography of Alexandre Evariste by Baron Portalis: “First, having been his father’s pupil, he en¬ tered, at a very young age, the studio of David. . . . During the Consulate young Fragonard was commissioned by Lucien Bonaparte to deco¬ rate the latter’s country home at Plessis-Cha- mant. “ . . . Alexandre Fragonard made designs for many monuments that were never executed, among others an obelisk with bas-reliefs which was to have been erected on a platform of the Pont Neuf. The events of 1815 prevented the execution of this great work, the designs of which had been approved by the Emperor. “Such was also the case with the sculpture for the facade of the Madeleine, with which he had been entrusted. “He painted many pictures, among which the following are the principal ones: The Shepherds of Virgile,’ ‘Joan of Arc entering Orleans’ (which is in the Museum of Orleans), ‘Marie Therese presenting her Son to the Hungarians,’ and many others. “In sculpture he executed the colossal bronze statues of Pichegru, Jeanne de Laval, etc. . . . He had produced many designs and models of sculpture for the ‘Manufacture de Sevres,’ and it 34 JEAN HONORE FRAGONARD was in this national establishment that he placed his son, Theophile Fragonard, who distinguished himself there as a painter on porcelain.” He died in Paris in November, 1850. As we see, although Fragonard’s son did not possess his father’s genius, still he was a painter of merit. Fragonard was an excellent miniaturist, and M. Portalis says the following of him: “His miniatures represent little boys and girls with wide-awake faces, with great big, beaming eyes, and with clear and animated complexions, which remind us of reduced portraits by Greuze.” Previously in the collection of M. Walferdin. From the collection of M. Stern, Paris. Exhibited at the “Exposition de la Miniature” at Brussels, 1912 . Miniature, oval, 2^4 x 2 J/4 inches. 13. “MADEMOISELLE GUIMARD” Marie Madeleine Guimard, the celebrated ac¬ tress, was born in Paris on October 10, 1743. While still very young she was in the ballet corps of the Comedie Franqaise, and later on she entered the opera. Intelligent, witty, and very beautiful, she soon acquired an extraordinary reputation. All the fashionable ladies of the day 35 JEAN HONORE FRAGONARD wore gowns a la Guimard. Writers and poets sang her praises. Bachaumont said of her: “Her gracefulness did honor to Terpsichore, and she only lacked a certain roundness of form.” Among her numerous protectors were the Marechal de Soubise and Benjamin de la Borde. In 1792 she was married to Despreaux, who founded a theatre that became very popular. Her home in the Chaussee d’Antin is still re¬ nowned. It is certain that Fragonard visited her. The following is what M. Portalis says about her: “La Guimard, who afterwards became the wife of Despreaux, the dramatic author and di¬ rector of the theatre, became at the start the darling of the gay world. . . . The wonderful tales of ‘La Belle Damnee,’ as Marmontel called her, vastly amused history. She had three differ¬ ent supper parties a week, the one consisting of the first gentlemen of the court, and the others of authors and artists who came to entertain this Muse; and, of course, Fragonard must have been there also with all his brilliant wit and good humor.” This beautiful circular portrait, which is the companion piece of the one of “Mademoiselle Duthe,” mentioned above, is equally brilliant in color and modeled with grace. 36 JEAN HONORE FRAGONARD Previously in the collection of F. Waller, Esq., London. From the collection of Baronne Nathaniel de Rothschild. From the collection of Baron Arthur de Rothschild. In the collection of Mrs. John W. Simpson, New York. Canvas, round, diameter 20^4 inches. 14. “MADEMOISELLE GUIMARD” Another portrait of Marie Madeleine Guimard, the celebrated and beautiful actress, whom Vir- gile Josz describes as follows: “That girl has ‘the prettiest neck in the world,’ as Marais remarks in his police report, and a small waist, so well in proportion with her dainty figure; a childlike head with thin lips; a sensual chin, a prominent forehead and ‘Chinese eyes,’ recalling those of Mile, de Prie.” The same author narrates the following amus¬ ing anecdote: “La Guimard had a quarrel with Fragonard and had engaged another painter. Fragonard was determined to avenge himself, and, one day, gained admission into her house. Seizing a few brushes, he set to work to transform a smiling portrait of his former friend into one expressing ferocious anger. A few moments later, the mis¬ tress of the house arrived with a few friends to 37 JEAN HONORS FRAGONARD whom she wanted to show the works of her new painter. Upon being convinced that she had been ridiculed, she burst into a violent rage, and her amused guests realized then that she possessed the very features depicted on the canvas.” That Fragonard was a great admirer of her is evident when we read Virgile Josz, who further says: “Having forsaken the peaceful joys of home, Fragonard, working on his decorations, lingers enthralled in the Chaussee d’Antin paint¬ ing ‘La Belle Damnee.’ ” For La Guimard’s celebrated house had been decorated by Fragonard himself, and M. Jacques Doucet, the well-known collector, in his home in the Rue Spontini owns two exquisitely decorated door panels which came from there. It is inter¬ esting to state that M. Doucet purchased them some thirty years ago, for a few hundred francs, from a coal-vender who had bought them for kindling-wood. From the collection of Sir Hugh Lane, London. Canvas, 21% x 15% inches. 15 . “L’HEUREUX MENAGE” “The Happy Family” This delicate and intimate scene has always been greatly appreciated. Messrs, de Goncourt, 38 JEAN HONORE FRAGONARD in “L’Art au XVIIIeme Siecle,” recall it as fol¬ lows in Volume III, page 334: “ ... In 1825 there appeared at the Didot Sale a picture representing a father vanquished by the caresses of a child, which was catalogued as ‘L’Heureux Menage.’ ” M. Pierre de Nolhac describes it as follows: “L’Heureux Menage .—A young husband, reclining on a sofa, holds his child in his arms; his wife, standing behind him, rests against his shoulder. A parrot with outstretched wings is to be seen in the composition.” (Round, diameter 34 cm.) We find a more ample description of this paint¬ ing in the Didot Catalogue of April 3 and 5, 1825, under No. 135: “A young husband, reclining on a sofa, en¬ joys the caresses of his child, who pushes for¬ ward to embrace him while he is holding him in his arms. A parrot, with outstretched wings and open beak, shares the joy of this family scene. “Thanks to a number of canvases as excellent as this one, Fragonard, at the end of the past cen¬ tury, acquired a celebrity which his son main¬ tains in a dignified way.” It is amusing to read these latter remarks in the Didot Catalogue, written at a time when Fragonard’s son was still living—this same Eva- 39 JEAN HONORE FRAGONARD riste who, during the Revolution, destroyed so many of his father’s prints. Didot Sale, April 3-5, 1825, No. 136. Du Bois Sale. Otto Mundler Sale, November 27, 1871. Comte Hondetot Sale, May 9, 1859. Mentioned in De Goncourt’s “L’Art au XVIIIeme Siecle.” Mentioned in Pierre de Nolhac’s “Fragonard.” In the collection of Mr. William Salomon, New York. Canvas, round, diameter 13^2 inches. 16. “LA FILLETTE A LA MARMOTTE” “The Young Girl with the Marmot” 17. “LE JEUNE HOMME A LA CURIO- SITE” “The Young Man, Vender of Curiosities” The charming picture known as “La Fillette a la Marmotte” portrays one of the pastimes of the XVIIIth century. The people of the time were very fond of these trained pets, which were kept preciously in a box and were made to come out only to perform their dances, accompanied by the music of a bird-organ or of a rattle. The picture is painted in an extremely delicate manner; the little girl is bewitching with her doll- like, comely face, replete with astonishment. 40 JEAN HONORE FRAGONARD In the picture known as “Le Jeune Homme a la Curiosite” the young man leans on a box filled with curios, and in his left hand he holds one of them. He is fair and of a delicate type also. Undoubtedly Fragonard has chosen members of his own family as models: perhaps his brother- in-law or his son; perhaps his sister-in-law or his wife, as M. Leandre Vaillant surmises. The fact is that we frequently find these same types in Fragonard’s paintings which were executed after his marriage. At this period, as M. Pierre de Nolhac remarks, “Fragonard began a new life. His young wife loved him, surrounded him with care and tenderness, and knew how to keep him from the temptations of the outside world. In this calm and quiet sphere the soul of the master awoke to new aspirations. He dreamed of purity, of soft beautiful visions, of wise thoughts born of the beautiful home life he was leading.” From the collection of M. de Malterre. Canvas, each, \ 3 ] / 2 x 9]/ 2 inches. 18 . “PAYSAGE DTTALIE” “Italian Landscape” This landscape was executed in Italy, not at the time when Fragonard was a student at the Art School of Rome, but during his second trip in 41 JEAN HONORE FRAGONARD 1774, when he was in full possession of all his talent and all his resources. If Fragonard attained such genius, it is due to the fact that as a student he conscientiously- studied the great masters of all schools. He was not satisfied with studying the Italians, but he made a careful study of the Flemish painters as well, and foremost among the latter he acknow¬ ledged the great talent of Ruysdael, whose pre¬ cision and careful technique in the execution of landscape he much admired. He imitates his style in order to learn his method, not that he admires him so much, but he wants to master his technique thoroughly. And, in fact, we find that Fragonard’s landscapes are treated with Ruys- dael’s careful execution. It is, therefore, no wonder that the catalogues of the XVI 11th-cen¬ tury sales often bore the name of “Fragonard Ruysdael” to describe the painter’s landscapes. Trouard Sale, 1779, No. 81, where it sold for 730 pounds. Collection of M. Paillet. Collection of Due de La Rochefoucauld Liancourt, 9 Rue Royale, Paris. Benou Sale, June 20, 1827, No. 20. From the collection of M. Lehmann, Paris. Catalogued in P. de Nolhac’s “Fragonard.” Canvas, 22 x 25|^ inches. 42 JEAN HONORE FRAGONARD 19 . “RENAUD DANS LES JARDINS D’ARMIDE” “Rinaldo in the Gardens of Armida” This was just the time when Fragonard wanted to be accepted at the Academy of Paint¬ ing. As Baron Portalis says: “To meet the re¬ quirements one style of painting was not suffi¬ cient; to insure this he had to turn to history or mythology for some dramatic subject, so Frago¬ nard searched through poems by Tasso for a subject, and selected ‘Rinaldo in the Gardens of Armida.’ ” Both the author and the hero of the famous epic “Jerusalem Delivered” were inter¬ esting enough to tempt Fragonard. Tasso, who had been immortalized by Goethe, was very much like Fragonard, an ardent admirer and singer of Love; and even though he treated a his¬ torical subject, Fragonard found in “Jerusalem Delivered” episodes that were dear to him. As every one knows, Rinaldo, under orders of Godfrey de Bouillon, started at the head of the Crusaders to conquer Jerusalem. Armida, who was the niece and pupil of Hidraot the magician, King of Damascus, succeeded in gaining access to the camp of the Christians, setting it on fire, and capturing all their great leaders. Rinaldo alone resisted. Armida, furious at this resis- 43 JEAN HONORS FRAGONARD tance, tries to entrap him, succeeds in doing so, and plans to put him to death. But, struck by his great beauty, she falls desperately in love with him and endeavors to retain him near her in her enchanted gardens at the end of the earth. In her splendid palace, surrounded by delight¬ ful pleasure grounds, enraptured by love and passion, Rinaldo soon forgets his vows and the great object to which he has devoted his life, and the Christians are delivered up to the infidels. The hero, however, liberates himself from his voluptuous bondage, regains his soldiers, and captures Jerusalem. Rinaldo has remained the type of the brave and intrepid warrior who sometimes allows him¬ self to be swayed from the course of his duty by love. In this brilliant picture Fragonard has chosen for his subject the time when the hero penetrates into the enchanted retreat of Armida. His hand resting on his sword-hilt, he is guided by the Graces. In the midst of a bevy of cupids and nymphs, each playing a different musical instru¬ ment, Armida appears in the full charm of her beauty. In the joyous gardens a swarm of pretty women, depicting the various pleasures, whirl around Rinaldo. Leopold Flameng Sale. Beumonville Sale, May 21 and 22, 1882, No. 13. 44 JEAN HONORE FRAGONARD From the collection of Mme. Watel. Engraved by Charles Courtry. Reproduced in Beurnonville Sale Catalogue. Reproduced in Portalis’ “Fragonard,” p. 287. Reproduced in P. de Nolhac’s “Fragonard,” p. 154. Canvas, 28^ x 35 % inches. 20. “LE REPOS DE LA SAINTE FAMILLE” “The Holy Family Resting” Fragonard essayed his talents in every style, and succeeded in all. At first he was the amia¬ ble and gallant painter of Mile. Guimard, the painter of boudoirs, the celebrated decorator for the fashionable salons, the dainty miniaturist, the talented landscape painter, and the interpreter of happy family gatherings. During his travels in Italy he learned to admire the famous Italian masters, and he became greatly impressed by the religious art. He im¬ mediately undertook to paint this style, and met with signal success. But it is evident that Fragonard did not paint the Virgin with the same love and mysticism as did the Italian masters. Fragonard lacked the faith. Was he to be blamed for this? Is it not rather the libertine spirit of his century that we should accuse? 45 JEAN HONORE FRAGONARD Whatever it may be, his religious compositions were tender interpretations, bathed in delicate light and imbued with deep sentiments of the home. Many critics have compared Fragonard to Murillo in this respect, and the comparison is not at all unjustified. In this style Fragonard has by far surpassed his master, Boucher, whose religious paintings were too manifestly uncon¬ strained. We know of a water-color by Fragonard, of which Auvray gives the following description: “The Blessed Virgin is sitting next to St. Joseph receiving the tender caresses of the Infant Jesus, while a group of angels look on.” It was after the painting known as “Le Repos de la Sainte Famille” that Fragonard executed that water- color. The painting is the reduction of a large picture bearing the same title, which is to be seen in the Church of St. Nizier at Troyes. M. A. Bontillier du Retail reproduced and compared the two paintings in a publication entitled “A Fragonard at Troyes.” He describes the two pictures as follows: “The Virgin, seated on a rock, is holding the Infant Jesus in her arms. His dimpled little body can be seen under the slightly raised shirt. Be¬ hind this group St. Joseph is somewhat conven¬ tionally leaning against a cloud, looking at the 46 JEAN HONORE FRAGONARD scene. His stick is on the ground, together with his meagre baggage and his traveling-gourd. In the firmament can be seen heads of little angels who are taking the places of the angels who, ac¬ cording to the pretty legend of the apocrypha, accompanied and waited on the Holy Family in its flight into Egypt.” The canvas is one of the best of the group of religious paintings known to have been conceived by Fragonard. Le Prince Sale, 1781, No. 125. Due de la Rochefoucauld Sale, 1827. Roger de Breart Sale, 1886, No. 19. Collection of Due de la Rochefoucauld Liancourt. Collection of M. Poilleux. Collection of M. Langlois. Canvas, oval, 2Q]/ 2 x 23 inches. 21. “SAINTE FAMILLE, D’APRES REM¬ BRANDT” “Holy Family, after Rembrandt” “Earnest and conscientious in everything that pertained to his profession,” writes M. Pierre de Nolhac, “and eager to retain his skill and pre¬ serve intact the strength of his talents, Fragonard continued, as in the past, to study the great mas¬ ters.” Therefore he turned to Rembrandt, that inter- 47 JEAN HONORfi FRAGONARD preter of light that Fragonard learned to admire so much. His paintings, like “Les Traitants,” “La Visite a la Nourrice,” and others, are a proof that he often was inspired by the great Dutch master. Here he chose a religious subject of Rem¬ brandt’s, one full of charm and replete with that mother-love which he so much enjoyed painting. The scene is laid in an obscure room where Rem¬ brandt’s science of light and shade is marvelously executed. Fragonard has most extraordinarily depicted the solicitude of the Virgin, who is look¬ ing tenderly at the Infant Jesus asleep in a little crib, the shape of which we find in others of his canvases. An important fact, worthy of notice, is that this painting figured in Francois Boucher’s sale, which took place on February 18, 1771, where we find it catalogued as follows: “No. 111.—The Infant Jesus is sleeping in a wicker cradle, and the Blessed Virgin, while watching his sleep, holds an open book in her hand. St. Joseph is holding a hatchet and a piece of wood, and the group is crowned by a glory of angels. This painting is a copy, after Rembrandt, executed by M. Fragonard with wonderful art and accuracy, on a canvas measur¬ ing 2 feet inches high by 27 inches wide” (French measurements). 48 JEAN HONORE FRAGONARD The painting was sold for 72 pounds. Thus we have two suppositions: either Frago¬ nard, entirely satisfied with the execution of this work, and being desirous of showing his grati¬ tude to his master, gave it to him; or else Bou¬ cher, being so impressed by the beauty of the painting, asked Fragonard for it. Although the arrangement and manner of Rembrandt are very evident, Fragonard’s brush is undeniably felt all through this painting. The maternal love that illuminates the face of the Virgin; the rosy, chubby Baby slumbering so peacefully in his crib; all this bears the stamp of Fragonard. Rembrandt seen through Fragonard—what an attractive subject! The painting by Rembrandt is at present in the Hermitage Museum in St. Petersburg. It is larger than Fragonard’s copy, measuring 46J/£ by 36 inches, and is signed and dated 1645. Dr. W. Bode, in his book on Rembrandt, describing the latter’s painting, mentions Fragonard’s copy, saying: “In 1899 an old copy was sold in Eng¬ land.” The fact is that this copy at that time belonged to M. Berger, Esq., who had pre¬ viously purchased it from Mr. O’Neil. Rembrandt’s original painting was in the Cro- zat collection towards 1768, and it was there that Fragonard made this beautiful copy of it. 49 JEAN HONORE FRAGONARD Collection of Francois Boucher. Francois Boucher Sale, February 18-21, 1771. Collection of M. Paillet, 1779. Collection of M. Gildermeester, 1800. Collection of R. R. Reinagle, Esq., R.A., 1831. Collection of Mr. O’Neil. Collection of M. Berger, Esq. From the collection of M. de Charrette. Canvas, 36 x 29% inches. 22. “LE MOISSONNEUR” “The Reaper” 23. “LE JARDINIER” “The Gardener” 24. “LA BERGERE” “The Shepherdess” 25. “LA VENDANGEUSE” “The Grape-Gatherer” 26. “LA CAGE” “The Cage” When we look at these panels, so skilfully ex¬ ecuted, we are reminded of the following re¬ marks of Baron Portalis: “Fragonard was endowed with all the qualities 50 JEAN HONORE FRAGONARD necessary to an adept painter. No sombre colors on his clear and gay palette. His vivacious tem¬ perament aided him, in a great measure, to execute his works in a rapid but facile manner, and to grasp the idea in the first stroke.” “The Reaper” represents an interesting and dreamy type of the ideal laborer, who is resting on his scythe in the middle of a field of wheat. “The Gardener,” who has just picked a basket of roses, seems to run towards the young wo¬ man, and carries to her children a bird that he has just caught. “The Shepherdess” represents a charming young woman wearing a delightfully pretty dress and, as Baron Portalis says, “of exquisite shades; a most charming costume; a style which the artists of that time adopted, and which was most delightful for the eyes to feast on.” She is carrying her child asleep on her back, and another roguish little tot is clinging to her apron. A charming landscape can be seen in the background. “The Grape-Gatherer,” shown here, is most gracious and carries bunches of grapes in her apron. A little child is clutching her skirt, try¬ ing to seize the grapes, while another, who has fallen to the ground, is crying for its share of the fruit. 51 JEAN HONORE FRAGONARD Exhibited at the Chardin-Fragonard Exhibition, 1907, Nos. 134, 135, 136, and 137. Reproduced in the catalogue of the Chardin-Fragonard Ex¬ hibition by A. Dayot and L. Vaillant. Reproduced and described in “Scenes de la Vie Champetre” by Baron Roger Portalis, Paris, 1902. Canvases, 58 / 2 x 32% inches. “The Cage” represents a young woman, seated, lifting a bird-cage with her arm. A young man is sitting at her feet, looking at her and holding a dove in his hands. But this graceful couple, so agreeably dressed, do not live in the fields; they must have been shepherds of the court. In those days Fragonard worked for rich “Fermiers” and for renowned actresses. “For his artificial subjects,” says Baron Por¬ talis, “Fragonard needed an opera setting, a fairy scene composed of harmonious lights and rosy hues such as his facile brush could create so deftly.” Canvas, 38 x 48 inches. These graceful poses, these delicate hedge trees, and this ideal landscape were composed to charm the eye; and these harmonious composi¬ tions were certainly most appropriate for the white and gray boudoir of some favorite or the sumptuous salon of some rich amateur of those days. 52 JEAN HONORE FRAGONARD DRAWINGS 27. “ETUDE DE DRAPERIE” “Study in Drapery” A young woman, in a beautifully draped dress, seated. From the Heseltine collection. Reproduced in “Dessins de l’Ecole Frangaise du dix- huitieme Siecle,” Paris, 1913, No. 27. Drawing in red chalk, 9% x 13% inches. 28. “FEMME DEBOUT, LA MAIN SUR LA HANCHE” “A Woman Standing, Hand on Hip” Dimsdale collection. Mayor collection. From the Heseltine collection. Exhibited at the National Loan Exhibition, No. 90. Reproduced in “Dessins de l’Ecole Frangaise du dix- huitieme Siecle,” Paris, 1913, No. 33. Drawing in red chalk, 15% x 9% inches. 29. “JEUNE FEMME ASSISE” “Young Woman Seated” A young woman seated. She has a head-dress in the style of a Turkish turban and holds a fan. Jean Gigoux Sale, January 20, 1873, No. 115. 53 JEAN HONORE FRAGONARD From the Heseltine collection. Reproduced in “Dessins de l’Ecole Frangaise du dix- huitieme Siecle,” Paris, 1913, No. 31. Drawing in red chalk, 10 x l/ 2 inches. 30. “LA FEMME AU PERROQUET” “The Woman with the Parrot” A young woman seated, looking at a parrot perched on a screen. Mailand collection, April 4, 1881, No. 58. Exhibited at the National Loan Exhibition, No. 89. Mentioned in Portalis’ “Fragonard,” page 305. Reproduced in “Dessins de l’Ecole Frangaise du dix- huitieme Siecle,” Paris, 1913, No. 34. Drawing in red chalk relieved with bistre, 14x9J4 inches. 31. “LA LECTURE” “Reading” A delicate scene of an interior, in which Frago¬ nard excelled. A similar drawing is in the Louvre. Walferdin Sale, April 12-16, 1880, No. 192. Engraved by Jules de Goncourt. Mentioned in Portalis’ “Fragonard,” page 307. Reproduced in “Dessins de l’Ecole Frangaise du dix- huitieme Siecle,” Paris, 1913, No. 32. From the Heseltine collection. Drawing in sepia, 11 x 8% inches. 54 JEAN HONORE FRAGONARD 32. “LE TAUREAU” “The Bull” This kind of subject is dear to Fragonard; the quiet country life attracts him, and he depicts same in many of his paintings, such as “The Stable,” etc. A bull stands in a stable, next to a truss of hay. To the right a young girl sleeps, a dog at her side. Study for the picture in the collection of M. Sigismond Bardac, Paris. Vivant Denon Sale, May 1, 1826, No. 731. Vassal de Hubert Sale, March 27, 1779, No. 182. Exhibited at the National Loan Exhibition, No. 91. Reproduced in the catalogue of the National Loan Exhibi¬ tion, page 176. Reproduced in “Dessins de l’Ecole Frangaise du dix- huitieme Siecle,” Paris, 1913, No. 30. From the Heseltine collection. Drawing in sepia, 10J4 x 14J4 inches. 33. “LA VOILE DES AMOURS” “The Sail of the Cupids” Cupids flutter about in a lively circle, carried away by the sail of a love-ship. Sketch for the ceiling of the residence of M. Bergeret. 55 JEAN HONORfi FRAGONARD In the collection of Mrs. Snowden A. Fahnestock, New York. Drawing in red chalk, 15 x 20J4 inches. 34. “VUE DES JARDINS DE LA VILLA D’ESTE” “View of the Gardens of the Villa d’Este” This delicate drawing is a souvenir of the days that the author spent in Italy. Two lions in stone, who are lying at the ex¬ treme end of a balustrade, guard the entrance to a staircase leading to the terraces of the villa, the tapering perspective of which can be seen in the distance. In the foreground we distinguish a high wall in which a niche is sunken where some ancient goddess sits on a throne between two ani¬ mals, and surmounted by a row of balustrades on which stand two statues. Further away, under a bushy canopy of venerable trees whose tops meet, we see the front of an arbor overladen with vines and with its arches most carefully de¬ signed ; in the background, clusters of trees. The ensemble of this drawing is most pleasing and very decorative. This drawing dates from 1760, which is the time when Fragonard was at the Villa d’Este. A painted canvas representing the same subject is preserved in the Wallace collection. 56 JEAN HONORfi FRAGONARD From the Lemarie Sale, April 25-27, 1912, No. 579. Reproduced in “Fragonard, le Parc,” by the Abbe de Saint- Non. Drawing in sepia and in red chalk, 13% x 17% inches. In bringing these descriptions to a close, we cannot restrain ourselves from crying out with Baron Portalis: “Oh, how brilliantly this XVI 11th-century Art unfolds itself in an un¬ equaled glory; with what freshness and grace! Perhaps we will see again another Boucher. But never will there arise another genius like Fragonard, to evoke, with that exquisite charm, the eternal romance of youthful Love.” 57 PUBLISHED BY E. GIMPEL & WILDENSTEIN, WHO, WHILE GIVING STRICT AND CAREFUL INSTRUCTIONS ON THE SUB¬ JECT TO THE COMPILER, CAN¬ NOT, OF COURSE, WARRANT ACCURACY OF EVERY FACT AND STATEMENT CONTAINED IN THEIR PUBLICATIONS *• *«Sj> GETTY CENTER LIBRARY MAIN ND 553 F7 G49 1914 BKS c. 1 Fragonard, Jean-Hono Exhibition of paintings and draftings by 3 3125 00285 2248