LaurieAnnie's photos with the keyword: Fragonard

Title: The Love Letter Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: early 1770s Medium: Oil on canvas Dimensions: 32 3/4 x 26 3/8 in. (83.2 x 67 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.49 Finish is a relative term in Fragonard’s paintings. Here, over a brown tone, Fragonard seems to sketch with the tip of his brush energetic strokes of varying thickness that capture sunlight that lands at the center of the canvas, along the woman’s cap, powdered face, flowers, dress, and dog. This painting should not be read as a portrait, but as a genre scene that takes up a key eighteenth-century theme, the love letter, in which the appreciation of the work is as much about how Fragonard paints as what he depicts. Text from: www.metmuseum.org/art/collection/search/436322

Title: The Love Letter Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: early 1770s Medium: Oil on canvas Dimensions: 32 3/4 x 26 3/8 in. (83.2 x 67 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.49 Finish is a relative term in Fragonard’s paintings. Here, over a brown tone, Fragonard seems to sketch with the tip of his brush energetic strokes of varying thickness that capture sunlight that lands at the center of the canvas, along the woman’s cap, powdered face, flowers, dress, and dog. This painting should not be read as a portrait, but as a genre scene that takes up a key eighteenth-century theme, the love letter, in which the appreciation of the work is as much about how Fragonard paints as what he depicts. Text from: www.metmuseum.org/art/collection/search/436322

Title: The Love Letter Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: early 1770s Medium: Oil on canvas Dimensions: 32 3/4 x 26 3/8 in. (83.2 x 67 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.49 Finish is a relative term in Fragonard’s paintings. Here, over a brown tone, Fragonard seems to sketch with the tip of his brush energetic strokes of varying thickness that capture sunlight that lands at the center of the canvas, along the woman’s cap, powdered face, flowers, dress, and dog. This painting should not be read as a portrait, but as a genre scene that takes up a key eighteenth-century theme, the love letter, in which the appreciation of the work is as much about how Fragonard paints as what he depicts. Text from: www.metmuseum.org/art/collection/search/436322

Title: The Love Letter Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: early 1770s Medium: Oil on canvas Dimensions: 32 3/4 x 26 3/8 in. (83.2 x 67 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.49 Finish is a relative term in Fragonard’s paintings. Here, over a brown tone, Fragonard seems to sketch with the tip of his brush energetic strokes of varying thickness that capture sunlight that lands at the center of the canvas, along the woman’s cap, powdered face, flowers, dress, and dog. This painting should not be read as a portrait, but as a genre scene that takes up a key eighteenth-century theme, the love letter, in which the appreciation of the work is as much about how Fragonard paints as what he depicts. Text from: www.metmuseum.org/art/collection/search/436322

Title: The Stolen Kiss Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: ca. 1760 Medium: Oil on canvas Dimensions: 19 x 25 in. (48.3 x 63.5 cm) Classification: Paintings Credit Line: Gift of Jessie Woolworth Donahue, 1956 Accession Number: 56.100.1 A masterfully executed, incandescent glow highlights fitful hands and a kiss won in a card game. While Fragonard is best known for energetic, broadly brushed paint surfaces, here the high degree of finish emulates seventeenth-century Dutch painting and demonstrates his technical range. More directly, Fragonard’s elegantly dressed peasants are taken from one of his teachers, François Boucher. Executed during Fragonard’s first Italian sojourn, this painting appears to have been owned by Bailli de Bréteuil, Malta’s ambassador to the Holy See, and was probably among Fragonard’s first private commissions. Text from: www.metmuseum.org/art/collection/search/436325

Title: The Stolen Kiss Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: ca. 1760 Medium: Oil on canvas Dimensions: 19 x 25 in. (48.3 x 63.5 cm) Classification: Paintings Credit Line: Gift of Jessie Woolworth Donahue, 1956 Accession Number: 56.100.1 A masterfully executed, incandescent glow highlights fitful hands and a kiss won in a card game. While Fragonard is best known for energetic, broadly brushed paint surfaces, here the high degree of finish emulates seventeenth-century Dutch painting and demonstrates his technical range. More directly, Fragonard’s elegantly dressed peasants are taken from one of his teachers, François Boucher. Executed during Fragonard’s first Italian sojourn, this painting appears to have been owned by Bailli de Bréteuil, Malta’s ambassador to the Holy See, and was probably among Fragonard’s first private commissions. Text from: www.metmuseum.org/art/collection/search/436325

Title: The Stolen Kiss Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: ca. 1760 Medium: Oil on canvas Dimensions: 19 x 25 in. (48.3 x 63.5 cm) Classification: Paintings Credit Line: Gift of Jessie Woolworth Donahue, 1956 Accession Number: 56.100.1 A masterfully executed, incandescent glow highlights fitful hands and a kiss won in a card game. While Fragonard is best known for energetic, broadly brushed paint surfaces, here the high degree of finish emulates seventeenth-century Dutch painting and demonstrates his technical range. More directly, Fragonard’s elegantly dressed peasants are taken from one of his teachers, François Boucher. Executed during Fragonard’s first Italian sojourn, this painting appears to have been owned by Bailli de Bréteuil, Malta’s ambassador to the Holy See, and was probably among Fragonard’s first private commissions. Text from: www.metmuseum.org/art/collection/search/436325

Title: The Stolen Kiss Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: ca. 1760 Medium: Oil on canvas Dimensions: 19 x 25 in. (48.3 x 63.5 cm) Classification: Paintings Credit Line: Gift of Jessie Woolworth Donahue, 1956 Accession Number: 56.100.1 A masterfully executed, incandescent glow highlights fitful hands and a kiss won in a card game. While Fragonard is best known for energetic, broadly brushed paint surfaces, here the high degree of finish emulates seventeenth-century Dutch painting and demonstrates his technical range. More directly, Fragonard’s elegantly dressed peasants are taken from one of his teachers, François Boucher. Executed during Fragonard’s first Italian sojourn, this painting appears to have been owned by Bailli de Bréteuil, Malta’s ambassador to the Holy See, and was probably among Fragonard’s first private commissions. Text from: www.metmuseum.org/art/collection/search/436325

Title: The Stolen Kiss Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: ca. 1760 Medium: Oil on canvas Dimensions: 19 x 25 in. (48.3 x 63.5 cm) Classification: Paintings Credit Line: Gift of Jessie Woolworth Donahue, 1956 Accession Number: 56.100.1 A masterfully executed, incandescent glow highlights fitful hands and a kiss won in a card game. While Fragonard is best known for energetic, broadly brushed paint surfaces, here the high degree of finish emulates seventeenth-century Dutch painting and demonstrates his technical range. More directly, Fragonard’s elegantly dressed peasants are taken from one of his teachers, François Boucher. Executed during Fragonard’s first Italian sojourn, this painting appears to have been owned by Bailli de Bréteuil, Malta’s ambassador to the Holy See, and was probably among Fragonard’s first private commissions. Text from: www.metmuseum.org/art/collection/search/436325

Title: The Stolen Kiss Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: ca. 1760 Medium: Oil on canvas Dimensions: 19 x 25 in. (48.3 x 63.5 cm) Classification: Paintings Credit Line: Gift of Jessie Woolworth Donahue, 1956 Accession Number: 56.100.1 A masterfully executed, incandescent glow highlights fitful hands and a kiss won in a card game. While Fragonard is best known for energetic, broadly brushed paint surfaces, here the high degree of finish emulates seventeenth-century Dutch painting and demonstrates his technical range. More directly, Fragonard’s elegantly dressed peasants are taken from one of his teachers, François Boucher. Executed during Fragonard’s first Italian sojourn, this painting appears to have been owned by Bailli de Bréteuil, Malta’s ambassador to the Holy See, and was probably among Fragonard’s first private commissions. Text from: www.metmuseum.org/art/collection/search/436325

Landscape with Washerwomen (Primary Title) Jean-Honoré Fragonard, French, 1732 - 1806 (Artist) Date: ca. 1765 Culture: French Category: Paintings Medium: oil on canvas Collection: European Art Dimensions: Unframed: 15 1/4 × 19 1/4 in. (38.74 × 48.9 cm) Framed: 23 1/4 × 23 3/8 in. (59.06 × 59.37 cm) Object Number: 80.81 Fragonard, like many of his European contemporaries, greatly admired 17th century Dutch art despite the official disrespect shown for it in contemporary French Academic circles. Though this brooding landscape particularly recalls similar subjects by Jacob van Ruisdael, it is highly original and the artist signed it twice. Text from: www.vmfa.museum/piction/6027262-8115485

Landscape with Washerwomen (Primary Title) Jean-Honoré Fragonard, French, 1732 - 1806 (Artist) Date: ca. 1765 Culture: French Category: Paintings Medium: oil on canvas Collection: European Art Dimensions: Unframed: 15 1/4 × 19 1/4 in. (38.74 × 48.9 cm) Framed: 23 1/4 × 23 3/8 in. (59.06 × 59.37 cm) Object Number: 80.81 Fragonard, like many of his European contemporaries, greatly admired 17th century Dutch art despite the official disrespect shown for it in contemporary French Academic circles. Though this brooding landscape particularly recalls similar subjects by Jacob van Ruisdael, it is highly original and the artist signed it twice. Text from: www.vmfa.museum/piction/6027262-8115485

Landscape with Washerwomen (Primary Title) Jean-Honoré Fragonard, French, 1732 - 1806 (Artist) Date: ca. 1765 Culture: French Category: Paintings Medium: oil on canvas Collection: European Art Dimensions: Unframed: 15 1/4 × 19 1/4 in. (38.74 × 48.9 cm) Framed: 23 1/4 × 23 3/8 in. (59.06 × 59.37 cm) Object Number: 80.81 Fragonard, like many of his European contemporaries, greatly admired 17th century Dutch art despite the official disrespect shown for it in contemporary French Academic circles. Though this brooding landscape particularly recalls similar subjects by Jacob van Ruisdael, it is highly original and the artist signed it twice. Text from: www.vmfa.museum/piction/6027262-8115485

Landscape with Washerwomen (Primary Title) Jean-Honoré Fragonard, French, 1732 - 1806 (Artist) Date: ca. 1765 Culture: French Category: Paintings Medium: oil on canvas Collection: European Art Dimensions: Unframed: 15 1/4 × 19 1/4 in. (38.74 × 48.9 cm) Framed: 23 1/4 × 23 3/8 in. (59.06 × 59.37 cm) Object Number: 80.81 Fragonard, like many of his European contemporaries, greatly admired 17th century Dutch art despite the official disrespect shown for it in contemporary French Academic circles. Though this brooding landscape particularly recalls similar subjects by Jacob van Ruisdael, it is highly original and the artist signed it twice. Text from: www.vmfa.museum/piction/6027262-8115485

Title: The Love Letter Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: early 1770s Medium: Oil on canvas Dimensions: 32 3/4 x 26 3/8 in. (83.2 x 67 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.49 Finish is a relative term in Fragonard’s paintings. Here, over a brown tone, Fragonard seems to sketch with the tip of his brush energetic strokes of varying thickness that capture sunlight that lands at the center of the canvas, along the woman’s cap, powdered face, flowers, dress, and dog. This painting should not be read as a portrait, but as a genre scene that takes up a key eighteenth-century theme, the love letter, in which the appreciation of the work is as much about how Fragonard paints as what he depicts. Text from: www.metmuseum.org/art/collection/search/436322

Title: The Love Letter Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: early 1770s Medium: Oil on canvas Dimensions: 32 3/4 x 26 3/8 in. (83.2 x 67 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.49 Finish is a relative term in Fragonard’s paintings. Here, over a brown tone, Fragonard seems to sketch with the tip of his brush energetic strokes of varying thickness that capture sunlight that lands at the center of the canvas, along the woman’s cap, powdered face, flowers, dress, and dog. This painting should not be read as a portrait, but as a genre scene that takes up a key eighteenth-century theme, the love letter, in which the appreciation of the work is as much about how Fragonard paints as what he depicts. Text from: www.metmuseum.org/art/collection/search/436322

Title: The Love Letter Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: early 1770s Medium: Oil on canvas Dimensions: 32 3/4 x 26 3/8 in. (83.2 x 67 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.49 Finish is a relative term in Fragonard’s paintings. Here, over a brown tone, Fragonard seems to sketch with the tip of his brush energetic strokes of varying thickness that capture sunlight that lands at the center of the canvas, along the woman’s cap, powdered face, flowers, dress, and dog. This painting should not be read as a portrait, but as a genre scene that takes up a key eighteenth-century theme, the love letter, in which the appreciation of the work is as much about how Fragonard paints as what he depicts. Text from: www.metmuseum.org/art/collection/search/436322

Title: The Love Letter Artist: Jean Honoré Fragonard (French, Grasse 1732–1806 Paris) Date: early 1770s Medium: Oil on canvas Dimensions: 32 3/4 x 26 3/8 in. (83.2 x 67 cm) Classification: Paintings Credit Line: The Jules Bache Collection, 1949 Accession Number: 49.7.49 Finish is a relative term in Fragonard’s paintings. Here, over a brown tone, Fragonard seems to sketch with the tip of his brush energetic strokes of varying thickness that capture sunlight that lands at the center of the canvas, along the woman’s cap, powdered face, flowers, dress, and dog. This painting should not be read as a portrait, but as a genre scene that takes up a key eighteenth-century theme, the love letter, in which the appreciation of the work is as much about how Fragonard paints as what he depicts. Text from: www.metmuseum.org/art/collection/search/436322