Great French paintings in the Rococo style

1. Venus Asking Vulcan for Arms for Aeneas, 1732. This is a painting in Rococo style celebrating the founding of Rome. In the painting the Roman goddess Venus is asking the war god Vulcan for armour for her son Aeneas, so that he can go to war. Aeneas won and this lead to the founding of a Trojan settlement on the Tiber. It is said the Romans descended from that settlement.
2. The Toilet of Venus, 1751. This was commissioned by Madame de Pompadour. It celebrates the beauty of the Roman goddess Venus. A nude Venus with doves in her hand is being attended by three cupids. There is a garden in the background. The lighthearted and slightly erotic feel is typical of the Rococo style. This was a change from the Baroque style which preceeded it with it’s sense of massive scale and volume. In contrast the Rococo style was about lightness and playfullness.
3. The secret message, 1767. This painting shows a young girl reading a message from a lover. The soft colors and curves that glimmer are typical of the Rococo style.
4. Portrait of Madame de Pompadour (1721-1764), dated 1756. The subject Madame de Pompadour, official mistress of king Louix 15th and patron to Boucher was one of the most influential women in Europe at that time. In the painting, the dog Mimi at her feet symbolizes loyalty and fidelity. So this is her proud statement that she is loyal to the King and his mistress.

Multiple series of paintings titled “The four seasons” exist. The above are by François Boucher and depict the changing seasons. “Benign in Spring, rich in Summer, somber yet fruitful in Autumn, and cruel in Winter.”. The paintings were commissioned by Madame de Pompadour, the mistress of King Louis XV and patron to Boucher. 

1. The Four Seasons: Summer, 1755. The “Summer” painting features attributes associated with the rich warm summer season, such as fruits, wheat, and young women in dishabille in a cooling bath. 
2. The Four Seasons: Autumn, 1755. The “Autumn” painting signifies the grape harvest, the abundence of autumn.
3. The Four Seasons: Winter, 1755. This painting depicts the contrast between the harshness of winter and the glowing loveliness of the woman. The woman is said to be the mistress of Louix XV, Madame de Pompadour.

1. Diana leaving her Bath, 1742. The painting depicts the Roman goddess of the hunt Diana and her attendant the nymph bathing after a hunt. The contrast between the innocent beauty of the women and the doves killed brutally in the hunt strikes the heart. Innocense versus reality. Such was the art of Boucher.
2. The Mill at Charenton, 1758. A “better than true” scene painted by Boucher in Rococo style. It depicts a mill at the meeting point of the Seine and Marne rivers, a place which would have been suitable in the 18th century for French aristocrats to meet and enjoy the country life away from Paris. The mill features costly glass windows which would not have been typical for mills of that period, white doves are flying arround and the peasants are handsome and well dressed. This is an idyllic scene crafted for the consumption of the very rich. Even in his lifetime some critisised his work as overly affected and superficial.
3. Landscape near Beauvais, 1740s.   The painting shows a serene landscape near Beauvais, France, 75 kilometers north of Paris.. A man in red coat looks at a woman washing clothes. A “better than true life” scene. The warm colors and soft brushstrokes generate a feeling of peace and harmony that is typical of Boucher’s Rococo style. It was produced by Boucher while he was working at the Beauvais Manufactory (1743-1755). 

Fragonard was the “other” great Rococo artist.

To sum up, Fragonard was one of the great Rococo painters of the 18th century France. His style was primarily based on the style of Rubens, was not fussy but vigorous, rapid and fluent unlike that of many of his contemporaries.

1. Blind-Man’s Buff 1750-52. In 18th century France, Blind Man’s Buff was a metaphor for courtship or flurtation among the aristocracy. Fragonard’s painting is playfull, faintly erotic, sensuous. It satisfied the aristocratic taste for romantic play. The figures are dressed in peasant clothing that are too clean and fashionable. They are aristocrats masquerading as peasants. Also the young woman who is doing the chasing is not really blind. She is can see under her blindfold and capture her man when she wishes. It is all romantic playacting. This type of painting was popular among the rich in 18th century France.
2. The See-Saw 1750-52. Children are playing with a See-Saw. This painting was a companion to “Blind Man’s Buff” above. Blind Man’s Bluff was about courtship, The See-Saw is about play. It suggests that the courtship has ended and the man and woman have started playing in earnest. The rocking motion of the seesaw implies that the relationship has been consummated. This painting is considered by some to be a prelude to The Swing.  
3. The Swing 1767-68. This painting is considered, one of the great masterpieces of the Rococo era and is Fragonard’s best-known work. A young woman wearing a lovely pink dress sits on a swing and flings up her leg so her slippers fly off. A lover hidden in the shadows is treated to a tantalizing glimpse of her legs and thighs. Meanwhile her elderly husband on the right unaware of the dalliance pushes the swing. This is a naughty painting, somewhat playful, somewhat erotic, frivolous. Not like traditional somber historic paintings which celebrated the valor and holiness of the great in history or legend. This painting and others from that period was pivotal for Fragonard. He realized there was a market for this kind of painting and he transissioned from a history painter to a more relaxed style (the Rococo style) which featured playful, slightly erotic scenes such as the one in this painting. It was too frivolous to be shown in a formal palece but could be displayed in the private rooms of the very rich.
4.  Madame du Barry 1782. This painting is by Élisabeth Louise Vigée Le Brun (1755–1842). The subject Madame du Barry was the last official mistress of king Louis XV. She was brought in 5 years after the death of her predecessor Madame de Pompadour. This created quite a stir beacause she was a prostitute of low birth and only 25 years old while the king was in his 50s. She was guillotined in 1793 during the French Revolution. The mistresses of the king often acted as patrons of art in that period and she commisioned the 4 paintings in “The Progress of Lover” series from Fragonard to decorate her Louveciennes pavilion.

1. The Pursuit 1771-1772. A typical Rococo painting by Fragonard. It is a warm and pleasant day. The sun shines. Three young girls are playing in a pleasure garden but the lead girl discovers a boy hidden behind some bushes. She starts fleeing and the other girls ape her. But the boy is quite handsome and he has a rose in his hand. Maybe he is good boyfriend material? This is the start of the romance.
2. The Meeting 1771-1773. The romance progresses to a furtive meeting of the lovers. The boy scales the walls of a garden to meet the girl. The girl seems willing. The statues of the goddess of love Venus and her servant Cupid watches from above.
3. The Lover Crowned 1771-1772. In the 18th century, the phrase “the lover crowned” implied marriage and consummation of a marriage. Note that there is an artist on the lower right side making a record. So the lovers are affirming the permanance of their love by having the artwork created.
4. Love Letters 1771-1772. A boy looks at his lady passionately. The lady reads. She is probably reading his love letter. There is a pile of unread love letters nearby for future reading. This is a scene of absolute love. There is a small spaniel at the lady’s side indicates the lovers’ fidelity. The aftermath of love is royalty, undying lover to each other. A statue of the love goddess Venus stands as if affirming their love.

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