Fragonard Regards Croisés (French)

Fragonard is both famous and unknown. There are few examples in the paint where the image that a large audience is a creator also coincides wrong with what actually was one. Some glorious paintings, The Swing, The Progress of Love, The Lock, never to give the idea of ​​an illustrator morals of a caring society obsessed with elegance and dolled pleasures. It is also often forgotten that he was the painter of the elders, but also beautiful landscape designer. Understanding the art of an artist wins the analysis of its relationship with the creators he loved, copied, he was inspired, but also to discover those who imitated. It is this exploration that are attached to, in this beautiful album on Fragonard, Jean-Pierre Cuzin and Dimitri Salmon, taking the principle of their book on Ingres. We thus find that Fragonard collected in the past the most contradictory aspects, and among his greatest inspiration, note the names of Rembrandt, Boucher, Van Loo, Tiepolo. Regarding his successors, the company is paradoxical, since the artist was denied at the time of the Revolution, and rediscovered in the nineteenth century not by artists but by collectors. His work resulted in looting of joyful, free interpretations "in style", which are not exactly copies. Among those he inspired, be mentioned Meissonier, Jean-Léon Gérôme, Honoré Daumier, Renoir, Manet, Berthe Morisot, Vuillard, Derain, Chirico, Giacometti, Alain Fleischer, Patrick Raynaud, Glenn Brown, Ben, Miss'Tic, Annie Leibovitz.

Jean-Pierre Cuzin, Curator of Heritage, resident at the Académie de France in Rome in 1972-1973, professor at the Ecole du Louvre in 1973, conservative, conservative general and the Department of Paintings of the Louvre in 1973 2003 is now Deputy Director General of the National Institute of Art History. His publications (books, exhibition catalogs, articles) concern the French painting of the seventeenth and eighteenth centuries as well as the neo-classical period. Dimitri Salmon, after working for several galleries, foundations and sales of auction houses in France and abroad, integrates the Louvre Department of Paintings in 1996 as a scientific collaborator of conservation. He was assistant curators such as "George de La Tour" in 1997 "According to the ancient" in 2000 and the Ingres retrospective in 2006. He has published extensively and has for ten years studies on the iconography of the Annunciation.