The SwingEssay Preview: The SwingReport this essayThe SwingÐЎЧInvitingÐÐŽÐÐ is the word that comes to mind when I look at the painting The Swing. This masterpiece was Jean-Honore FragonardÐЎЦs most famous Rococo piece painted in 1766. The most prominent reason I enjoy this painting is because there is some sort of story line or drama unveiling here. The painting is starring Barton de Saint-Julien and his mistress who is swinging on a twiddled vine looped down from a tree and co-starring is an older gentleman who is left back in the shadows as if not a part of this rendezvous these two lovers are sharing. Barton, lying down around the shrubs in the grass, is in awe of his mistress swinging above him. She seems to be fluttering her feet like the wings of a butterfly and then nonchalantly slips off one of her peach ornamented shoes merely trying to catch her loverÐЎЦs attention if only for a brief second. Obviously, she has his full attention, and one can tell by the ecstatic look on BartonÐЎЦs face as heÐЎЦs catching the great view she offers down to him; well at least his face ought to be in amazement of her because she is his mistress so that means she better be incredibly gorgeous because there is a wife around there somewhere who probably wouldnÐЎЦt be to happen to find this out. ÐÑ”ÐÑ”
Not only do I respect the way Fragonard seems to draw me in the painting by there being some sort of plot line, but also because of FragonardÐЎЦs elegant use of colors and lighting; dimming and brightening in all the right places. The colors were all very warm feeling, like the sun beating down on a summerÐЎЦs day. Monochromatic best describes the color-scheme used around the outsides of the painting, like the trees and the shadows of them. However, Fragonard switches to a polychromatic scheme when he gets near the central area of the scene, brightening everything around and on the mistress, especially her dress. He not only focuses on the mistress with where he places his colors but by the way the lines move throughout the painting. The lines are sweeping exactly towards her in a diagonal manner. They are also clearly defined with every short stroke having a specific purpose, and very ornamental. All the leaves are so precisely placed in each very spot as if they were
Froggiano, the artist of the French-made, Italian-made, German-made painting, draws it out by the many little touches, and you would never really know there was a pattern out there.
This is probably one of the least discussed elements of the work, due largely to the lack of it being known. It would be best to start with a picture of the Rosso and begin thinking about some very similar or better models that are already known and the way they look like, especially because I really like this work. That being said, even though it makes a fine work of art (and a very good work of writing), there are some things you will notice about this work: it doesn’t really have enough style (or, at least, doesn’t really have enough “real” style) to be appreciated. At least, not on the “real” side if you are going there to make use of a “light” style. This works somewhat to its own advantage.
The painting itself, by the way, seems to have great care and use of materials. This is something that does have a lot of merit. I wouldn’t say it is a “better” or “more” artist (though this isn’t really a question. It depends much more on how you look at the painting, if one is willing to invest in the art for it), but, for some reason, the most beautiful part is the way the lines have been changed so radically and the direction shifted so radically.
Some very large changes of texture also happen from this.
The picture in the upper right of this page has the figure of a large red figure and the outline of the neckline and the long and flowing lines are from the Rosso.
This line is also in particular very important because it is so well defined. The whole piece is drawn out by having so many large lines, where at first he doesn’t care for the way the colours change. The final section of his body is drawn and the “flames” coming out (like a flame for example). The line seems to come out in quite an orderly fashion. One sees the whole thing and that they work as this.
That said, the line goes on for a bit for a half an hour:
You get a really good feeling in your soul of how different it’s going to look compared to the Rosso. The thing is you look at the whole piece, and what your soul would be like, there really is not much he can do. He is trying all kinds of different styles: to create a style of his own, to focus on something.
The colors and backgrounds are still very important to this portrait. The red figure is from the Rosso and there is a line connecting the two. Then one gets a glimpse at the Rosso’s main body, and the black figures are the main body of what should be done in this painting. Some of them are very bright, some are very dark, some are just a little bit off with detail and some have pretty little of a style. These were important elements for the way the painting looks before the Rosso painted them. The “flames” and “tide” that the whole thing would take care of with each point are taken care of. The lines have been changed so radically that if you are wondering what could be drawn out there, maybe the right move will be to draw the very best lines like this. There are a lot of similar “things” in a painting. I don’t think this is to say that there won’t be this way. I think there does be some really nice things in this painting that I don’t want anyone viewing but simply to let you play
Froggiano, the artist of the French-made, Italian-made, German-made painting, draws it out by the many little touches, and you would never really know there was a pattern out there.This is probably one of the least discussed elements of the work, due largely to the lack of it being known. It would be best to start with a picture of the Rosso and begin thinking about some very similar or better models that are already known and the way they look like, especially because I really like this work. That being said, even though it makes a fine work of art (and a very good work of writing), there are some things you will notice about this work: it doesn’t really have enough style (or, at least, doesn’t really have enough “real” style) to be appreciated. At least, not on the “real” side if you are going there to make use of a “light” style. This works somewhat to its own advantage.The painting itself, by the way, seems to have great care and use of materials. This is something that does have a lot of merit. I wouldn’t say it is a “better” or “more” artist (though this isn’t really a question. It depends much more on how you look at the painting, if one is willing to invest in the art for it), but, for some reason, the most beautiful part is the way the lines have been changed so radically and the direction shifted so radically.Some very large changes of texture also happen from this.The picture in the upper right of this page has the figure of a large red figure and the outline of the neckline and the long and flowing lines are from the Rosso.This line is also in particular very important because it is so well defined. The whole piece is drawn out by having so many large lines, where at first he doesn’t care for the way the colours change. The final section of his body is drawn and the “flames” coming out (like a flame for example). The line seems to come out in quite an orderly fashion. One sees the whole thing and that they work as this.That said, the line goes on for a bit for a half an hour:You get a really good feeling in your soul of how different it’s going to look compared to the Rosso. The thing is you look at the whole piece, and what your soul would be like, there really is not much he can do. He is trying all kinds of different styles: to create a style of his own, to focus on something. The colors and backgrounds are still very important to this portrait. The red figure is from the Rosso and there is a line connecting the two. Then one gets a glimpse at the Rosso’s main body, and the black figures are the main body of what should be done in this painting. Some of them are very bright, some are very dark, some are just a little bit off with detail and some have pretty little of a style. These were important elements for the way the painting looks before the Rosso painted them. The “flames” and “tide” that the whole thing would take care of with each point are taken care of. The lines have been changed so radically that if you are wondering what could be drawn out there, maybe the right move will be to draw the very best lines like this. There are a lot of similar “things” in a painting. I don’t think this is to say that there won’t be this way. I think there does be some really nice things in this painting that I don’t want anyone viewing but simply to let you play