Analyzing Fragonard

Fragonard's The Swing

As a formal composition, The Swing by Jean-Honoré Fragonard is centered on a strong diagonal axis.  Viewers are able to follow the implied lines of the painting from the bottom left-hand corner, up the man's outstretched arm, over the delicate slant of the woman's body, and onward along the ropes of the swing.  A more subtle diagonal can even be found going the opposite direction--starting this time with the servant's arms and continuing upward and left through the gently swaying trees and brightly-lit vacant space.  The sort of X formation these lines create places the woman in the swing precisely in the center of the image, emphasizing her importance, though this is certainly not the only means by which she is emphasized.  The subordination of space surrounding the woman makes her stand out further from her surroundings.  Also, while everyone else in the scene is hidden in shadow, the playful maiden is bathed in sunlight.  The color palette of this painting is primarily composed of cool blue-greens, as in the foliage and the men's clothing.  For this reason, the warm pink of the woman's dress once again sets her apart from the rest of her environment.  It is not only Fragonard's use of color and light that draws the viewer's attention to the woman, however.  It is also her placement in the composition, with regards to the placement of the other persons depicted--all are situated below her, gazing up as she carelessly tosses her shoe into the air, as though in admiration.  

All of these formal elements clearly show that the woman in pink is the focus of this image.  It is not simply by product of Fragonard's imagination that this is done, however; it is a direct reflection of the time during which he painted it.  The 18th Century Rococo era is characterized by Louis XIV's movement of the art capital from Rome to Paris.  In this era, we see things taking on a distinctly feminine quality, symmetry is replaced with playfulness and ornate detail, reflecting the tastes and tendencies of those in power.  It is also characterized by the distinct presence of mistresses within the royal circle, and in such, the art commissioned for those royals during this time.  With the benefit of this social historical context, we are able to derive all new meanings from Fragonard's use of formal elements in The Swing.  The couple in the image are clearly man and mistress.  They are depicted as participating in a distinctly frivolous activity that would not have been representative of, say, a queen.  The man's placement below his mistress is not only an emphasis of her importance in the image, now, but is also slightly risqué and suggestive of their relationship.  Even the hushing cherub watching over the scene seems to be disapproving of their behavior.  The setting itself, tucked away in a cozy corner of the trees, suggests a desired privacy for this playful activity.  All of these things make up the cultural and socio-economic influence of the time period during which Fragonard so artfully crafted his painting.  As we can see, the lens of historical context adds much more to a work than the formal elements alone can explain.