Like the best of Fragonard’s work, the painting is playful yet sincere, filled with erotic possibilities. Saturday, 10am–5pm Jean-Honoré Fragonard, The Progress of Love: The Meeting by Dr. Steven Zucker and Dr. Beth Harris Jean-Honoré Fragonard, The Progress of Love: The Meeting , 1771-1773, oil on canvas, 317.5 x 243.8 cm (The Frick Collection, New York) St. Louis, MO 63108 (Map) Please let us know how we're doing. Around 1771, Madame du Barry commissioned celebrated Rococo artist Fragonard to create a decorative cycle for a new pavilion in the garden of her château at Louveciennes. What could American robber barons Henry Clay Frick and J. Pierpont Morgan and famed courtesan Madame du Barry, mistress of Louis XV, all have in common? In fact, by the 1770s the heyday of the Rococo was over. Or perhaps Fragonard’s Rococo exuberance didn’t match the cool Neo-Classical design of her new pavilion by innovatory architect Claude-Nicolas Ledoux? Find more prominent pieces of genre painting at Wikiart.org – best visual art database. The Progress of Love was a transatlantic collaboration between Pulitzer Arts Foundation, The Menil Collection in Houston, and the Centre for Contemporary Art, Lagos in Nigeria. We’d love to hear from you. The history of these paintings—one of the most powerful evocations of love in the history of art—is linked with the career of the Comtesse du Barry (1743-1793), the last mistress of Louis XV (1710-1774). The series advances in the following order: from a flirtatious proposal (a young man offers a girl a rose), to a furtive meeting (the lover scales the wall of a garden), to consummation or marriage (the girl crowns her lover with roses), to the calm enjoyment of a happy union (the reading of love letters). However by the next panel, The Lover Crowned, their union is certain. Why did Madame du Barry reject such a delightful cycle? The Progress of Love: Love Letters is a Rococo Oil on Canvas Painting created by Jean-Honoré Fragonard from 1771 to 1772. Fragonard ended up keeping the paintings until 1790, when he retired for a year to his native town of Grasse and installed them there in a cousin’s house. Sunday, 10am–5pm, Location: While there are countless alluring examples of love art, we've compiled a collection of 5 romantic paintings and sculptures that stand out from the rest and prove that art and love are a perfect match. These rustic protagonists in billowing silks have nothing to do with realism or classical rigour but embody the carefree pastoral charm of the Rococo and pre-Revolutionary French art. The correct order is not really known, but it is widely accepted that it starts with The Pursuit, followed by The Meeting, The Lover Crowned, and The Love Letters. The three concurrent but unique exhibitions that made up The Progress of Love constituted a narrative arc addressing love as an ideal, love as a lived experience, and love as something lost. Some have suggested the paintings simply didn’t fit in the room for which they were intended. He then paid over a million more to create the perfect Rococo drawing room for them in his Fifth Avenue home, where they remain today. The three concurrent but unique exhibitions that made up The Progress of Love constituted a narrative arc addressing love as an ideal, love as a lived experience, and love as something lost. Yinka Shonibare, MBEAddio del Passato, 2011Courtesy of James Cohan Gallery, New York and ShanghaiLower South GalleryPhotograph by Sam Fentress, The Modern Art Notes Podcast: Conversation with Sophie Calle, Open Hours: Their somewhat exaggerated poses are clearly inspired by contemporary theatre and ballet; both look off-stage, so to speak, as if fearful they will be found out. Title: The Progress of Love: The Meeting Date Created: 1771 - 1773 Physical Dimensions: w2438.4 x h3175 in Type: painting External Link: See more on The Frick Collection website Medium: Oil on canvas Provenance: Madame du Barry, Louveciennes. Despite its somewhat staged nature, the scene is spontaneous and sweet without being saccharine. This field is for validation purposes and should be left unchanged. Fast forward a century or so and the cycle was purchased first by Morgan for his London home and after Morgan died in 1913, Frick acquired it for a whopping $750,000. The cycle, set in lush gardens full of mythological statuary, follows two lovers through various facets of romance: The Pursuit, The Meeting, The Lover Crowned, and Love Letters. Perhaps the way the trees split behind the statue is intended to let the viewer know that the resolution of their love is not yet sure? Were the resemblances between the red-coated lover and Louis XV potentially embarrassing? The image is in the Public Domain, and tagged Love, Gardens and The Progress of Love. Sold by Maubert's grandson, Malvilan, to Wertheimer in 1898. The intriguing story behind the commission, rejection, and rehousing of Fragonard’s paintings is brought to life by Colin B. Bailey, former Deputy Director and Peter Jay Sharp Chief Curator at the Frick (now Director of the Morgan Library and Museum) in an updated video produced in 2013. Explore museums and play with Art Transfer, Pocket Galleries, Art Selfie, and more. Around 1771, Madame du Barry commissioned celebrated Rococo artist Fragonard to create a decorative cycle for a new pavilion in the garden of her château at Louveciennes. However, when the four canvases of The Progress of Love were delivered the following year, she rejected them in favour of another series in the new ‘antique’ style by Joseph-Marie Vien. Love Letters is the last of four panels Fragonard painted for the Comtesse du Barry's pavilion at Louveciennes.

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