The Bolt
(Fragonard) /
The work
was commissioned in 1773 by Louis-Gabriel Véri-Raionard, Marquis de Véri
(1722–1785). Having been produced for such a reputable and demanding collector,
this erotic painting, ostensibly light but asserting a real ambition, formed
part of a collection of depictions that were amorous, at times coarse and yet
eminently representative of the spirit of French society at a time when the
Enlightenment movement was about to waver. The canvas seemed to unveil a
profound revitalization of Fragonard's inspiration that first distinguished
itself in historical paintings, in particular Jeroboam Sacrificing to Idols,
first prize of Rome 1752. The obtaining of this distinction allowed Fragonard
to enjoy a great fame. His scenes of gallantry were extremely popular, and the
nobility offered him many commissions, like that of Baron Saint-Julian for The
Swing (1767).
Originally,
Fragonard had given The Bolt "a more suitable twin: The Contract,"
itself following on from another called The Armoire. The painting, which
belonged to the Marquis of Véri's collection, was brought to us thanks to the
etching of Maurice Blot, who had, 8 years previously, made an etching of The Bolt.
This print, considered as mediocre, had great success, however, attributable in
large part to the fame of Fragonard. Indeed, a theory claimed that the two
works, The Contract and The Bolt, constitute, along with another painting of
Fragonard, The Armoire, the three chapters of a novel in which the heroes would
be the two lovers. The Bolt illustrated the passion of the couple, The Armoire,
the discovery of their affair and being caught in the act, and The Contract,
their reconciliation.
The Bolt is
often considered alongside a work of more sacred inspiration, The Adoration of
the Shepherds (1775). This canvas, also commissioned by the marquis, was
suggested by Fragonard himself. It shows Fragonard's will to revive holy
artwork and draw contrast between two types of love: carnal or libertine love,
belonging to the 18th century, and sacred, religious love.
Analysis
Source of
inspiration and realization
Painting
tall lover of the drawing Fragonard started by making several sketches and
surveys of The Bolt. We suppose that the Master used models for the realization
of his work, like he sometimes was used to, as could illustrate his canvas The
Model's First Sitting. He also liked to draw his inspiration from writings of
his time. Gault de Saint-Germain said about him that "Ariosto, Boccaccio,
La Fontaine were his inspirers and his ingenious teachers, spiritual in the
inventiveness, he got sometimes the freshness of the color of his inimitable
models."
Just like
Francis Boucher, Fragonard used a sublayer of printing red or gray, said
"printer", like colorful background and this before putting the
paint. This sublayer allowed to avoid medium absorbing the paint.
After
making sketch of the subject by an outline, he applied the paint in several
superimposed layers. The stroke was fine, light but precise, nervous and
effective. The stroke of Fragonard besides is easily recognizable by his
spontaneity, his genius. Note the example of "figures de fantaisie"
made, they say, in an hour and which reveal all the mastery of the painter.
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