Fragonard

What Dominique Pagani says

Dominique Pagani refers to Fragonard mainly as the painter of the libertine century. He returns several times to The Bolt (Le Verrou), which he cites in sessions on the Odyssey and later on Nerval as an example of eighteenth-century gallant painting12. In 2020 he presents this painting as a work that "needs no commentary" on libertine pleasure3. In a Musicosophie session devoted to Mozart, he cites The Swing (L'Escarpolette): in his view, Fragonard "breathes" like The Marriage of Figaro, and he thus links the painting to the opera of the same period4. In his sessions on Nerval, he names Fragonard together with Prud'hon in connection with the lost portrait of the mother5. He mentions him once more in passing, in a session on the lasting political stakes of aesthetics, for a painting reproduced on the cover of L'Avant-scène6. In these passages he does not analyse Fragonard in depth. He uses him instead as a reference point for placing an eighteenth-century sensibility.

1. 1#3.6 D'Ulysse à Dédale1 Aug 2017 · 29:32
2. 2#4.3 Angélique (de Nerval)11 Dec 2017 · 1:41:41
3. 3#1 Bien-et Mé-faits de l'amnésie...8 Oct 2020 · 48:06
4. 4Musicosophie 13. Mozart restitué2 Feb 2021 · 1:01:38
5. 5#4 Nomade et sédentaire - Le cas Nerval4 Oct 2021 · 1:00:32
6. 610#4 De Lascaux aux musiques modernes, la permanence de l'enjeu politique dans l'esthétique3 Nov 2021 · 46:54

Summary produced automatically from 6 of the passages below, to be reviewed; the numbers link to the moment in the session.