"Fragonard" Quotes from Famous Books
 ... were Poussin and Claude; in the eighteenth Watteau, Boucher, Chardin, and many lesser lights—Fragonard, Pater, and Lancret. But notwithstanding the austere grandeur of Poussin and the beautiful, if somewhat too reasonable poetry of Claude, the infinite perfection of Watteau, the charm of that small French Velasquez Chardin, and the fascinations and essentially French genius ...
— Modern Painting • George Moore
... of art, as in the history of politics and in the history of economics, our modern epoch is marked off from all preceding epochs by one great event, the French Revolution. Fragonard, who survived that Revolution to lose himself in a new and strange world, is the last at the old masters; David, some sixteen years his junior, is the first of the moderns. Now if we look for the most fundamental distinction between our modern art and the art of past times, ...
— Artist and Public - And Other Essays On Art Subjects • Kenyon Cox
... supple, always smilingly, elaborate of manner, apparently unconscious that he was not cordially admired by the men who returned his greeting. Later, Rosalie, came, enchantingly demure in her Greuze-like beauty. Chardin might have made her; possibly Fragonard. She did not resemble the Creator's technique. Dresden teacups tinkled, ice clattered in tall glasses, the two fountains splashed away bravely, prettily modulated voices made agreeable harmony on the terrace, blending with the murmur of leaves overhead as the wind ...
— The Danger Mark • Robert W. Chambers
... too much—I mean, from the amateur's view-point; in the case of an artist it depends on the receptivity of his temperament. Velasquez didn't like Raphael, and it was Boucher who warned Fragonard, when he went to Rome, not to take the Italian painters too seriously. Imitation may be the sincerest form of flattery, but it sometimes stifles individuality. I think it is probably the belief that never again will ...
— Ivory Apes and Peacocks • James Huneker
... tickets were bawling the lucky numbers they had for sale. Even in this wide space the air was close and stale. Within, a few people left over in the town had strayed in to dine at tables placed against the walls under flamboyant decorations in the style of Fragonard. At a table Hillyard was sitting alone over his coffee. Across the room one of the panels represented a gleaming marble terrace overlooking a country-side bathed in orange light; and on the terrace stood a ...
— The Summons • A.E.W. Mason |
