Art History

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Art History
The symbolic connotations of women on swings depict a youthful gentleman who is watching a lady on a swing. On the foreground, there is a small lapdog which meant to symbolize faithfulness. It has an alarm with a barking sound, but the woman’s husband does not notice it. On the left side, the stretching hand of the Baron has a phallic connotation has Cupid raises a finger to his lips in the sake of preventing the duo venus-putty underneath the swing from spoiling the game.
The Rococo artists represent the feminine through the enthusiasm of the painting that is emphasized by the manner in which the flounces of the girls’ dress have a combination with the surrounding shrubbery (Posner, 76). In addition to that, the dress matches the bright, soft lighting and colors. The Rococo masterpiece commemorates the spirit of noble debauchery and visual modification on the eve of the French revolution. Fragonard is purely unparalleled.
The erotic metaphors created by the symbolic iconography to represent love are observed on the Baron insistence on a Bishop as a personal joke since the Baron held a position in the church. Fragonard replaces the bishop with a typical figure of a cuckolded husband. The woman on the swing is hard-pressed by an aged chap in the backdrop without any thought of the man’s existence. Initially, the depiction seems to be a straightforward representation of a blameless youthful lady at play, but it unfolds to be a rascal.

This is because, as the lady rides higher, the admirer gets a clear view of the dress. Therefore, she throws one of a shoes towering towards a divisional stature which primarily signifies the Roman god of craving and erotic adore, Cupid.

Work cited
Posner, Donald. “The Swinging Women Of Watteau And Fragonard.” (1982): 75-88. Print.