Jean-Honoré Fragonard was a French painter and printmaker whose late Rococo manner was distinguished by remarkable facility and hedonism. One of the most prolific artists active in the last decades of the Ancien Régime, Fragonard produced more than 550 paintings, of which only five are dated. Among his most popular works are genre paintings conveying an atmosphere of intimacy and veiled eroticism. Jean-Honoré Fragonard was born at Grasse, Alpes-Maritimes, the son of François Fragonard, a glover, Françoise Petit. Fragonard was articled to a Paris notary when his father's circumstances became strained through unsuccessful speculations, but showed such talent and inclination for art that he was taken at the age of eighteen to François Boucher. Boucher recognized the youth's rare gifts but, disinclined to waste his time with one so inexperienced, sent him to Chardin's atelier. Fragonard studied for six months under the great luminist returned more equipped to Boucher, whose style he soon acquired so that the master entrusted him with the execution of replicas of his paintings.
Though not yet a student of the Academy, Fragonard gained the Prix de Rome in 1752 with a painting of Jeroboam Sacrificing to the Golden Calf, but before proceeding to Rome he continued to study for three years under Charles-André van Loo. In the year preceding his departure he painted the Christ washing the Feet of the Apostles now at Grasse Cathedral. On 17 September 1756, he took up his abode at the French Academy in Rome presided over by Charles-Joseph Natoire. While at Rome, Fragonard contracted a friendship with Hubert Robert. In 1760, they toured Italy together, it was in these romantic gardens, with their fountains, grottos and terraces, that Fragonard conceived the dreams which he was subsequently to render in his art. He learned to admire the masters of the Dutch and Flemish schools, imitating their loose and vigorous brushstrokes. Added to this influence was the deep impression made upon his mind by the florid sumptuousness of Giovanni Battista Tiepolo, whose works he had an opportunity to study in Venice before he returned to Paris in 1761.
In 1765 his Coresus et Callirhoe secured his admission to the Academy. It was made the subject of a pompous eulogy by Diderot, was bought by the king, who had it reproduced at the Gobelins factory. Hitherto Fragonard had hesitated between religious and other subjects; the portrait of Denis Diderot has had its attribution to Fragonard called into question. A lukewarm response to these series of ambitious works induced Fragonard to abandon Rococo and to experiment with Neoclassicism, he married Marie-Anne Gérard, herself a painter of miniatures, on 17 June 1769 and had a daughter, Rosalie Fragonard, who became one of his favourite models. In October 1773, he again went to Italy with Pierre-Jacques Onézyme Bergeret de Grancourt and his son, Pierre-Jacques Bergeret de Grancourt. In September 1774, he returned through Vienna, Dresden and Strasbourg. Back in Paris Marguerite Gérard, his wife's 14-year-old sister, became his student and assistant in 1778. In 1780, he had a son, Alexandre-Évariste Fragonard, who became a talented painter and sculptor.
The French Revolution deprived Fragonard of his private patrons: they were either guillotined or exiled. The neglected painter deemed it prudent to leave Paris in 1790 and found shelter in the house of his cousin Alexandre Maubert at Grasse, which he decorated with the series of decorative panels known as the Les progrès de l'amour dans le cœur d'une jeune fille painted for Château du Barry. Fragonard returned to Paris early in the nineteenth century, where he died in 1806 completely forgotten. For half a century or more he was so ignored that Wilhelm Lübke's 1873 art history volume omits the mention of his name. Subsequent reevaluation has confirmed his position among the all-time masters of French painting; the influence of Fragonard's handling of local colour and expressive, confident brushstroke on the Impressionists cannot be overestimated. Fragonard's paintings, alongside those of François Boucher, seem to sum up an era. One of Fragonard's most renowned paintings is The Swing known as The Happy Accidents of the Swing, an oil painting in the Wallace Collection in London.
It is considered to be one of the masterpieces of the rococo era, is Fragonard's best known work. The painting portrays a young gentleman concealed in the bushes, observing a lady on swing being pushed by her spouse, standing in the background, hidden in the shadows, as he is unaware of the affair; as the lady swings forward, the young man gets a glimpse under her dress. According to Charles Collé's memoirs a young nobleman had requested this portrait of his mistress seated on a swing, he asked first Gabriel François Do
Sir Robert Lucas Lucas-Tooth, 1st Baronet was an Australian politician. He was born in Sydney, the son of Edwin Tooth and Sarah Lucas, was educated at Eton College, he returned to Australia in 1863, joining the family firm and becoming involved in the brewery business. He owned land near Bega. On 2 January 1873 he married Helen Tooth, his first cousin, a daughter of Frederick Tooth. From 1875 he had built an impressive mansion on Sydney harbour suburb called Swifts, Darling Point, designed in the Gothic revival style. From 1880 to 1884 he represented Monaro in the New South Wales Legislative Assembly. In 1889 he settled in England, although he remained involved in Australian interests and visited frequently. In 1895 he ran as a Conservative for the House of Commons. In 1904 he was created a baronet. In 1910 he bought Holme Lacy House from the Earl of Chesterfield and modernised it, installing electricity and sewage systems; as a philanthropist he gave: in 1913 a gift of £50,000 to Prince Alexander of Teck to support the prince's fund to assist and extend facilities for the "physical and moral training of boys".
His name was given to the fund and a medal named "Lucas-Tooth Boys Training Fund for Efficiency" was created circa 1916 to reward deserving military cadets. He died at Holme Lacy in 1915.. Both his elder sons were killed in action within 6 weeks of each other First World War in 1914 and the youngest, who had succeeded him as 2nd Baronet died of pneumonia on military service in 1918. Although two of his sons had married, there were no male heirs and the baronetcy thus became extinct; the baronetcy was revived in 1920 through the son of Sir Robert's daughter. Holme Lacy was sold in 1919 to R. Hadden Tebb, his wife Lady Helen Lucas-Tooth died in Cheltenham in 1942
Jorge Guerricaechevarría known as Guerrica, is a Spanish screenwriter. He won a Goya Award for the script of Cell 211, adapted from the novel of the same name by Francisco Pérez Gandul, he was nominated for The Day of the Beast, La comunidad, The Oxford Murders. In 2008, at the Basque film festival Zinemastea, he received an honorary award recognizing his career as a screenwriter. Mirindas asesinas, short, 1991 Acción mutante, 1993 Canguros, episode Buscarse la vida, 1994 The Day of the Beast, 1995 Live Flesh, 1997 Perdita Durango, 1997 Muertos de risa, 1999 La comunidad, 2000 Luna's Game, 2001 They're Watching Us, 2002 The Biggest Robbery Never Told, 2002 800 Bullets, 2002 Platillos Volantes, 2003 Crimen Ferpecto, 2004 The Kovak Box, 2006 Películas para no dormir, TV, 2006 The Oxford Murders, 2008 Plutón BRB Nero, 2008 Psiquiatras, psicólogos y otros enfermos, TV series, 2009 Cell 211, 2009 La marca amarilla, 2009 Alakrana, 2011 Witching & Bitching, 2013 Words with Gods, 2014 My Big Night, 2015 Herederos de la bestia, 2016 The Bar, 2017 Perfectos desconocidos, 2017 The Warning, 2018 Jorge Guerricaechevarría on IMDb