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Toothless and dribbling, will he still recall The arch of her instep, the sandal, the fall? Her poise at the still-point between surrender and retreat, Eyeless and infirm, will it still taste sweet? The thrill of expectation, the sudden glimpse— Will they reminisce about their frivolity? If modernity is indeed a cultural formation that insists on sex as the truth of self, what are the truths—and the self—that Fragonard articulated? We may begin, in art-historical terms, by asking about the position Fragonard occupied in relation to other eighteenth-century painters of sexual themes.
Where does his work stand in relation to his teacher, Boucher? Although in the beginning of his career Fragonard followed Boucher closely—as his early The Seesaw demonstrates—he came to develop an entirely different approach to eros, both in the character of the represented scenes and in their pictorial rendition. It is relatively difficult to pin down their class insofar as the markers of social status are inconspicuous, inconsistent, and ultimately unconvincing. For example, if the identity of the ravished woman swathed in yellow satin in The Bolt is unmistakably upper class, the social standing of her partner remains uncertain.
In the Happy Lovers no social identification of any kind is possible: all one can say is that these are two bodies engaged in making love. One may also note that the individuation of these figures is kept to a minimum: their physiognomies are conventional and summarily rendered—a dot for the eye, a crescent for the mouth—just enough articulation to suggest the movement of emotion or desire across the face, without implying character or personality.
It is as the generic man and woman that these individuals wrestle in amorous combats. Subjects of desire rather than social class, their rapport is defined by remarkable reciprocity. The voyeuristic position that these images tend to accord the viewer only emphasizes the privatized character of these scenes.
