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This mischievous woman throws caution—and her slipper—to the wind. Speakers: Dr. Beth Harris and Dr. Steven Zucker. So this is a painting that was from the outset meant to be playful, erotic, sexually charged — that was a bit too naughty to be publicly displayed. Harris: [] Like many Rococo paintings, it was a private commission, it was for a private home, and it was for a member of the aristocracy.
It was also his technique. His private commissions tended to be created quickly, with rapid brushwork, and we see that here. Harris: [] You can really see the oil paint, for example, in her bodice or in the white lace. Zucker: [] The idea of secretive eroticism is built into this painting symbolically. If you look at the left edge, you see painting of a sculpture. Harris: [] Below that, we see a lovely relief sculpture that looks like maenads or nymphs dancing.
Zucker: [] To the lower right, we see two Cupid figures that seem to be riding a classicizing dolphin, part of a fountain. In fact, you can see water spraying out towards the lower right of the painting. Zucker: [] A way of understanding the Rococo is a style of art that comes out of the Baroque, but has jettisoned the seriousness, the morality, but has maintained sense of energy, sense of movement. Look at that swing, look at that forward momentum that actually carries the slipper off her foot.
Harris: [] We know that the Baroque used diagonal lines to create a sense of movement and energy. We see that here when we follow the rope of the swing through the female figure and down to her lover in the lower left, who leans back on his right elbow and lifts up his left arm and seems overtaken by his love and desire for his companion.
