Portrait of a Man in Costume
Jean Honoré Fragonard·c. 1767–68
Historical Context
Portrait of a Man in Costume (c. 1767-68), at the Art Institute of Chicago, belongs to Fragonard's celebrated series of "fantasy portraits" — rapidly executed character studies of figures in theatrical or historical costume. These bravura performances, reportedly painted in about an hour, showcase Fragonard's astonishing facility with the brush, building forms from bold, sweeping strokes that seem to vibrate with life. The sitter wears an elaborate costume that may reference commedia dell'arte or historical dress, placing the portrait at the intersection of portraiture and theatrical performance. These fantasy portraits represent Fragonard at his most technically brilliant, demonstrating a painterly virtuosity that would not be matched until the Impressionists a century later.
Technical Analysis
Fragonard's legendary bravura brushwork is at its most spectacular in this portrait. Bold, sweeping strokes of thick paint create the costume's elaborate surface, while the face is rendered with characteristic vivacity and rapid confidence.
Provenance
Possibly Mauperin, Paris; sold A. Paillet, Hôtel de Bullion, Paris, December 4, 1780, no. 38, for 100 livres [“Un Portrait d’homme ajusté selon le costume espagnol. Ce morceau Etude & d’une touche savante est d’un grand effect. Hauteur 30 pouces, Largeur 24. T.” (A portrait of a man dressed in a Spanish costume. This work, sketched and of a sure touch, is of great effect. Height 30 pouces, width 24. Canvas.) The measurements given are equal to 81 x 64.8 cm; price recorded in an annotated sale catalogue at the Frick Art Reference Library, New York]. Sold Hôtel Drouot, Paris, April 20, 1885, no. 14, for Fr 2,900 [price according to an annotated sale catalogue at Galerie Heim, Paris]. Camille Groult (died 1908), Paris; his son Jean Groult (died 1951), Paris; purchased from the Groult collection by Wildenstein, New York, 1954 [telephone conversation of Susan Wise with Ay-Whang Hsia, May 4, 1982]; sold by Wildenstein to Leigh Block, Chicago, 1954 [telephone conversation cited above]; given to the Art Institute by Mary and Leigh Block, 1977.
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