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In this essay, Fragonard's portraits de fantaisie are examined against the contemporaneous definitions of the portrait, the conventions that governed its making in eighteenth-century France, and the assumptions of the various audiences that commissioned and/or looked at works in that genre. The portraits de fantaisie emerge as paintings that subvert the primary function of the portrait; instead of adequately depicting the appearance, rank, and/or character of a sitter, these “portraits” are primarily self-representations of the artist. They are marked by a confounding of the real and the imagined, a deliberate play with portrait conventions, and a conscious display of those qualities which, for Fragonard's contemporaries; made a painting a work of genius.
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