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- Fancy pictures are a sub-genre of genre paintings in 18th-century English art, featuring scenes of everyday life but with an imaginative or storytelling element, usually sentimental. The usage of the term varied, and there was often an overlap with the conversation piece, a type of group portrait showing the subjects engaged in some activity. Most fancy pictures depict children or young women, life-size or somewhat smaller, but some are landscapes with figures. The people depicted are more "democratic" than the upper-class subjects of portraits, and are characteristically portrayed with what has been termed "a sort of contrived innocence", sometimes eroticised. The term derives from fancies, which the art critic and historian George Vertue used in 1737 to describe paintings by Philip Mercier such as Venetian Girl at a Window or the series The Five Senses, which incorporate a storyline or invented or imagined elements. Joshua Reynolds coined the extended term 'fancy pictures' in 1788 for the works painted by Thomas Gainsborough in his final decade, particularly those depicting beggar and peasant children. Following his death, Gainsborough was initially best known for these pictures. Reynolds' own fancy pictures, while using street children as models, have allegorical and classical titles such as Hope Nursing Love and Venus Chiding Cupid. The sub-genre owes inspiration to Rembrandt and Murillo and was influenced by 18th-century French works, particularly by Chardin, Greuze, as Mercier had been influenced by European artists including Watteau, but it is not a distinct sub-genre in French painting. Eighteenth-century fancy pictures were an antecedent of Victorian sentimentalism; J. E. Millais' paintings of children, such as his My First Sermon and My Second Sermon, modelled by his young daughter, were called fancy pictures. (en)
- ファンシー・ピクチャー（Fancy picture）とは、風俗画のサブジャンルのこと。 美術評論家・美術史家ジョージ・ヴァーチュー（George Vertue）は1737年に、空想で生み出した要素あるいは話の筋を含む風俗画を、具体的には、フィリップ・メルシエ（Philip Mercier）の『窓辺のヴェネチア人少女』や『5つの情景』シリーズといった絵を表す際、「Fancies」という造語を作った。その後ジョシュア・レノルズが、トマス・ゲインズバラが最後の10年間に描いた物乞いや田舎の子供たちの絵を表す時、「Fancies」という語を同様のサブ・ジャンルの意味に拡大させた「ファンシー・ピクチャー」という語を考案した。 (ja)
- 花俏（qiào）绘画是风俗画的一个流派。 花俏绘画（Fancy pictures）是指一种十八世纪的绘画流派，其特点是描绘了日常生活的场景，且具有叙事、想象元素，该术语由艺术评论家和历史学家在1737年创造。 大多数花俏绘画描绘的是儿童或年轻女性，画作通常与真人一般大小或稍小，也有些是带有人物的风景画。这类画中的人物通常比上层阶级的人物更加贴近民生，其特点是拥有一种“做作的纯真”，也有时被色情化。 (zh)
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- ファンシー・ピクチャー（Fancy picture）とは、風俗画のサブジャンルのこと。 美術評論家・美術史家ジョージ・ヴァーチュー（George Vertue）は1737年に、空想で生み出した要素あるいは話の筋を含む風俗画を、具体的には、フィリップ・メルシエ（Philip Mercier）の『窓辺のヴェネチア人少女』や『5つの情景』シリーズといった絵を表す際、「Fancies」という造語を作った。その後ジョシュア・レノルズが、トマス・ゲインズバラが最後の10年間に描いた物乞いや田舎の子供たちの絵を表す時、「Fancies」という語を同様のサブ・ジャンルの意味に拡大させた「ファンシー・ピクチャー」という語を考案した。 (ja)
- 花俏（qiào）绘画是风俗画的一个流派。 花俏绘画（Fancy pictures）是指一种十八世纪的绘画流派，其特点是描绘了日常生活的场景，且具有叙事、想象元素，该术语由艺术评论家和历史学家在1737年创造。 大多数花俏绘画描绘的是儿童或年轻女性，画作通常与真人一般大小或稍小，也有些是带有人物的风景画。这类画中的人物通常比上层阶级的人物更加贴近民生，其特点是拥有一种“做作的纯真”，也有时被色情化。 (zh)
- Fancy pictures are a sub-genre of genre paintings in 18th-century English art, featuring scenes of everyday life but with an imaginative or storytelling element, usually sentimental. The usage of the term varied, and there was often an overlap with the conversation piece, a type of group portrait showing the subjects engaged in some activity. Eighteenth-century fancy pictures were an antecedent of Victorian sentimentalism; J. E. Millais' paintings of children, such as his My First Sermon and My Second Sermon, modelled by his young daughter, were called fancy pictures. (en)
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- Fancy picture (en)
- ファンシー・ピクチャー (ja)
- 花俏绘画 (zh)
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