Jean-Baptiste Greuze
French Rococo Era Painter, 1725-1805 French painter and draughtsman. He was named an associate member of the Academie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (tetes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Simeon Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Franeois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850, when 18th-century painting returned to favour, by such critics as Theophile Thore, Arsene Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huitieme siecle. By the end of the century Greuze's work, especially his many variations on the Head of a Girl, fetched record prices, and his Broken Pitcher (Paris, Louvre) was one of the most popular paintings in the Louvre.

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Jean-Baptiste Greuze Countess E.P.Shuvalova oil painting


Countess E.P.Shuvalova
mk65 ca.1780 Oil on canvas 23 1/2x19 1/2"
Painting ID::  29377
Jean-Baptiste Greuze
Countess E.P.Shuvalova
mk65 ca.1780 Oil on canvas 23 1/2x19 1/2"
   
   
     

Jean-Baptiste Greuze The Broken jug oil painting


The Broken jug
mk68 Oil on canvas Paris,Louvre c.1759 Italy
Painting ID::  30623
Jean-Baptiste Greuze
The Broken jug
mk68 Oil on canvas Paris,Louvre c.1759 Italy
   
   
     

Jean-Baptiste Greuze The Village Marriage Contract oil painting


The Village Marriage Contract
mk68 Oil on canvas Paris,Louvre 1761 France
Painting ID::  30626
Jean-Baptiste Greuze
The Village Marriage Contract
mk68 Oil on canvas Paris,Louvre 1761 France
   
   
     

Jean-Baptiste Greuze The Wool winder oil painting


The Wool winder
mk76 Painted probably in 1759 Oil on canvas 29 3/8x24 1/8in
Painting ID::  31813
Jean-Baptiste Greuze
The Wool winder
mk76 Painted probably in 1759 Oil on canvas 29 3/8x24 1/8in
   
   
     

Jean-Baptiste Greuze The Lamentation of Time Passing oil painting


The Lamentation of Time Passing
mk86 c.1775 Oil on canvas 79x61cm Munich,Bayerische Staatsgemaldesamm-lungen,Alte Pinakothek
Painting ID::  33778
Jean-Baptiste Greuze
The Lamentation of Time Passing
mk86 c.1775 Oil on canvas 79x61cm Munich,Bayerische Staatsgemaldesamm-lungen,Alte Pinakothek
   
   
     

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     Jean-Baptiste Greuze
     French Rococo Era Painter, 1725-1805 French painter and draughtsman. He was named an associate member of the Academie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (tetes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Simeon Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Franeois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litt?raire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850, when 18th-century painting returned to favour, by such critics as Theophile Thore, Arsene Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huitieme siecle. By the end of the century Greuze's work, especially his many variations on the Head of a Girl, fetched record prices, and his Broken Pitcher (Paris, Louvre) was one of the most popular paintings in the Louvre.

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