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Oil Painting Artist::. GREUZE, Jean-Baptiste
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GREUZE, Jean-Baptiste
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 . 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-Francois, 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, Ars?ne 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. The advent of modernism in the early decades of the 20th century totally obliterated Greuze's reputation.
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The Broken Jug
1785
Oil on canvas, 110 x 85 cm
Mus??e du Louvre, Paris
Painting ID:: 7108
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The_Broken_Jug
1785
Oil on canvas, 110 x 85 cm
Mus??e du Louvre, Paris
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The Broken Mirror sd
1763
Oil on canvas, 56 x 46 cm
Wallace Collection, London
Painting ID:: 7109
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The_Broken_Mirror_sd
1763
Oil on canvas, 56 x 46 cm
Wallace Collection, London
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The Complain of the Watch dfh
1770s
Oil on canvas, 79,3 x 61 cm
Alte Pinakothek, Munich
Painting ID:: 7110
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The_Complain_of_the_Watch_dfh
1770s
Oil on canvas, 79,3 x 61 cm
Alte Pinakothek, Munich
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Votive Offering to Cupid ghf
1767
Oil on canvas, 146 x 113 cm
Wallace Collection, London
Painting ID:: 7111
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Votive_Offering_to_Cupid_ghf
1767
Oil on canvas, 146 x 113 cm
Wallace Collection, London
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Portrait of George Gougenot de Croissy dfg
c. 1758
Oil on canvas, 81 x 64 cm
Mus??es Royaux des Beaux-Arts, Brussels
Painting ID:: 7112
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Portrait_of_George_Gougenot_de_Croissy_dfg
c. 1758
Oil on canvas, 81 x 64 cm
Mus??es Royaux des Beaux-Arts, Brussels
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GREUZE,_Jean-Baptiste
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 . 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-Francois, 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, Ars?ne 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. The advent of modernism in the early decades of the 20th century totally obliterated Greuze's reputation.
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