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 jean-baptiste greuze oil painting


jean-baptiste greuze
Painting ID::  26966
Artist: Jean-Baptiste Greuze
Painting: jean-baptiste greuze
Introduction: mk52 c.1803 Oil on wood 52.5x45.5cm Musee des Beaux-Arts,Marseilles
   
   
     

Jean-Baptiste Greuze Count P.A Stroganov as a Child oil painting


Count P.A Stroganov as a Child
Painting ID::  28330
Artist: Jean-Baptiste Greuze
Painting: Count P.A Stroganov as a Child
Introduction: mk60 1778 Oil on canvas 18 1/2"16"
   
   
     

Jean-Baptiste Greuze A Girl with a Doll oil painting


A Girl with a Doll
Painting ID::  28331
Artist: Jean-Baptiste Greuze
Painting: A Girl with a Doll
Introduction: mk60 1778 Oil on canvas 19 1/2"x16"
   
   
     

Jean-Baptiste Greuze A Visit to the Priest oil painting


A Visit to the Priest
Painting ID::  29271
Artist: Jean-Baptiste Greuze
Painting: A Visit to the Priest
Introduction: mk65 1786 Oil on canvas 49 1/2x63"
   
   
     

Jean-Baptiste Greuze A Young Man in a Hat oil painting


A Young Man in a Hat
Painting ID::  29339
Artist: Jean-Baptiste Greuze
Painting: A Young Man in a Hat
Introduction: mk65 1750s Oil on canvas 24x19 1/2"
   
   
     

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     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.