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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GREUZE, Jean-Baptiste The Broken Jug oil


The Broken Jug
Painting ID::  7108 		The Broken Jug
1785 Oil on canvas, 110 x 85 cm Mus??e du Louvre, Paris
1785 Oil_on_canvas,_110_x_85_cm Mus??e_du_Louvre,_Paris
   
   
     
GREUZE, Jean-Baptiste The Broken Mirror sd oil


The Broken Mirror sd
Painting ID::  7109 		The Broken Mirror sd
1763 Oil on canvas, 56 x 46 cm Wallace Collection, London
1763 Oil_on_canvas,_56_x_46_cm Wallace_Collection,_London
   
   
     
GREUZE, Jean-Baptiste The Complain of the Watch dfh oil


The Complain of the Watch dfh
Painting ID::  7110 		The Complain of the Watch dfh
1770s Oil on canvas, 79,3 x 61 cm Alte Pinakothek, Munich
1770s Oil_on_canvas,_79,3_x_61_cm Alte_Pinakothek,_Munich
   
   
     
GREUZE, Jean-Baptiste Votive Offering to Cupid ghf oil


Votive Offering to Cupid ghf
Painting ID::  7111 		Votive Offering to Cupid ghf
1767 Oil on canvas, 146 x 113 cm Wallace Collection, London
   
   
     
GREUZE, Jean-Baptiste Portrait of George Gougenot de Croissy dfg oil


Portrait of George Gougenot de Croissy dfg
Painting ID::  7112 		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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