Toutes peintures à l'huile d'Jean Baptiste Greuze

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79009

A Student

1757 Medium Oil on canvas cyf

1879

A Young Man in a Hat

1750's The Hermitage, St.Petersburg

79865

Claude Henri Watelet.

salon de 1765 Medium Oil on canvas cyf

1880

Head of a Young Girl

1777 The Hermitage, St.Petersburg

74226

Inconsolable Widow

Date before 1763 Medium Oil on canvas Dimensions 40 X 32 cm (15.75 X 12.6 in) cyf

71595

l accordee de village

Date 1761(1761) Medium Oil on canvas Dimensions 92 x 117 cm (36.22 x 46.06 in)

83686

L enfant a la colombe

Oil on canvas Dimensions 64,4 x 53,3 cm cyf

21903

L'Accordee du Village (mk08)

1761 Oil on canvas 90x118cm Paris,Musee National du Louvre

40588

L-Accordee de Village

mk176 1761 Oil on canvas 92x117cm

71035

la petit paresseux

mk289 montpellier musee fabre

1882

Louis-Francois Robin

1794

77339

Portrait of a Lady

Date ca. 1786(1786) Medium Oil on canvas Dimensions 61 ?? 50.4 cm (24 ?? 19.8 in) cyf

78488

Portrait of a Lady

. 1773(1773) Medium Oil on canvas Dimensions 49.6 x 39.3 cm (19.5 x 15.5 in) cyf

81606

Portrait of Count Stroganov as a Child

1778(1778) Medium Oil Dimensions Unknown cyf

40589

Portrait of Countess Ekaterina Shuvalova

mk156 c.1770 Oil on canvs 60x50cm

20750

Portrait of the Artist (mk05)

Wood 25 1/2 x 20 1/2''(65 x 52 cm)Bequest of Dr Louis La Caze 1869

62844

Septimius Severus and Caracalla

1769 Oil on canvas, 124 x 160 cm Musee du Louvre, Paris This painting by Greuze is frankly Poussin-like. The artist wished to be recognized as a history painter; he chose an obscure subject to illustrate: Septimius Severus Roman emperor (146e11) reproaches his son, Caracalla for trying to assasinate him. Varied emotions are at work within it: from Caracalla's angry shame to the surprise of the chamberlain, Castor, at the emperor's recklessly heroic gesture which is at once a challenge and a rebuke. Artist: GREUZE, Jean-Baptiste Title: Septimius Severus and Caracalla Date: 1751-1800 French , painting : historical

24271

Silence (mk25)

1759

42729

The benefactress

MK169 1775 Cloth 114x147cm

56123

the guitar player

mk247 1755 to 60 oil on canvas,27.75x22 in,71x56 cm,musee des beaux-arts,nantes,france

1878

The Guitarist

c1760

21902

The Lamentation of Time Passing (mk08)

c.1775 Oil on canvas 79x61cm Munich,Bayerische Staatsgemaldesamm-lungen,Alte Pinakothek

20749

The Paternal Curse or and Ungrateful Son (mk05)

Canvas 51 1/4 x 64''(130 x 162 cm)Acquired in 1820 INV

20751

The Punishment of Filial Ingratitude (mk05)

Canvas 51 1/4 x 64 1/4''(130 x 163 cm)Acquired in 1820 INV

1877

The Spoiled Child

1765 The Hermitage, St.Petersburg

45691

The Verwohnte child

mk186 1765 St. Peter castles, Eremitage

20754

The Village Betrothal (mk05)

Canvas 36 1/4 x 46''(92 x 117 cm)Salon of 1761;acquired for the collection of Louis XVI in 1782 INV

28473

Tournus

mk60 1805 Oil on canvas 26x22"

67871

Young Girl Weeping for her Dead Bird

Current location Louvre

75154

Young Girl Weeping for her Dead Bird

Title Young Girl Weeping for her Dead Bird Date c. 1759 cyf

1881

Young Woman in a White Hat

1780 Museum of Fine Arts, Boston

28748

Young Woman Seen from the Back

mk61 Oil on canvas 46x38cm

Jean Baptiste Greuze

1725-1805 French Jean Baptiste Greuze Galleries 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 (t?tes 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-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 litteraire. 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 Th?ophile Thore, Arsene Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huiti?me 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. It was only in the 1970s, with Brookner's monograph, Munhall's first comprehensive exhibition of the artist's work, increased sale prices, important museum acquisitions and fresh analyses of his art by young historians, that Greuze began to regain the important place that he merits in the history of French art of the 18th century.

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