Alla GREUZE, Jean-Baptistes Oljemålningar

Bilder

Oljemålningar Från A till Z

Information

7113

Innocence dgh

c. 1790 Oil on panel, 63 x 53 cm Wallace Collection, London

7117

Portrait of Claude-Henri Watalet sg

1763 Oil on canvas, 115 x 88 cm Mus??e du Louvre, Paris

7112

Portrait of George Gougenot de Croissy dfg

c. 1758 Oil on canvas, 81 x 64 cm Mus??es Royaux des Beaux-Arts, Brussels

7114

Portrait of Georges Wille ge

1763 Oil on canvas, 59 x 49 cm Mus??e Jacquemart Andr??, Paris

77297

Portrat des Randon de Boisset, Oval

1770-1780 Oil on canvas 73 ?? 58 cm cjr

7116

Self-Portrait shs

c. 1785 Oil on canvas, 73 x 59 cm Mus??e du Louvre, Paris

44112

Septimius Severus and Caracalla

1769 Oil on canvas, 124 x 160 cm

7108

The Broken Jug

1785 Oil on canvas, 110 x 85 cm Mus??e du Louvre, Paris

7109

The Broken Mirror sd

1763 Oil on canvas, 56 x 46 cm Wallace Collection, London

7110

The Complain of the Watch dfh

1770s Oil on canvas, 79,3 x 61 cm Alte Pinakothek, Munich

7115

The Punished Son dgs

1778 Oil on canvas, 130 x 163 cm Mus??e du Louvre, Paris

7111

Votive Offering to Cupid ghf

1767 Oil on canvas, 146 x 113 cm Wallace Collection, London

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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