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 The Inconsolable Widow oil painting


The Inconsolable Widow
before 1763 Oil on canvas 40 32 cm cjr
Painting ID::  72537 		Jean-Baptiste Greuze
The Inconsolable Widow
before 1763 Oil on canvas 40 32 cm cjr
   
   
     
Jean-Baptiste Greuze Young Girl Weeping for her Dead Bird oil painting


Young Girl Weeping for her Dead Bird
Young Girl Weeping for her Dead Bird c. 1759 cjr
Painting ID::  73470 		Jean-Baptiste Greuze
Young Girl Weeping for her Dead Bird
Young Girl Weeping for her Dead Bird c. 1759 cjr
   
   
     
Jean-Baptiste Greuze Portrait of a Lady, previously wrongly called Portrait of Sophie Arnould oil painting


Portrait of a Lady, previously wrongly called Portrait of Sophie Arnould
Portrait of a Lady, previously wrongly called Portrait of Sophie Arnould ca. 1786(1786) Oil on canvas 61 X 50.4 cm (24 X 19.8 in) cjr
Painting ID::  75454 		Jean-Baptiste Greuze
Portrait of a Lady, previously wrongly called Portrait of Sophie Arnould
Portrait of a Lady, previously wrongly called Portrait of Sophie Arnould ca. 1786(1786) Oil on canvas 61 X 50.4 cm (24 X 19.8 in) cjr
   
   
     
Jean-Baptiste Greuze Portrait of a Lady, Called Sophie Arnould oil painting


Portrait of a Lady, Called Sophie Arnould
ca. 1773(1773) Oil on canvas 49.6 ?? 39.3 cm (19.5 ?? 15.5 in) cjr
Painting ID::  76620 		Jean-Baptiste Greuze
Portrait of a Lady, Called Sophie Arnould
ca. 1773(1773) Oil on canvas 49.6 ?? 39.3 cm (19.5 ?? 15.5 in) cjr
   
   
     
Jean-Baptiste Greuze Portrait of Jacques Gabriel French architect oil painting


Portrait of Jacques Gabriel French architect
Mid-18th century Oil on linen 65 ?? 54 cm (25.6 ?? 21.3 in) cjr
Painting ID::  76735 		Jean-Baptiste Greuze
Portrait of Jacques Gabriel French architect
Mid-18th century Oil on linen 65 ?? 54 cm (25.6 ?? 21.3 in) cjr
   
   
     
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     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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