100% hand painted, 100% cotton canvas, 100% money back if not satisfaction.
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.
100% hand painted, 100%
cotton canvas,
100% money back if not satisfaction.
Jean Baptiste Greuze The Paternal Curse or and Ungrateful Son (mk05)
new6/Jean Baptiste Greuze-636754.jpg Canvas 51 1/4 x 64''(130 x 162 cm)Acquired in 1820 INV
Jean Baptiste Greuze Portrait of the Artist (mk05)
new6/Jean Baptiste Greuze-258465.jpg Wood 25 1/2 x 20 1/2''(65 x 52 cm)Bequest of Dr Louis La Caze 1869
Jean Baptiste Greuze The Punishment of Filial Ingratitude (mk05)
new6/Jean Baptiste Greuze-386469.jpg Canvas 51 1/4 x 64 1/4''(130 x 163 cm)Acquired in 1820 INV
Jean Baptiste Greuze The Village Betrothal (mk05)
new6/Jean Baptiste Greuze-669659.jpg Canvas 36 1/4 x 46''(92 x 117 cm)Salon of 1761;acquired for the collection of Louis XVI in 1782 INV
Jean Baptiste Greuze The Lamentation of Time Passing (mk08)
new7/Jean Baptiste Greuze-729492.jpg c.1775
Oil on canvas
79x61cm
Munich,Bayerische Staatsgemaldesamm-lungen,Alte Pinakothek
Jean Baptiste Greuze the guitar player
new20/Jean Baptiste Greuze-968497.jpg mk247
1755 to 60 oil on canvas,27.75x22 in,71x56 cm,musee des beaux-arts,nantes,france
Jean Baptiste Greuze Septimius Severus and Caracalla
new21/Jean Baptiste Greuze-973389.jpg 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
Jean Baptiste Greuze l accordee de village
new23/Jean Baptiste Greuze-477455.jpg Date 1761(1761)
Medium Oil on canvas
Dimensions 92 x 117 cm (36.22 x 46.06 in)
Jean Baptiste Greuze Inconsolable Widow
new24/Jean Baptiste Greuze-665344.jpg Date before 1763
Medium Oil on canvas
Dimensions 40 X 32 cm (15.75 X 12.6 in)
cyf
Jean Baptiste Greuze Young Girl Weeping for her Dead Bird
new24/Jean Baptiste Greuze-895987.jpg Title Young Girl Weeping for her Dead Bird
Date c. 1759
cyf
Jean Baptiste Greuze Portrait of a Lady
new24/Jean Baptiste Greuze-535558.jpg Date ca. 1786(1786)
Medium Oil on canvas
Dimensions 61 ?? 50.4 cm (24 ?? 19.8 in)
cyf
Jean Baptiste Greuze Portrait of a Lady
new24/Jean Baptiste Greuze-773485.jpg . 1773(1773)
Medium Oil on canvas
Dimensions 49.6 x 39.3 cm (19.5 x 15.5 in)
cyf
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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