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Jean Baptiste Greuze
The Spoiled Child
1765
The Hermitage, St.Petersburg
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Jean Baptiste Greuze
The Guitarist
c1760
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Jean Baptiste Greuze
A Young Man in a Hat
1750's
The Hermitage, St.Petersburg
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Jean Baptiste Greuze
Head of a Young Girl
1777
The Hermitage, St.Petersburg
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Jean Baptiste Greuze
Young Woman in a White Hat
1780
Museum of Fine Arts, Boston
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Jean Baptiste Greuze
Louis-Francois Robin
1794
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Jean Baptiste Greuze
The Paternal Curse or and Ungrateful Son (mk05)
Canvas 51 1/4 x 64''(130 x 162 cm)Acquired in 1820 INV
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Jean Baptiste Greuze
Portrait of the Artist (mk05)
Wood 25 1/2 x 20 1/2''(65 x 52 cm)Bequest of Dr Louis La Caze 1869
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Jean Baptiste Greuze
The Punishment of Filial Ingratitude (mk05)
Canvas 51 1/4 x 64 1/4''(130 x 163 cm)Acquired in 1820 INV
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Jean Baptiste Greuze
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
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Jean Baptiste Greuze
The Lamentation of Time Passing (mk08)
c.1775
Oil on canvas
79x61cm
Munich,Bayerische Staatsgemaldesamm-lungen,Alte Pinakothek
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Jean Baptiste Greuze
L'Accordee du Village (mk08)
1761
Oil on canvas
90x118cm
Paris,Musee National du Louvre
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Jean Baptiste Greuze
Silence (mk25)
1759
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Jean Baptiste Greuze
Tournus
mk60
1805
Oil on canvas
26x22"
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Jean Baptiste Greuze
Young Woman Seen from the Back
mk61
Oil on canvas
46x38cm
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Jean Baptiste Greuze
L-Accordee de Village
mk176
1761
Oil on canvas
92x117cm
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Jean Baptiste Greuze
Portrait of Countess Ekaterina Shuvalova
mk156
c.1770
Oil on canvs
60x50cm
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Jean Baptiste Greuze
The benefactress
MK169
1775 Cloth 114x147cm
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Jean Baptiste Greuze
The Verwohnte child
mk186
1765 St. Peter castles, Eremitage
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Jean Baptiste Greuze
the guitar player
mk247
1755 to 60 oil on canvas,27.75x22 in,71x56 cm,musee des beaux-arts,nantes,france
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| Jean Baptiste Greuze
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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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