All GREUZE, Jean-Baptiste 's Paintings
The Painting Names Are Sorted From A to Z
Oil On Canvas, Real Flavor of Old Masters
Choice ID Image  Painting (From A to Z)       Details 
7113 Innocence dgh  Innocence dgh   c. 1790 Oil on panel, 63 x 53 cm Wallace Collection, London
7117 Portrait of Claude-Henri Watalet sg  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  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  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  Portrat des Randon de Boisset, Oval   1770-1780 Oil on canvas 73 ?? 58 cm cjr
7116 Self-Portrait shs  Self-Portrait shs   c. 1785 Oil on canvas, 73 x 59 cm Mus??e du Louvre, Paris
44112 Septimius Severus and Caracalla  Septimius Severus and Caracalla   1769 Oil on canvas, 124 x 160 cm
7108 The Broken Jug  The Broken Jug   1785 Oil on canvas, 110 x 85 cm Mus??e du Louvre, Paris
7109 The Broken Mirror sd  The Broken Mirror sd   1763 Oil on canvas, 56 x 46 cm Wallace Collection, London
7110 The Complain of the Watch dfh  The Complain of the Watch dfh   1770s Oil on canvas, 79,3 x 61 cm Alte Pinakothek, Munich
7115 The Punished Son dgs  The Punished Son dgs   1778 Oil on canvas, 130 x 163 cm Mus??e du Louvre, Paris
7111 Votive Offering to Cupid ghf  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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