Jean-Baptiste Greuze

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Greuze, Jean-Baptiste

(zhäN bätēst` gröz), 1725–1805, French genre and portrait painter. He studied at the Académie Royale and won recognition in 1755 with his Blind Man Deceived. He traveled in Italy and on his return painted a series of popular realistic pictures of a dramatic and moralizing character—The Village Bride, The Father's Curse, The Wicked Son Punished, The Broken Pitcher (all: Louvre). His artificial, often slightly prurient compositions are less interesting to modern taste than his portraits, which include one of his wife called The Milkmaid (Louvre) and those of the dauphin, Robespierre, and Napoleon (all: Versailles). A superb draftsman, he also created hundreds of fine drawings. In the Revolution Greuze lost both fortune and popularity, and died in poverty. Examples of his work are in such collections as the Louvre, London's Wallace Collection, the Edinburgh National Gallery, and New York's Metropolitan Museum of Art.

Bibliography

See study by A. Brookner (1972).

References in periodicals archive ?
Como sucede en el epigrama con Greuze, Daudet y Coppee, en el articulo, Torri atempera los topicos machadianos con la frase de los hermanos Edmond y Jules Goncourt, que dicta "Physionomie de femme et parole d'homme: la seulement est mon plaisir, mon interet" (13).
As a conclusion to these aspects of her artistic education it is worth noting that with the exception of the portrait of La Bruyere, 1775, Vigee Le Brun showed little interest in official portraitists whereas she was particularly attracted by such artists as Chardin, Greuze and Quentin de la Tour who painted portraits informally.
En la National Gallery de Londres, Van Dyck, Murillo, Rafael, Tiziano, Wilkie, Teniers, Reynolds, Rembrandt, Greuze y Velazquez fueron objeto constante de copias durante la decada de 1870, como senal del gusto de la clase media de la epoca y, seguramente, como estadistica de las ventas de la epoca.
Jeanne Philiberte Ledoux touted her status as Greuze's only student; Angelique Mongez, a rare female history painter, signed her work "student of David" (102).
Well selected visual illustrations in plates placed at the head of each chapter offer additional, eloquent testimony of the mentalites Pasco seeks to reveal, from Carie Van Loo's La Lecture espagnole (also briefly discussed in chapter 1), to Fragonard's Le Baiser a la derobee (chapter 2) and Greuze's Jeune Fille qui fait sa priere a l'Amour (chapter 3), to Le Feu: la sexualite debridee (engraver unknown) in the conclusion.
In 2007 Ian, who is now retired, and wife Mary sold two paintings by French artist Jean-Baptiste Greuze for pounds 800,000.
(10) Fried has shown how painters such as Jean-Baptiste Greuze began to dissolve the boundary between picture and observer by depicting subjects absorbed in their own troubles and seemingly unaware of being observed.
The figure in Greuze's Portrait de Watelet leans against a window sill, relaxed, and holds two papers in his hands, one which he reads and by which he is clearly taken and arrested, and another that waits to be read in the other hand which has fallen somewhat thoughtlessly to the side--not quite limp, however, but somewhere in between held up and forgotten, just about to be taken up again.
Her bead necklace, unstrung like Martha herself and scattered on the floor, resembles the broken pitchers and dead birds that symbolize the loss of virtue in the paintings of Jean-Baptiste Greuze. Martha's incisive comment during the play reading explains how this squalid sexual episode compromises her moral stature and propels her toward her tragic fate: "Nobody can have a permanent claim on being the injured party; it seems horribly unfair, but there it is.
For example, there is the issue of the lingering influence of Greuze, for which, see Solkin, "Crowds and Connoisseurs" 156-59, who sees it as declining by 1805.
He traces his theme through the works of philosophers like Mably and d'Argenson, playwrights such as Beaumarchais and even painters like Greuze. He also underlines its international ramifications, above all in his chapter on the Order of Cincinnatus, the original point of departure for the book.
In uno di essi, rappresentante il duello equestre fra Tancredi e Argante, uno dei due cavalli aveva uno sguardo stranamente umano the io dovevo poi riallacciare al Metzengerstein di Poe.' For the detailed examination of another similar case of appropriation and subtle dialogue between reported works of art and the thematics of the novel, see Jeffrey Meyers, 'Greuze and Lampedusa's "Il Gattopardo"', MLR, 69 (1974), 308-15.