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 ?
In his ingenious essay, Mongredien points to a wealth of references, including Michel de Montaigne, the painter Jean-Baptiste Greuze (whose pupil Jacques-Irenee Grandon was Gretry's father-in-law), and, always, Jean-Jacques Rousseau.
Indeed his 'Belisarius' comes dangerously close to the affecting sentimentality that suffuses the work of Jean-Baptiste Greuze (1725-1805).
Their first acquisition--not beginner's luck, as it transpired--turned out to be an autograph work by Jean-Baptiste Greuze.
The same could be said for Jean-Baptiste Greuze, who does not receive titular status but enjoys equal prominence both in art history and in the present exhibition.
Diderot, the prominent French philosopher, encyclopedist and art critic, showered much praise on Jean-Baptiste Greuze (1725-1805), a respected and successful draftsman and painter of the 18th century whose work is now on display at the Getty Center.
A study by Jean-Baptiste Greuze (1725-1805), titled The father's curse: The punished son, is among the 18th-century works (Fig.
In that long intervening period, Fried gave up topical engagement with contemporary art, pursuing instead a highly individual interpretation of French painting as it developed from Jean-Baptiste Greuze in the later eighteenth century to Edouard Manet and the cusp of Impressionism.
This parallels Frans Hals's roundels of the senses, also from the 1620s, but, in its more finished surface and sense of enchantment with childhood, seems strangely prophetic of Jean-Baptiste Greuze and the French dix-huilieme.
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