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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.

 

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Jean Baptiste Greuze Septimius Severus and Caracalla oil painting

Painting ID::  62844

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Jean Baptiste Greuze
Septimius Severus and Caracalla
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 Young Girl Weeping for her Dead Bird oil painting

Painting ID::  67871

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Jean Baptiste Greuze
Young Girl Weeping for her Dead Bird
Current location Louvre
   
   
     

 

 

Jean Baptiste Greuze la petit paresseux oil painting

Painting ID::  71035

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Jean Baptiste Greuze
la petit paresseux
mk289 montpellier musee fabre
   
   
     

 

 

Jean Baptiste Greuze l accordee de village oil painting

Painting ID::  71595

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Jean Baptiste Greuze
l accordee de village
Date 1761(1761) Medium Oil on canvas Dimensions 92 x 117 cm (36.22 x 46.06 in)
   
   
     

 

 

Jean Baptiste Greuze Inconsolable Widow oil painting

Painting ID::  74226

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Jean Baptiste Greuze
Inconsolable Widow
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 oil painting

Painting ID::  75154

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Jean Baptiste Greuze
Young Girl Weeping for her Dead Bird
Title Young Girl Weeping for her Dead Bird Date c. 1759 cyf
   
   
     

 

 

Jean Baptiste Greuze Portrait of a Lady oil painting

Painting ID::  77339

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Jean Baptiste Greuze
Portrait of a Lady
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 oil painting

Painting ID::  78488

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Jean Baptiste Greuze
Portrait of a Lady
. 1773(1773) Medium Oil on canvas Dimensions 49.6 x 39.3 cm (19.5 x 15.5 in) cyf
   
   
     

 

 

Jean Baptiste Greuze A Student oil painting

Painting ID::  79009

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Jean Baptiste Greuze
A Student
1757 Medium Oil on canvas cyf
   
   
     

 

 

Jean Baptiste Greuze Claude Henri Watelet. oil painting

Painting ID::  79865

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Jean Baptiste Greuze
Claude Henri Watelet.
salon de 1765 Medium Oil on canvas cyf
   
   
     

 

 

Jean Baptiste Greuze Portrait of Count Stroganov as a Child oil painting

Painting ID::  81606

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Jean Baptiste Greuze
Portrait of Count Stroganov as a Child
1778(1778) Medium Oil Dimensions Unknown cyf
   
   
     

 

 

Jean Baptiste Greuze L enfant a la colombe oil painting

Painting ID::  83686

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Jean Baptiste Greuze
L enfant a la colombe
Oil on canvas Dimensions 64,4 x 53,3 cm cyf
   
   
     

 

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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.