Oil On Canvas, Real Flavor of Old Masters

All GREUZE, Jean-Baptiste 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
Innocence dgh, GREUZE, Jean-Baptiste
 Innocence dgh   c. 1790 Oil on panel, 63 x 53 cm Wallace Collection, London
Portrait of Claude-Henri Watalet sg, GREUZE, Jean-Baptiste
 Portrait of Claude-Henri Watalet sg   1763 Oil on canvas, 115 x 88 cm Mus??e du Louvre, Paris
Portrait of George Gougenot de Croissy dfg, GREUZE, Jean-Baptiste
 Portrait of George Gougenot de Croissy dfg   c. 1758 Oil on canvas, 81 x 64 cm Mus??es Royaux des Beaux-Arts, Brussels
Portrait of Georges Wille ge, GREUZE, Jean-Baptiste
 Portrait of Georges Wille ge   1763 Oil on canvas, 59 x 49 cm Mus??e Jacquemart Andr??, Paris
Portrat des Randon de Boisset, Oval, GREUZE, Jean-Baptiste
 Portrat des Randon de Boisset, Oval   1770-1780 Oil on canvas 73 ?? 58 cm cjr
Self-Portrait shs, GREUZE, Jean-Baptiste
 Self-Portrait shs   c. 1785 Oil on canvas, 73 x 59 cm Mus??e du Louvre, Paris
Septimius Severus and Caracalla, GREUZE, Jean-Baptiste
 Septimius Severus and Caracalla   1769 Oil on canvas, 124 x 160 cm
The Broken Jug, GREUZE, Jean-Baptiste
 The Broken Jug   1785 Oil on canvas, 110 x 85 cm Mus??e du Louvre, Paris
The Broken Mirror sd, GREUZE, Jean-Baptiste
 The Broken Mirror sd   1763 Oil on canvas, 56 x 46 cm Wallace Collection, London
The Complain of the Watch dfh, GREUZE, Jean-Baptiste
 The Complain of the Watch dfh   1770s Oil on canvas, 79,3 x 61 cm Alte Pinakothek, Munich
The Punished Son dgs, GREUZE, Jean-Baptiste
 The Punished Son dgs   1778 Oil on canvas, 130 x 163 cm Mus??e du Louvre, Paris
Votive Offering to Cupid ghf, GREUZE, Jean-Baptiste
 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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