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L'Arbre brisé (1865) |
Ville d'Avray (1867), National Gallery of Art |
A Woman Reading (1869), Metropolitan Museum of Art, New York |
Nymphes et Faunes (before 1870), Birmingham Museum of Art, Alabama |
L'Albanese (1872) |
Pastorale—Souvenir d'Italie (1873), Glasgow Art Gallery |
Biblis (1875) |
Stream with a White Horse, Toledo Museum of Art |
Landscape (unknown), Bass-Dwyer Collection |
Gallery |
See also |
Effets de soir |
History of painting |
List of Orientalist artists |
Orientalism |
Western painting |
Notes and references |
Notes |
References |
Clark, Kenneth (1991). Landscape into Art. New York: HarperCollins. ISBN 0-06-010781-2. |
Leymarie, J (1979). Corot. Discovering the nineteenth century. Geneva: Skira. ISBN 0-8478-0238-8. |
Tinterow, Gary; Pantazzi, Michael; Pomarède, Vincent (1996). Corot (catalogue exhibition). New York: Metropolitan Museum of Art. ISBN 0-87099-769-6. |
Dumas, Bertrand (2005). Trésors des églises parisiennes (in French). Paris: éditions Parigramme. pp. 104–105. ISBN 2-84096-359-0. |
This article incorporates text from a publication now in the public domain: Thomson, David Croal (1911). "Corot, Jean-Baptiste Camille". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. pp. 188–189. |
External links |
99 artworks by or after Jean-Baptiste-Camille Corot at the Art UK site |
jean-baptiste-camille-corot.org – More than 600 works by Jean-Baptiste-Camille Corot |
Jean-Baptiste-Camille Corot at Artcyclopedia |
Jean-Baptiste-Camille Corot at the WebMuseum. |
The Lyrical Landscape Rehs Galleries' exhibition of works by Jean B.C. Corot. |
Jean-Baptiste-Camille Corot at Find a Grave |
Jean-Baptiste Greuze (French pronunciation: [ʒɑ̃ batist ɡʁøz], 21 August 1725 – 4 March 1805) was a French painter of portraits, genre scenes, and history painting. |
Biography |
Early life |
Greuze was born at Tournus, a market town in Burgundy. He is generally said to have formed his own talent; at an early age his inclinations, though thwarted by his father, were encouraged by a Lyonnese artist named Grandon, or Grondom, who enjoyed during his lifetime considerable reputation as a portrait-painter. Grand... |
Settled in Paris, Greuze worked from the living model in the school of the Royal Academy, but did not attract the attention of his teachers; and when he produced his first picture, Le Père de famille expliquant la Bible a ses enfants, considerable doubt was felt and shown as to his share in its production. By other and... |
Towards the close of the same year, he left France for Italy, in company with the Abbé Louis Gougenot. Gougenot had some acquaintance with the arts, and was highly valued by the Academicians, who, during his journey with Greuze, elected him an honorary member of their body on account of his studies in mythology and all... |
Relations with the Academy |
In 1759, 1761 and 1763 Greuze exhibited with ever-increasing success; in 1765 he reached the zenith of his powers and reputation. In that year he was represented with at least thirteen works, amongst which may be cited La Jeune Fille qui pleure son oiseau mort, La Bonne Mère, Le Mauvais fils puni (Louvre) and La Maledi... |
Greuze wished to be received as a historical painter and produced a work which he intended to vindicate his right to despise his qualifications as a genre artist. This unfortunate canvas (Sévère et Caracalla) was exhibited in 1769 side by side with Greuze's portrait of Jeaurat and his admirable Petite Fille au chien no... |
In the following year, on 4 March 1805, he died in the Louvre in great poverty. He had been in receipt of considerable wealth, which he had dissipated by extravagance and bad management (as well as embezzlement by his wife) so that during his closing years he was forced to solicit commissions which his enfeebled powers... |
The brilliant reputation which Greuze acquired seems to have been due, not to his accomplishments as a painter – for his practice is evidently that current in his own day – but to the character of the subjects which he treated. That return to nature which inspired Rousseau's attacks upon an artificial civilization dema... |
Legacy |
Diderot, in Le Fils naturel and Père de famille, tried to turn the vein of domestic drama to account on the stage; that which he tried and failed to do, Greuze, in painting, achieved with extraordinary success, although his works, like the plays of Diderot, were affected by that very artificiality against which they pr... |
La Jeune Fille à l'agneau was bought at the Pourtal's sale in 1865 for at least a million francs. One of Greuze's pupils, Madame Le Doux, imitated with success the manner of her master; his daughter and granddaughter, Madame de Valory, also inherited some traditions of his talent. Madame de Valory published in 1813 a c... |
Greuze was the father of painter Anna-Geneviève Greuze, who was also his pupil. |
Cultural references |
In the second chapter of Arthur Conan Doyle's Sherlock Holmes story The Valley of Fear, Holmes's discussion of his enemy Professor Moriarty involves a Greuze painting in his possession, intended to illustrate Moriarty's wealth despite his small legitimate salary as an academic. A 1946 episode of the radio series The Ne... |
In the sixth part of The Leopard, a novel by the Italian writer Giuseppe Tomasi di Lampedusa, the Prince of Salina watches a Greuze painting, La Mort du Juste, and he starts thinking about death (as the "safety exit" which relieves older men of their anxieties) and judges that the pretty girls surrounding the dying man... |
In the sixteenth chapter of E. M. Forster's novel Maurice, Clive mentions that he finds himself unable to approach Greuze's "subject matter" from anything more than purely aesthetic perspective, contrasting Greuze's work with that of Michelangelo in the process. In chapter 31, when Maurice visits Dr Barry, there are co... |
Chinese author Xiao Yi mentions Greuze's work The Broken Pitcher throughout the first half of her novel Blue Nails. The Broken Pitcher is also mentioned in the first scene of the Jean-Paul Sartre play, The Respectful Prostitute. |
Greuze is mentioned in the song "(We All Wear A) Green Carnation", Noël Coward's celebration of camp and queerness, from his 1929 operetta Bitter Sweet: |
Exhibitions |
Edgar Munhall organized the first major exhibition devoted to the artist: "Jean-Baptiste Greuze, 1725–1805" (1976–1977). The exhibition opened at the Wadsworth Atheneum in Hartford and then traveled to the California Legion of Honor in San Francisco and the Musée des Beaux-Arts in Dijon. In 2002, the first exhibition o... |
Gallery |
Jean-Baptiste Greuze's works |
See also |
Les Neuf Sœurs |
The Kings' Tart |
The Bible Reading |
References and sources |
References |
Sources |
Normand, J. B. Greuze (1892). |
Munhall, Edgar. Jean-Baptiste Greuze, 1725-1805 (1976). |
Emma Barker, Greuze and the Painting of Sentiment (Cambridge: Cambridge University Press, 2005). ISBN 0-521-55508-6. |
Gillet, Louis (1913). "Jean-Baptiste Greuze" . In Herbermann, Charles (ed.). Catholic Encyclopedia. New York: Robert Appleton Company. |
This article incorporates text from a publication now in the public domain: Dilke, Emilia Francis Strong (1911). "Greuze, Jean Baptiste". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 12 (11th ed.). Cambridge University Press. pp. 584–585. |
External links |
Media related to Jean-Baptiste Greuze at Wikimedia Commons |
68 artworks by or after Jean-Baptiste Greuze at the Art UK site |
Works and literature at PubHist |
Europe in the age of enlightenment and revolution, a catalog from The Metropolitan Museum of Art Libraries (fully available online as PDF), which contains material on Greuze (see index) |
Jean-Baptiste Monnoyer (12 January 1636 – 20 February 1699) was a Franco-Flemish painter who specialised in flower pieces. He was attached to the Gobelins tapestry workshops and the Beauvais tapestry workshops, too, where he produced cartoons of fruit and flowers for the tapestry-weavers, and at Beauvais was one of thr... |
Life |
He was born at Lille, but was in Paris by 1650, where he was documented working on the decors of the Hôtel Lambert. He was taken up by Charles Le Brun for decorative painting at the Château de Marly and at the Grand Dauphin's residence, the Château de Meudon. He was received at the Académie Royale de Peinture et de Scu... |
In 1690, he left France for England, to work on painting decorations for Montagu House, Bloomsbury, London, where he produced over fifty panels of fruit and flowers for overmantels and overdoors, some of which have survived at Boughton House, Northamptonshire. He died in London in 1699. |
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