All the oil paintings of GREUZE, Jean-Baptiste

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ID	Image	Painting(From A to Z)	Details
7113		Innocence dgh	c. 1790 Oil on panel, 63 x 53 cm Wallace Collection, London
7117		Portrait of Claude-Henri Watalet sg	1763 Oil on canvas, 115 x 88 cm Mus??e du Louvre, Paris
7112		Portrait of George Gougenot de Croissy dfg	c. 1758 Oil on canvas, 81 x 64 cm Mus??es Royaux des Beaux-Arts, Brussels
7114		Portrait of Georges Wille ge	1763 Oil on canvas, 59 x 49 cm Mus??e Jacquemart Andr??, Paris
77297		Portrat des Randon de Boisset, Oval	1770-1780 Oil on canvas 73 ?? 58 cm cjr
7116		Self-Portrait shs	c. 1785 Oil on canvas, 73 x 59 cm Mus??e du Louvre, Paris
44112		Septimius Severus and Caracalla	1769 Oil on canvas, 124 x 160 cm
7108		The Broken Jug	1785 Oil on canvas, 110 x 85 cm Mus??e du Louvre, Paris
7109		The Broken Mirror sd	1763 Oil on canvas, 56 x 46 cm Wallace Collection, London
7110		The Complain of the Watch dfh	1770s Oil on canvas, 79,3 x 61 cm Alte Pinakothek, Munich
7115		The Punished Son dgs	1778 Oil on canvas, 130 x 163 cm Mus??e du Louvre, Paris
7111		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.