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.  Related Paintings of Jean Baptiste Greuze :. | Portrait of Countess Ekaterina Shuvalova | Inconsolable Widow | A Young Man in a Hat | Young Woman Seen from the Back | The benefactress |
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(1611-1651 or 1654) was an Italian painter of the Baroque period, active mainly in the mountainous area east of Naples called Irpinia, and in other areas of Campania, Puglia, and Molise. Francesco Guarino, Saint Agnes, 1650.He was born in Sant'Andrea Apostolo, today a frazione of Solofra in the Province of Avellino, Campania, and died in Gravina di Puglia. He was a pupil first locally of his father, Giovanni Tommaso Guarino, then moved to Naples to work in the studio of Massimo Stanzione. In Naples, like many of his contemporaries in Naples, he was influenced by the style of Caravaggio. Among his masterpieces are the works for the Collegiata di San Michele Arcangelo to Solofra.
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Michael, Angelo, Rooker (1746 - 3 Mar 1801) was an English oil and watercolour painter of architecture and landscapes, illustrator and engraver. He was also the principal scene painter at the Haymarket Theatre.
BOTH, Jan
Dutch painter (b. ca. 1618, Utrecht, d. 1652, Utrecht Brother of Andries Both. He was one of the foremost painters among the second generation of DUTCH ITALIANATES. While working in Italy he specialized in genre scenes; however, on his return to the Netherlands he concentrated on wooded landscapes bathed in a golden light that illuminates the highly detailed foliage and trees. These realistic landscapes represent his most original contribution to Dutch painting and were much imitated by his contemporaries and by later artists.