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 (tetes 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-Franeois, 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, Arsene 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.   Related Paintings of Jean-Baptiste Greuze :. | L'Accordee du Village | The Spoiled Child | The Village Marriage Contract | L'enfant a la colombe | Portrait of a Lady, Called Sophie Arnould |
Related Artists:
Simon Mathurin Lantara
(24 March 1729 - 22 December 1778) was a French landscape painter. He was born at Oncy. His father was a weaver, and he himself began life as a herdboy; but, having attracted the notice of Gille de Reumont, a son of his master, he was placed under a painter at Versailles. Endowed with great facility and real talent, his powers found ready recognition; but he found the constraint of a regular life and the society of educated people unbearably tiresome; and as long as the proceeds of the last sale lasted he lived careless of the future in the company of obscure workmen. Rich amateurs more than once attracted him to their houses, only to find that in ease and high living Lantara could produce nothing. He died in Paris in 1778. His works, now much prized, are not numerous; the Louvre has one landscape, Morning, signed and dated 1761. Émile Bernard, Joseph Vernet, and others are said to have added figures to his landscapes and sea-pieces. Engravings after Lantara will be found in the works of Lebas, Piquenot, Duret, Mouchy and others. In 1809 a comedy called Lantara, or the Painter in the Pothouse, was brought out at the Vaudeville with great success.
Luca Carlevaris
1665-1731 Italian Luca Carlevaris Location Luca Carlevarijs or Carlevaris (1663 - 1730) was an Italian painter of landscapes (vedutista). Carlevarijs was born in Udine, but worked mostly in Venice. His veduta of Venice are among the earliest Baroque depictions of the city. He was influenced by the Dutch painter active in Rome, Caspar van Wittel (often called Vanvitelli). The painters Canaletto and Antonio Visentini are said to have been highly influenced by or pupils of his. Johan Richter did work with him.
Jozef Israels
1824-1911 Dutch Jozef Israels Gallery Israels has often been compared to Jean-François Millet. As artists, even more than as painters in the strict sense of the word, they both, in fact, saw in the life of the poor and humble a motive for expressing with peculiar intensity their wide human sympathy; but Millet was the poet of placid rural life, while in almost all Israels' pictures there is some piercing note of woe. Edmond Duranty said of them that they were painted with gloom and suffering. He began with historical and dramatic subjects in the romantic style of the day. By chance, after an illness, he went to recruit his strength at the fishing-town of Zandvoort near Haarlem, and there he was struck by the daily tragedy of life. Thenceforth he was possessed by a new vein of artistic expression, sincerely realistic, full of emotion and pity. Among his more important subsequent works are The Zandvoort Fisherman (in the Amsterdam gallery), The Silent House (which gained a gold medal at the Brussels Salon, 1858) and Village Poor (a prize at Manchester). In 1862 he achieved great success in London with his Shipwrecked, purchased by Mr Young, and The Cradle, two pictures that the Athenaeum magazine described as the most touching pictures of the exhibition.