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Jean-Baptiste Greuze's diminutive picture of a rosy-cheeked girl wringing out her linen was one of fourteen works that he exhibited at the Salon of 1761 in Paris. This lively and engrossing book traces the history of the Getty Museum's painting, compares the work to other laundresses painted by Greuze, and explores social mores and the role of artists model in the eighteenth century. It provides an enlightening account of Greuze's life and times and the influences on his work.
Greuze the Draftsman by Edgar Munhall,Irina Nikolaevna Novoselʹskai︠a︡ Pdf
Catalogue of an exhibition held at The Frick Collection, New York, May 14-Aug. 4, 2002, and at The J. Paul Getty Museum, Los Angeles, Sept. 10-Dec. 1, 2002. Exhibition curated by Edgar Munhall, Curator Emeritus of The Frick Collection, who also wrote the catalogue. Includes catalogue entries for 95 graphic works, and one painted self-portrait, by Jean-Baptiste Greuze (1725-1805). Each entry accompanied by one or more illustrations. Includes summary biography and selected bibliography. Foreword by Samuel Sachs II and Deborah Gribbon.
Jean-Baptiste Greuze: Drawings and Paintings by Raya Yotova Pdf
Jean-Baptiste Greuze (1725 - 1805) was a French painter of portraits, genre scenes, and history painting. Settled in Paris, Greuze soon won the notice and support of the well-known connoisseur La Live de Jully, the brother-in-law of Madame d'Epinay. In 1755 Greuze exhibited his Aveugle trompe, upon which he was immediately certified by the Academy. Towards the close of the same year he left France for Italy, in company with the Abbe 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 allegory. In 1765 he reached the zenith of his powers and reputation. In that year he was represented with no less than thirteen works, amongst which may be cited "La Jeune Fille qui pleure son oiseau mort", "La Bonne Mere", "Le Mauvais fils puni" (Louvre) and "La Malediction paternelle" (Louvre). The Academy took occasion to press Greuze for his diploma picture, the execution of which had been long delayed, and forbade him to exhibit on their walls until he had complied with their regulations. 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. The Academicians received their new member with all due honours, but at the close of the ceremonies the Director addressed Greuze in these words: "Sir, the Academy has accepted you, but only as a genre painter; Greuze, greatly incensed, quarrelled with his confreres, and ceased to exhibit until, in 1804, the Revolution had thrown open the doors of the Academy to all the world. In the following year, on 4 March 1805, he died in great poverty.
Author : Michael Fried Publisher : University of Chicago Press Page : 282 pages File Size : 41,8 Mb Release : 1988-09-15 Category : Art ISBN : 0226262138
With this widely acclaimed work, Michael Fried revised the way in which eighteenth-century French painting and criticism are viewed and understood. Analyzing paintings produced between 1753 and 1781 and the comments of a number of critics who wrote about them, especially Dennis Diderot, Fried discovers a new emphasis in the art of the time, based not on subject matter or style but on values and effects.
French Art of the Eighteenth Century by Heather Eleanor MacDonald Pdf
"Since 2004, the Dallas Museum of Art has been the repository of the renowned collection of eighteenth-century French art assembled by the late Michael Rosenberg. The long-term loan of these masterpieces greatly enhances the collection of European art at the Museum, and the series of scholarly lectures funded by the Foundation, the Michael L. Rosenberg Lecture Series, gives a powerful boost to its European art program. Those lectures, presented by top scholars in the field of European art history, are re-presented in this volume"--
During the final decades of the ancient regime, prominent collectors in Paris commissioned and collected French paintings of the period, works by Greuze, Fragonard, David and others that together comprised 'l'Ecole Francoise' - the French School. In this book, an art historian discusses six of these collectors and the collections they assembled, showing that private patronage in this period was revitalized by this patriotic desire to collect contemporary art. Colin B. Bailey explains why a taste for modern art emerged at this time and how it was encouraged and fostered. Examining the relationship between artist and patron, he discusses the degree of influence these enlightened patrons and collectors expected to exercise when new works were being commissioned. Bailey shows that collectors of eighteenth-century French painting seem not to have made rigid distinctions between the various genres or styles of the Academy's practitioners. Instead, history paintings and genre paintings - both rococo and neo-classical - were exhibited proudly on their walls as superb examples of the French School.
Musée des beaux-arts du Canada (Ottawa),Colin B. Bailey,Thomas Gaehtgens,Philip Conisbee,Thomas W. Gaehtgens,National Gallery of Canada,Gemäldegalerie (Berlin, Germany)
Author : Musée des beaux-arts du Canada (Ottawa),Colin B. Bailey,Thomas Gaehtgens,Philip Conisbee,Thomas W. Gaehtgens,National Gallery of Canada,Gemäldegalerie (Berlin, Germany) Publisher : Yale University Press Page : 432 pages File Size : 41,5 Mb Release : 2003-01-01 Category : Art ISBN : 9780300099461
The Age of Watteau, Chardin, and Fragonard by Musée des beaux-arts du Canada (Ottawa),Colin B. Bailey,Thomas Gaehtgens,Philip Conisbee,Thomas W. Gaehtgens,National Gallery of Canada,Gemäldegalerie (Berlin, Germany) Pdf
Leading scholars shed light on the development of genre painting in this heavily illustrated volume.
Dramatic Expression in Rameau's Tragédie en Musique by Cynthia Verba Pdf
Cynthia Verba's book explores the story of music's role in the French Enlightenment, focusing on dramatic expression in the musical tragedies of the composer-theorist Jean-Philippe Rameau. She reveals how his music achieves its highly moving effects through an interplay between rational design, especially tonal design, and the portrayal of feeling and how this results in a more nuanced portrayal of the heroine. Offering a new approach to understanding Rameau's role in the Enlightenment, Verba illuminates important aspects of the theory-practice relationship and shows how his music embraced Enlightenment values. At the heart of the study are three scene types that occur in all of Rameau's tragedies: confession of forbidden love, intense conflict and conflict resolution. In tracing changes in Rameau's treatment of these, Verba finds that while he maintained an allegiance to the traditional French operatic model, he constantly adapted it to accommodate his more enlightened views on musical expression.
French Drawings from the Age of Claude, Poussin, Watteau, and Fragonard by Alvin L. Clark Pdf
Dazzling works on paper from a vast and celebrated collection The Harvard Art Museums house one of the most significant collections of works on paper in North America. Among its many strengths are sheets by draftsmen of the French School, including notable masters such as Simon Vouet, Claude Lorrain, Nicolas Poussin, Jean-Antoine Watteau, François Boucher, Jean-Baptiste Greuze, and Jean-Honoré Fragonard. Following an introductory essay that charts the formation of this group of drawings, this catalogue provides thorough entries on more than 100 outstanding examples from the 16th to 18th century that encompass a range of genres and motifs--from landscapes and figure studies to historical and mythological scenes--many of which were produced for major commissions or mark key moments in the development of style and taste in early modern France. Alvin L. Clark Jr. marshals his decades-long engagement with these works, pairing a discerning eye with perceptive readings that deepen our understanding of the drawings and their makers. Distributed for the Harvard Art Museums
