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 :. | L-Accordee de Village | Septimius Severus and Caracalla | Young Girl Weeping for her Dead Bird | Young Woman Seen from the Back | The Guitarist |
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kilian zoll
Kilian Christoffer Zoll (29 september 1818 - 9 november 1860) was a Swedish artist. He belonged to the Dusseldorf school of painting and painted genre pictures, landscape, portraits, children and altarpieces. Zoll studied at the Royal Swedish Academy of Arts in Stockholm 1835-1839. Within the Academy, Zoll and his fellow students mostly treated mythical and historical subjects, but as soon as he became independent he devoted himself to genre painting. He travelled and made sketches through Sweden; Skåne, Halland, Småland and Dalarna. He participated in the academy exhibitions 1850, 1853, 1856 and 1858 with a total of 19 oil paintings. His paintings from this period address topics such as Children playing with a cat, Grandma's joy, Old Woman at the Spinning Wheel. In 1854 he traveled to Dusseldorf in the company of a fellow artist Bengt Nordenberg. In Dusseldorf he studied art together with another Swedish artist Marcus Larson - together they executed several paintings. He returned to Sweden in 1855. He and Nordenberg tried to get a travel grant from the Swedish Academy of Arts, but he could not get it because he was older than the rules allowed. The following year he went back to Dusseldorf, now married, and returned to Sweden 1858. Once again, he traveled through the province of Halland in artistic studies and had planned to return to Dusseldorf. He, however, fell ill and died before then.
Englebert Fisen
(1655 -1733 ) - Painter
Alexandre Cabanel
1823-1889 French Alexandre Cabanel Locations French painter and teacher. His skill in drawing was apparently evident by the age of 11. His father could not afford his training, but in 1839 his departement gave him a grant to go to Paris. This enabled him to register at the Ecole des Beaux-Arts the following October as a pupil of Francois-Edouard Picot. At his first Salon in 1843 he presented Agony in the Garden (Valenciennes, Mus. B.-A.) and won second place in the Prix de Rome competition (after Lon Benouville, also a pupil of Picot) in 1845 with Christ at the Praetorium (Paris, Ecole N. Sup. B.-A.). Both Cabanel and Benouville were able to go to Rome, as there was a vacancy from the previous year. Cabanel Death of Moses (untraced), an academic composition, painted to comply with the regulations of the Ecole de Rome, was exhibited at the Salon of 1852. The pictures he painted for Alfred Bruyas, his chief patron at this time (and, like Cabanel, a native of Montpellier), showed more clearly the direction his art had taken during his stay in Italy. Albayde, Angel of the Evening, Chiarruccia and Velleda (all in Montpellier, Mus. Fabre) were the first of many mysterious or tragic heroines painted by Cabanel and show his taste for the elegiac types and suave finish of the Florentine Mannerists.