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 | Louis-Francois Robin | The Verwohnte child | Portrait of the Artist (mk05) | Young Woman in a White Hat |
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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.
Lionel Percy Smythe,RA,RWS
1839-1918
SCHEDONI, Bartolomeo
Italian painter, Emilian school (b. 1578, Modena, d. 1615, Parma) Italian painter and draughtsman. He was the son of Giulio Schedoni, a mask-maker, who served the Este court in Modena and the Farnese in Parma; in 1598 Schedoni and his father are recorded as residing in Parma, both serving the court. In 1595 Ranuccio I, Duke of Parma, sent Bartolomeo to Rome, to train in the studio of Federico Zuccaro. Schedoni fell ill shortly after, however, and returned to Parma. His earliest surviving works show no evidence of Roman influence. The matter of Schedoni's training remains somewhat problematic. Carlo Cesare Malvasia claimed that he was a pupil of Annibale Carracci in Bologna, but there are reasons to doubt this. First, this would have been prior to Annibale's departure for Rome in 1595, a period when Schedoni was still apparently under his father's jurisdiction. Secondly, the early pictures indicate that initially his style was formed primarily by studying the work of Correggio in Parma. To a lesser degree he was influenced by the Parmesan culture of Parmigianino, Girolamo Mazzola Bedoli and Michelangelo Anselmi. As a boy in Parma he was also known to have frequented the studio of the Fleming Giovanni Sons (1547/8-1611).