LaurieAnnie's photos with the keyword: Greuze

Broken Eggs 1756 Object Details Artist: Jean-Baptiste Greuze (French, Tournus 1725–1805 Paris) Date: 1756 Medium: Oil on canvas Dimensions: 28 3/4 x 37 in. (73 x 94 cm) Classification: Paintings Credit Line: Bequest of William K. Vanderbilt, 1920 Accession Number: 20.155.8 In moralizing genre subjects such as this, Greuze brilliantly formulated a solution to the impasse that arcane history subjects posed to artists and the public. At the Salon of 1757, a critic even declared that the pose of this young servant girl, whose loss of virginity is symbolized by the broken eggs, was worthy of a history painter. Greuze struck upon such subjects, based in part on seventeenth-century Dutch painting (the girl’s pose actually derives from Frans van Mieris the Elder), while still a student in Rome, though he would spend the next decades stubbornly in pursuit of the official title of history painter. Text from: www.metmuseum.org/art/collection/search/436579

Study Head of a Woman Jean Baptiste Greuze (French, Tournus 1725–1805 Paris) Medium: Oil on wood Dimensions: 18 1/2 x 16 in. (47 x 40.6 cm) Classification: Paintings Credit Line: Purchase, 1871 Accession Number: 71.91 Gallery Label: This vigorously painted and affecting study has unconvincingly been associated with several moralizing compositions by Greuze each of which includes an imploring female protagonist. Such studies allowed Greuze to explore a whole range of expressions, and this one is not necessarily related to a specific picture. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Head of a Young Boy 1763 Object Details Artist: Jean-Baptiste Greuze (French, Tournus 1725–1805 Paris) Date: 1763 Medium: Oil on canvas Dimensions: 18 7/8 x 15 3/8 in. (47.9 x 39.1 cm) Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.137 Greuze exhibited this character study of a young boy at the Salon of 1763, at which it belonged to the celebrated drawings collector Pierre Jean Mariette (1694–1774). Relatively rough brushwork—the individual strokes are not disguised—is used throughout. This is deliberate, and typical of studies that Greuze made from models rather than commissioned portraits. Text from: www.metmuseum.org/art/collection/search/436588

Study Head of a Woman Jean Baptiste Greuze (French, Tournus 1725–1805 Paris) Medium: Oil on wood Dimensions: 18 1/2 x 16 in. (47 x 40.6 cm) Classification: Paintings Credit Line: Purchase, 1871 Accession Number: 71.91 Gallery Label: This vigorously painted and affecting study has unconvincingly been associated with several moralizing compositions by Greuze each of which includes an imploring female protagonist. Such studies allowed Greuze to explore a whole range of expressions, and this one is not necessarily related to a specific picture. Text from: www.metmuseum.org/Collections/search-the-collections/1100...

Head of a Young Boy 1763 Object Details Artist: Jean-Baptiste Greuze (French, Tournus 1725–1805 Paris) Date: 1763 Medium: Oil on canvas Dimensions: 18 7/8 x 15 3/8 in. (47.9 x 39.1 cm) Classification: Paintings Credit Line: The Friedsam Collection, Bequest of Michael Friedsam, 1931 Accession Number: 32.100.137 Greuze exhibited this character study of a young boy at the Salon of 1763, at which it belonged to the celebrated drawings collector Pierre Jean Mariette (1694–1774). Relatively rough brushwork—the individual strokes are not disguised—is used throughout. This is deliberate, and typical of studies that Greuze made from models rather than commissioned portraits. Text from: www.metmuseum.org/art/collection/search/436588

Broken Eggs 1756 Object Details Artist: Jean-Baptiste Greuze (French, Tournus 1725–1805 Paris) Date: 1756 Medium: Oil on canvas Dimensions: 28 3/4 x 37 in. (73 x 94 cm) Classification: Paintings Credit Line: Bequest of William K. Vanderbilt, 1920 Accession Number: 20.155.8 In moralizing genre subjects such as this, Greuze brilliantly formulated a solution to the impasse that arcane history subjects posed to artists and the public. At the Salon of 1757, a critic even declared that the pose of this young servant girl, whose loss of virginity is symbolized by the broken eggs, was worthy of a history painter. Greuze struck upon such subjects, based in part on seventeenth-century Dutch painting (the girl’s pose actually derives from Frans van Mieris the Elder), while still a student in Rome, though he would spend the next decades stubbornly in pursuit of the official title of history painter. Text from: www.metmuseum.org/art/collection/search/436579

Broken Eggs 1756 Object Details Artist: Jean-Baptiste Greuze (French, Tournus 1725–1805 Paris) Date: 1756 Medium: Oil on canvas Dimensions: 28 3/4 x 37 in. (73 x 94 cm) Classification: Paintings Credit Line: Bequest of William K. Vanderbilt, 1920 Accession Number: 20.155.8 In moralizing genre subjects such as this, Greuze brilliantly formulated a solution to the impasse that arcane history subjects posed to artists and the public. At the Salon of 1757, a critic even declared that the pose of this young servant girl, whose loss of virginity is symbolized by the broken eggs, was worthy of a history painter. Greuze struck upon such subjects, based in part on seventeenth-century Dutch painting (the girl’s pose actually derives from Frans van Mieris the Elder), while still a student in Rome, though he would spend the next decades stubbornly in pursuit of the official title of history painter. Text from: www.metmuseum.org/art/collection/search/436579

Broken Eggs 1756 Object Details Artist: Jean-Baptiste Greuze (French, Tournus 1725–1805 Paris) Date: 1756 Medium: Oil on canvas Dimensions: 28 3/4 x 37 in. (73 x 94 cm) Classification: Paintings Credit Line: Bequest of William K. Vanderbilt, 1920 Accession Number: 20.155.8 In moralizing genre subjects such as this, Greuze brilliantly formulated a solution to the impasse that arcane history subjects posed to artists and the public. At the Salon of 1757, a critic even declared that the pose of this young servant girl, whose loss of virginity is symbolized by the broken eggs, was worthy of a history painter. Greuze struck upon such subjects, based in part on seventeenth-century Dutch painting (the girl’s pose actually derives from Frans van Mieris the Elder), while still a student in Rome, though he would spend the next decades stubbornly in pursuit of the official title of history painter. Text from: www.metmuseum.org/art/collection/search/436579

Broken Eggs 1756 Object Details Artist: Jean-Baptiste Greuze (French, Tournus 1725–1805 Paris) Date: 1756 Medium: Oil on canvas Dimensions: 28 3/4 x 37 in. (73 x 94 cm) Classification: Paintings Credit Line: Bequest of William K. Vanderbilt, 1920 Accession Number: 20.155.8 In moralizing genre subjects such as this, Greuze brilliantly formulated a solution to the impasse that arcane history subjects posed to artists and the public. At the Salon of 1757, a critic even declared that the pose of this young servant girl, whose loss of virginity is symbolized by the broken eggs, was worthy of a history painter. Greuze struck upon such subjects, based in part on seventeenth-century Dutch painting (the girl’s pose actually derives from Frans van Mieris the Elder), while still a student in Rome, though he would spend the next decades stubbornly in pursuit of the official title of history painter. Text from: www.metmuseum.org/art/collection/search/436579

Broken Eggs 1756 Object Details Artist: Jean-Baptiste Greuze (French, Tournus 1725–1805 Paris) Date: 1756 Medium: Oil on canvas Dimensions: 28 3/4 x 37 in. (73 x 94 cm) Classification: Paintings Credit Line: Bequest of William K. Vanderbilt, 1920 Accession Number: 20.155.8 In moralizing genre subjects such as this, Greuze brilliantly formulated a solution to the impasse that arcane history subjects posed to artists and the public. At the Salon of 1757, a critic even declared that the pose of this young servant girl, whose loss of virginity is symbolized by the broken eggs, was worthy of a history painter. Greuze struck upon such subjects, based in part on seventeenth-century Dutch painting (the girl’s pose actually derives from Frans van Mieris the Elder), while still a student in Rome, though he would spend the next decades stubbornly in pursuit of the official title of history painter. Text from: www.metmuseum.org/art/collection/search/436579