DSC00821 Vera The Dead Bird by Greuze adj
Love & Friendship - for a pet - makes this equally acceptable at the Sept 2022 meeting.
-
The Sept 2019 meeting of the BCD (British jigsaw enthusiast society) was held at Alton in Hampshire. The theme for the Show & Tell was Birds.
This beautiful Vera jigsaw showing a sentimental image by 18thC French artist Greuze showing 'L'oiseau morte', The dead bird. Unfortunately another owner has marked the front of the difficult white border pieces with indications for right (d), left (g) and bottom (x). This was the fate of all the Vera jigsaws bought by the new owner in a lot from from a French antique shop. It is still a beautiful and desirable jigsaw both for the image and especially the cutting. The Vera box is on the left.
en.wikipedia.org/wiki/Jean-Baptiste_Greuze
Jean-Baptiste Greuze (1725 – 1805) was a French painter of portraits, genre scenes, and history painting from Tournus. Young
Greuze formed his own ambition and talent against his father's wishes. A Lyonnese portrait artist named Grandon, or Grondom persuaded Greuze's father to allow him to train, taking his pupil to Lyon and later to Paris. He trained from the living model in the school of the Royal Academy, but did not attract the approval of his teachers, who doubted that his first painting was all his own work. Further work demonstrated his talent and he won the support of connoisseur La Live de Jully, the brother-in-law of Madame d'Epinay. Greuze had ambitions to work in the more prestigious field of history painting, and undertook a trip in late 1755 to Italy with the Abbé Louis Gougenot to gain experience of Italianate subjects. Gougenot's contacts did not prove to unlock the prejudices of the Royal Academy and his 1757 exhibits were not praised and Greuze changed tack
He continued to exhibit, reaching the zenith of his powers and reputation in 1765. In that year he was represented with at least thirteen works, amongst which may be cited La Jeune Fille qui pleure son oiseau mort, La Bonne Mère, Le Mauvais fils puni (Louvre) and La Malediction paternelle (Louvre). The Academy took occasion to press Greuze for his long-delayed diploma picture, refusing to allow him to exhibit until he had complied. Diderot commented on the feud between Greuze and the Academicians, accusing Greuze of vanity and impertinence. The history painting Sévère et Caracalla was exhibited in 1769 side by side with Greuze's portrait of Jeaurat and his admirable Petite Fille au chien noir. 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; the Academy has respect for your former productions, which are excellent, but she has shut her eyes to this one, which is unworthy, both of her and of you yourself."
Greatly incensed, Greuze sent no paintings to be exhibited until 1804, when the French Revolution had opened access to the Academy. In the following year, on 4 March 1805, he died in the Louvre in great poverty. He had received considerable wealth for his work but the money had been lost through extravagance, bad management and embezzlement by his wife. His later work done to counter his poverty was weaker. Greuze's sentimental works were hugely popular for their subject matter, but attracted charges of dubious taste and exploitative sexual titillation since his death.
DSC00821 Vera The Dead Bird by Greuze adj
Love & Friendship - for a pet - makes this equally acceptable at the Sept 2022 meeting.
-
The Sept 2019 meeting of the BCD (British jigsaw enthusiast society) was held at Alton in Hampshire. The theme for the Show & Tell was Birds.
This beautiful Vera jigsaw showing a sentimental image by 18thC French artist Greuze showing 'L'oiseau morte', The dead bird. Unfortunately another owner has marked the front of the difficult white border pieces with indications for right (d), left (g) and bottom (x). This was the fate of all the Vera jigsaws bought by the new owner in a lot from from a French antique shop. It is still a beautiful and desirable jigsaw both for the image and especially the cutting. The Vera box is on the left.
en.wikipedia.org/wiki/Jean-Baptiste_Greuze
Jean-Baptiste Greuze (1725 – 1805) was a French painter of portraits, genre scenes, and history painting from Tournus. Young
Greuze formed his own ambition and talent against his father's wishes. A Lyonnese portrait artist named Grandon, or Grondom persuaded Greuze's father to allow him to train, taking his pupil to Lyon and later to Paris. He trained from the living model in the school of the Royal Academy, but did not attract the approval of his teachers, who doubted that his first painting was all his own work. Further work demonstrated his talent and he won the support of connoisseur La Live de Jully, the brother-in-law of Madame d'Epinay. Greuze had ambitions to work in the more prestigious field of history painting, and undertook a trip in late 1755 to Italy with the Abbé Louis Gougenot to gain experience of Italianate subjects. Gougenot's contacts did not prove to unlock the prejudices of the Royal Academy and his 1757 exhibits were not praised and Greuze changed tack
He continued to exhibit, reaching the zenith of his powers and reputation in 1765. In that year he was represented with at least thirteen works, amongst which may be cited La Jeune Fille qui pleure son oiseau mort, La Bonne Mère, Le Mauvais fils puni (Louvre) and La Malediction paternelle (Louvre). The Academy took occasion to press Greuze for his long-delayed diploma picture, refusing to allow him to exhibit until he had complied. Diderot commented on the feud between Greuze and the Academicians, accusing Greuze of vanity and impertinence. The history painting Sévère et Caracalla was exhibited in 1769 side by side with Greuze's portrait of Jeaurat and his admirable Petite Fille au chien noir. 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; the Academy has respect for your former productions, which are excellent, but she has shut her eyes to this one, which is unworthy, both of her and of you yourself."
Greatly incensed, Greuze sent no paintings to be exhibited until 1804, when the French Revolution had opened access to the Academy. In the following year, on 4 March 1805, he died in the Louvre in great poverty. He had received considerable wealth for his work but the money had been lost through extravagance, bad management and embezzlement by his wife. His later work done to counter his poverty was weaker. Greuze's sentimental works were hugely popular for their subject matter, but attracted charges of dubious taste and exploitative sexual titillation since his death.