See also:

• JEAN

JEAN See also:

• BAPTISTE

BAPTISTE See also:

• JEAN BAPTISTE GREUZE (1725-1805)

GREUZE (1725-1805)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• TOURNUS

Tournus, in See also:

• BURGUNDY

Burgundy, on the 21st of See also:

• AUGUST (originally Sextilis)

August 1725, and is generally said to have formed his own See also:

• TALENT (Lat. talentum, adaptation of Gr. TaXavrov, balance, ! Recollections of a First Visit to the Alps (1841); Vacation Rambles weight, from root raX-, to lift, as in rXi vac, to bear, 1-aXas, and Thoughts, comprising recollections of three Continental

talent; this is, however, true only in the most limited sense, for at an See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age his inclinations, though thwarted by his See also:

• FATHER

father, were encouraged by a Lyonnese artist named Grandon, or Grondom, who enjoyed during his lifetime considerable reputation as a portrait-painter . Grandon not only persuaded the father of See also:

• GREUZE, JEAN BAPTISTE (1725-1805)

Greuze to give way to his son's wishes, and permit the lad to accompany him as his See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil to See also:

• LYONS
• LYONS (Fr. Lyon)
• LYONS, COUNCILS OF
• LYONS, EDMUND LYONS, BARON (1790-1858)
• LYONS, RICHARD BICKERTON PEMELL LYONS, 1ST EARL (1817–1887)

Lyons, but, when at a later date he himself See also:

• LEFT

left Lyons for See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris—where his son-in-See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law See also:

• GRETRY

Gretry the celebrated composer enjoyed the height of favour—Grandon carried See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young Greuze with him . Settled in Paris, Greuze worked from the living See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model in the school of the Royal See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, but did not attract the See also:

• ATTENTION (from Lat. ad-tendo, await, expect; the condition of being " stretched " or " tense ")

attention of his teachers; and when he produced his first picture, " Le Pere de famille expliquant la See also:

• BIBLE
• BIBLE, ENGLISH

Bible a ses enfants," considerable doubt was See also:

• FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt and shown as to his See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in its See also:

• PRODUCTION (Lat. productionem, from producere, to pro-duce)

production . By other and more remarkable See also:

• WORKS

works of the same class Greuze soon established his claims beyond contest, and won for himself thenotice and support of the well-known connoisseur La Live de Jully, the See also:

• BROTHER

brother-in-law of Madame d'See also:

• EPINAY, LOUISE FLORENCE PETRONILLE TARDIEU

Epinay . In 1755 Greuze exhibited his " Aveugle trompe," upon which, presented by See also:

• PIGALLE, JEAN BAPTISTE (1714-1785)

Pigalle the sculptor, he was immediately agree by the Academy . Towards the See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close of the same See also:

• YEAR

year he left See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France for See also:

• ITALY
• ITALY (Italia)

Italy, in See also:

• COMPANY

company with the See also:

• ABBE (Serbo-Croatian Rai))

Abbe See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

Louis Gougenot, who had deserted from the magistrature—although he had obtained the See also:

• POST

post of " conseillier au See also:

• CHATELET (from Med. Lat. castella)

Chatelet "—in See also:

• ORDER
• ORDER (through Fr. ordre, for earlier ordene, from Lat. ordo, ordinis, rank, service, arrangement; the ultimate source is generally taken to be the root seen in Lat. oriri, rise, arise, begin; cf. " origin ")
• ORDER, HOLY

order to take the " See also:

• PETIT, SIR DINSHAW MANECKJI, BART

petit collet." Gougenot had some acquaintance with the arts, and was highly valued by the Academicians, who, during his See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey with Greuze, elected him an honorary member of their See also:

• BODY

body on See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of his studies in See also:

• MYTHOLOGY

mythology and See also:

• ALLEGORY (iXXos, other, and ayopeuav, to speak)

allegory; his acquirements in these respects are said to have been largely utilized by them, but to Greuze they were of doubtful See also:

• ADVANTAGE

advantage, and he lost rather than gained by this visit to Italy in Gougenot's company . He had undertaken it probably in order to silence those who taxed him with See also:

• IGNORANCE (Lat. ignorantia, from ignorare, not to know); want of knowledge, a state of mind which in law has important consequences. A well-known legal maxim runs: ignorantia juris non excusat ("ignorance of the law does not excuse")

ignorance of " See also:

• GREAT

great See also:

• MODELS

models of See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style," but the See also:

• ITALIAN

Italian subjects which formed the entirety of his contributions to the See also:

• SALON

Salon of 1757 showed that he had been put on a false track, and he speedily returned to the source of his first See also:

• INSPIRATION (Lat. inspirare, breathe upon or into)

inspiration . In 1759, 1761 (" L'Accordee de See also:

• VILLAGE

village "—Louvre), and 1763 Greuze exhibited with ever-increasing success; in 1765 he reached the See also:

• ZENITH (from the Arabic)

zenith of his See also:

• POWERS, HIRAM (1805-1873)

powers and reputation . In that year he was represented with no less than thirteen works, amongst which may be cited " La See also:

• JENNE

Jenne Fille qui pleure son oiseau mort," " La Bonne See also:

• MERE
• MERE, ADALBERT (1838-1909)

Mere," " Le Mauvais fils puni " (Louvre) and " La Malediction paternelle" (Louvre) . The Academy took occasion to See also:

• PRESS (through Fr. presse from Lat. pressare, frequentative of premere, to crush, squeeze, press)

press Greuze for his diploma picture, the See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution of which had been See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long delayed, and forbade him to exhibit on their walls until he had complied with their regulations . " J'ai vu la lettre," says See also:

• DIDEROT, DENIS (1713-1784)

Diderot, " qui est un modele d'honnetete et d'estime; j'ai vu la reponse de Greuze, qui est un modele de vanite et d'impertinence: it fallait appuyer cela d'un chef-d'oeuvre, et c'est ce que Greuze n'a pas fait." Greuze wished to be received as a See also:

• HISTORICAL

historical painter, and produced a See also:

• WORK

work which he intended to vindicate his right to despise his qualifications as a peintre de genre . This unfortunate See also:

• CANVAS

canvas—" Severe et See also:

• CARACALLA (or CARACALLUS), MARCUS A U R E L I U S ANTONINUS (186-217)

Caracalla" (Louvre)—was exhibited in 1769 See also:

• SIDE
• SIDE (mod. Eski Adalia)

side by side with Greuze's portrait of Jeaurat (Louvre) 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—" See also:

• MONSIEUR (Fr., formed from men, my, and sieur, lord)

Monsieur, 1'Academie See also:

• VOUS

vous a recu, mais c'est comme peintre de genre; elle a eu egard a vos anciennes productions, qui sont excellentes, et elle a ferme See also:

• LES

les yeux sur See also:

• CELLE

celle-ci, qui n'est See also:

• DIGNE

digne ni d'elle ni de vous." 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 See also:

• WORLD

world .

In the following year, on the 4th of See also:

• MARCH
• MARCH (1) (from Fr. marcher, to walk; the earliest sense in French appears to be " to trample," and the origin has usually been found in the Lat. marcus, hammer; Low Lat. marcare, to hammer; hence to beat the road with the regular tread of a soldier: cf.
• MARCH, AUZIAS (c. "1395-1458)
• MARCH, EARLS OF
• MARCH, FRANCIS ANDREW (1825– )

March 1805, he died in the Louvre in great poverty . He had been in See also:

• RECEIPT (M.E. receite, derived through Fr. from Lat. recepta, participle of recipere, to receive)

receipt of considerable See also:

• WEALTH

wealth, which he had dissipated by extravagance and See also:

• BAD, BCD

bad management, so that during his closing years he was forced even to solicit commissions which his enfeebled powers no longer enabled him to carry out with success . The brilliant reputation which Greuze acquired seems to have been due, not to his acquirements as a painter—for his practice is evidently that current in his own See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day—but to the See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the subjects which he treated . That return to nature which inspired See also:

• ROUSSEAU, JACQUES (1633-1693)
• ROUSSEAU, JEAN BAPTISTE (1671-1741)
• ROUSSEAU, JEAN JACQUES (1712-1778)
• ROUSSEAU, PIERRE ETIENNE THEODORE (1812–1867); French painter of the Barbizon school, was born in Paris on the 15th of April 1812, of a bourgeois family which included one or two artists. At first he received a business training, but soon displayed aptitu

Rousseau's attacks upon an artificial See also:

• CIVILIZATION

civilization demanded expression in See also:

• ART

art . Diderot, in Le Fils naturel et le pere de famille, tried to turn the vein of domestic See also:

• DRAMA (literally "action," from Gr. Snail, act or do)

drama to account on the See also:

• STAGE (Fr. 6/age; from Lat. stare, to stand)

stage; that which he tried and failed to do Greuze, in See also:

• PAINTING

painting, achieved with extraordinary success, although his works, like the plays of Diderot, were affected by that very artificiality against which they protested . The See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch of melodramatic exaggeration, however, which runs through them finds an See also:

• APOLOGY (from Gr. &aoXoyia, defence)

apology in the See also:

• FIRM

firm and brilliant See also:

• PLAY

play of See also:

• LINE

line, in the freshness and vigour of the flesh tints, in the enticing softness of expression (often obtained by almost an abuse of meplats), by the alluring See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air of See also:

• HEALTH

health and youth, by the sensuous attractions, in See also:

• SHORT, FRANCIS JOB (1857– )

short, with which Greuze invests his lessons of See also:

• BOURGEOIS
• BOURGEOIS, LEON VICTOR AUGUSTE (1851– )

bourgeois morality . As Diderot said of " La Bonne Mere," " go, preche la See also:

• POPULATION (Lat. populus, people; populare, to populate)

population;" and a certain piquancy of contrast is the result which never See the See also:

• PREFACE (Med. Lat. prefatia, for classical praefatio, praefari, to speak beforehand)

preface and notes to the Greville See also:

• MEMOIRS

Memoirs by See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry See also:

• REEVE (O. E. gerefa)
• REEVE, CLARA (1729–1807)
• REEVE, HENRY (1813–1895)

Reeve . The memoirs appeared in three sets—one from 1817 to 1837 (See also:

• LONDON

London, 1875, 3 vols.), and two for the See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period from 1837 to 1860, three volumes in 1885 and two in 1887 . When the first See also:

• SERIES (a Latin word from serere, to join)

series appeared in 1875 some passages caused extreme offence . The copies issued were as far as possible recalled and passages suppressed .