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Jean-Baptiste Greuze

France (Tournus 1725 -  Paris 1805 ) Wikipedia® : Jean-Baptiste Greuze
GREUZE Jean-Baptiste A Young Girl With A Ruffled Bonnet

Palais Dorotheum
Oct 2, 2018
Find artworks, auction results, sale prices and pictures of Jean-Baptiste Greuze at auctions worldwide.
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Variants on Artist's name :

Greuze Jean-Bapt.

Greuze Jean Baptiste

 

Artworks in Arcadja
1031

Some works of Jean-Baptiste Greuze

Extracted between 1,031 works in the catalog of Arcadja
Jean-Baptiste Greuze -  The Motherly Reprimand

Jean-Baptiste Greuze - The Motherly Reprimand

Original
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Lot number: 179
Other WORKS AT AUCTION
Description:
After Jean-Baptiste Greuze (French, 1725-1805) The Motherly Reprimand oil on copper 23 x 28cm (9 x 11in) Condition appears fine. Oil on metal. The paint layer is in a good condition overall, there is a fine network of age cracks across the surface. There are matte brushstrokes in the curtain at the left hand side which seem to be the original rather than later retouching. The varnish is even. There are small losses to the gilding and the painting is supported in the frame with a wooden panel.
Jean-Baptiste Greuze - A Young Girl With A Ruffled Bonnet

Jean-Baptiste Greuze - A Young Girl With A Ruffled Bonnet

Original
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Gross Price
Lot number: 142
Other WORKS AT AUCTION
Description:
Jean-Baptiste Greuze (Tournus 1725-1805 Paris) A young girl with a ruffled bonnet, counter-proof in red chalk, on laid paper, 33,5 x 28 cm, mounted, unframed, (Sch) The present portrait of a young girl is a counter-proof in red chalk after a drawing by Jean-Baptiste Greuze, whose model is unfortunately not known today. A comparable drawing by Greuze with a portrait of the same girl from the collection of Prince W. Argoutinsky-Dolgoroukoff (Lugt 2602d) was sold at an auction sale at Christie\’s on July 4, 2000 (lot 172). The present drawing may represent the portrait of the same girl in a similar pose. The attribution to Jean-Baptiste Greuze was confirmed by Alastair Laing on the basis of a digital high-resolution photograph. Specialist: Mag. Astrid-Christina Schierz
Jean-Baptiste Greuze - Study Of The Head Of A Girl

Jean-Baptiste Greuze - Study Of The Head Of A Girl

Original
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Lot number: 113
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Description:
Jean Baptiste Greuze (Tournus 1725-1805 Paris) Study of the head of a girl red chalk on laid paper, laid down on card 39.3 x 31.8cm (15 1/2 x 12 1/2in). Footnotes Provenance Anonymous 18th century French mounter of drawings (Frits Lugt. 172: laid down on characteristic mount) Collection of Rudolf von Gutmann Sale, Sotheby's, London, 5 July 1993, lot 66, where purchased by the present owner The present work is clearly a study that appealed strongly to Greuze as he used it as the basis for a number of oil paintings including The Morning Prayer in the Musée Fabre, Montpellier and Last Breath of Innocence with Adam Williams Fine Art, New York, but the finished work that most closely reflects it is that titled The Souvenir in the Wallace Collection, London.
Jean-Baptiste Greuze - Self-portrait

Jean-Baptiste Greuze - Self-portrait

Original
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Lot number: 132
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SELF-PORTRAIT Attributed to Jean-Baptiste Greuze TOURNUS 1725 - 1805 PARIS pastel on paper 21 3/8 by 161/2 in.; 55 by 43 cm. Provenance With Otto Mündler (1811-1870) and Emmanuel Sano (d. 1878), Paris (as Jean-Baptiste Greuze); Their sale, Paris, Bonnefons de Lavialle, March 14, 1853,lot 77 (Portrait de l'artiste, pastel) for 790 francs (as Greuze); With Cornette de Saint-Cyr, Paris, by April 1973; Anonymous sale, New York, Sotheby's, 31 January 2013, lot 80 (as Greuze). Exhibited Paris, Salle Bonne-Nouvelle, L'Exposition des Artistes, 1847 (as cited in the 1853 auction catalogue). Literature J. Martin and C. Masson, "Catalogue raisonné de l'oeuvre peint et dessiné de Jean-Baptiste Greuze," in C. Mauclair, Jean-Baptiste Greuze, Paris 1906, p. 71, no. 1146 (as Greuze); N. Jeffares,"Jean-Baptiste Greuze",Dictionary of pastellists before 1800, London, 2006; online edition [http://www.pastellists.com/articles/greuze.pdf], update 27 February 2018, cat. no. J.361.4 (as a copy after Greuze). Catalogue Note This touching self-portrait reveals the artist's remarkable skills as a pastellist and also provides us with new insights into his creative process. Greuze was in his late 50s when he conceived of this portrait of himself. It was a difficult period for him personally, because his notoriously difficult marriage was finally coming apart, but at the same time he was painting some of his most important genre pictures. In these he created scenes from contemporary life that combined an unblinkered view of the world around him with a style derived from the grand manner of the traditional historical painter. His penetrating insight into his subjects' motivation and personality is also evident in the portraits and self-portraits of which he made many at this time. In the present work Greuze draws himself in bust-length, turned three-quarters to the right and directly engaging the viewer. His hair is powdered and dressed in the "pigeon wing" style, which he wore throughout his life. He is wearing an elegant coat and waistcoat and around his neck is a loosely tied white jabot. The four corners of the composition are brushed over in watercolor to give the portrait an oval format. Greuze's mastery of the difficult medium of pastel is clearly evident here. He draws the hair in smooth grey pastel laid over rough lines of black chalk and then capped with short commas of white. In order to create a healthy rosy complexion, he blends the flesh more smoothly while still allowing the delicate blue veins to appear at the temples. His treatment of the eyes is extraordinary - they gleam with liquid despite the dryness of the pastel medium itself– and he sets them off with little flecks of white along the edges of the lower lidswhile around them he sketches the eyelashes in bold dashes of brown. This pastel is clearly related to Greuze's Self-portrait in the Museé du Louvre, Paris, and a recently discovered sketch in oil on canvas with Derek Johns, London (fig. 1). Both are oval in format and show Greuze in a longer, half-length view, so that the curling lower end of the jabot, which he has tucked loosely into his waistcoat, is visible below. Edgar Munhall, who examined the pastel firsthand before the 2013 sale (see provenance), believed that the oil sketch is Greuze's first idea for the composition, as it contains all the elements of the Louvre picture, and that this pastel is a repetition he made in order to narrow his focus and concentrate on the face and character of the sitter (in this case himself).1 This deliberate process is unusual for Greuze, for there are very few preliminary drawings for any of his portraits, and suggests he was very concerned with just how he was to present himself to the public. Munhall dated the pastel prior to 1785, the year he had originally suggested for the Louvre portrait, because of the existence of a pendant portrait of Greuze's wife, which was also included in the auction of the Mündler and Sano collection.2 As Greuze was already separated from his wife by 1785 it is highly unlikely he would be making a portrait of her at that date. Perhaps because he was working on this composition as he was struggling with the idea of separation from his wife, and the dire financial consequences that would bring, he took particular trouble with it. He shows himself as rather younger than his nearly sixty years, and though some weariness is evident in the delicate flesh around his eyes, he remains a vigorous and formidable figure. His mouth is firm, chin tilted up slightly, so that he seems to look slightly down on us, both literally and figuratively. As Munhall vividly writes, Greuze is "miraculously conveying the impression of pride, sensitivity and intelligence."3 It is a statement about himself as both a man and an artist, which he carried with him throughout his life. Edgar Munhall, after studying the present work firsthand in 2012, believedit to be an autograph pastel by the artist. A copy of his report, upon which the above entry is based, is available upon request. More recently, Neil Jeffares has inspected the work firsthand and believes that it is by a follower of Greuze, after the self-portrait in the Louvre. 1. E. Munhall, written communication, October 2012. 2. See Provenance. The pendant was lot 78 and the pair brought 790 francs, which was the second highest price of the entire auction. 3. E. Munhall, ibid.
Jean-Baptiste Greuze - La Cruche Cassée (the Broken Jug/pitcher)

Jean-Baptiste Greuze - La Cruche Cassée (the Broken Jug/pitcher)

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Lot number: 5640
Other WORKS AT AUCTION
Description:
Circle of Jean-Baptiste Greuze (French, 1775-1805), "La Cruche Cassée (The Broken Jug/Pitcher)," oil pastel on canvas (laid down), bears signature lower right, label (Duran, Paris) affixed verso, sight: 42.5"h x 33"w, overall (with frame): 50"h x 40.5"w. Provenance: Property of a San Luis Obispo, California collection by descent; Current owner's aunt purchased work in New Orleans in 1931 ,
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