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Updated: May 31, 2025
Both Greuze and Hogarth, in their own fashion, tried to preach moral lessons in paint, the one in the over-refined atmosphere of French surroundings, the other in the coarse language of England in his time.
She was a mixture of beauty, candor, and simplicity, such as Greuze has copied, not from nature, but from the reflections in the mirror of his imagination.
"I shall not die, but live; and declare the works of the Lord." The great lady pointed with a sigh of pleasure to the canvas hung between a Greuze and a Watteau! "Ah, is there anyone like LeMaury! Alone in the eighteenth century he had eyes for the world of wood and stream. You poets and critics, why do you never write of him? Is it true that no one knows anything of his life?"
But when informed that, in accordance with the original, the drapery of one leg would have to be looped up above the knee, her ladyship used very firm language; and, though of course perfectly ladylike, would, rendered into masculine terms, have signified that she would 'see the painter d-d first. The celebrated 'Cruche cassee' of Greuze, was represented by the reigning beauty, the Marquise de Gallifet, with complete fidelity and success.
Other works and studies, R. wall, by the artist are in this room. 368, end wall, Severus Reproaching Caracalla, was painted as a diploma picture. But Greuze essayed here a flight beyond his powers: to his profound disgust the Academy refused to admit him as an historical, and classed him as a genre painter.
When he watched the towering crests of the waves at sea or the snow-clad mountain tops his imagination brought before him his aunt's noble grey head; her eyes looked at him from the portraits of Velasquez and Gerard Dow, just as Murillo's women reminded him of Vera, and he recalled Marfinka's charming face as he looked at the masterpieces of Greuze, or even at the women of Raphael.
He's a mystery." "He's a beauty," said Cressey's left-hand neighbor. Miss Esther Forbes had been quite openly staring, with her large, gray, and childlike eyes, at Banneker, eating his oysters in peaceful unconsciousness of being made a subject for discussion. Miss Forbes was a Greuze portrait come to life and adjusted to the extremes of fashion.
With Greuze and Chardin we are supposed to get into so different a sphere of thought and feeling that the change has been called a "return to nature" that "return to nature" of which we hear so much in histories of literature as well as of the plastic arts. The notion is not quite sound.
The pink flesh of Boucher, the fat chins of Watteau, the bored shepherds and plump, tight-laced shepherdesses, the whipped-cream souls, the virtuous oglings of Greuze, the tucked shirts of Fragonard, all that bare-legged poesy interested him no more than a fashionable, rather spicy newspaper.
He mentioned a portrait by Greuze in which Robespierre appears as a beautiful young man. "Such a face," he said, "as we might imagine for a lover or a poet, a sort of Lucien de Rubempré, but in his brain there was a cell containing the pedantic idea, and for this idea he cut off a thousand heads, and would have cut off a million. The world must conform to his idea, or it was a lost world."
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