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Updated: April 30, 2025
She was not more than seventeen, and looked both young and childlike for that age. She had a face fair as a summer's morning, radiant with youth and happiness. Greuze might have painted her and immortalized her. She had a delicate color that was like the faint flush one sees inside a rose.
In the plastic arts, vocation and creative aptitude are shown perceptibly later, on the average about the fourteenth year: Giotto, at ten; Van Dyck, ten; Raphael, eight; Guerchin, eight; Greuze, eight; Michaelangelo, thirteen; Albrecht Dürer, fifteen; Bernini, twelve; Rubens and Jordaens being also precocious. In poetry we find no work having any individual character before sixteen.
Master Rowland, as in courtesy bound, limped with the stranger over his helmets and gauntlets, his wooden carvings, his black-letter distich; and, although she was not overflowing in her praises, she had seen other family pictures by Greuze, and she herself possessed a fan painted by Watteau, to which he was vastly welcome if he cared for such a broken toy.
"Even the trivial fact that in the year 1865 a picture by Greuze entitled La Jeune Fille a l'Agneau fetched one million two hundred thousand francs more than forty thousand pounds at the Portalis sale may start a train of reflection in your mind." It was clear that it did. The inspector looked honestly interested.
A head by Greuze brought 32,500 francs. The highest prices seemed to be carried off by the Dutch painters, who were in force, and three works by Hobbema, a country residence, a forest scene, and a windmill, brought respectively 50,000, 81,000, and 30,000 francs.
In France, in the beginning of this century Watteau, 1684-1721, painted his interesting pictures of La Belle Société, reproducing the court life, costumes, and manners of the reign of Louis XIV. with fidelity, grace, and vivacity. Later in the century, Greuze, 1725-1805, with his attractive, refined, and somewhat mannered style, had a certain influence.
Greuze was putting upon canvas the characters and ideas of Diderot's Drame naturel; but Vien, in France, was seconding the efforts of Winkelman and of Raphael Mengs in Italy; he led his pupils back to the study of ancient art; he had trained Regnault, Vincent, Menageot, and lastly Louis David, destined to become the chief of the modern school; Julien, Houdon, the last of the Coustous, were following the same road in sculpture Soufflot, an old man by this time, was superintending the completion of the church of St.
Similar initials are on the "Flute Player," in the gallery at Stockholm; the "Seamstress," in The Hague Gallery, and on a picture in the Six collection at Amsterdam. It is undeniable that these pictures all show the influence of Hals, whose pupil Judith Leyster may have been, and whose manner she caught as Mlle. Mayer caught that of Greuze and Prud'hon.
It shows him to be a very wealthy man. How did he acquire wealth? He is unmarried. His younger brother is a station master in the west of England. His chair is worth seven hundred a year. And he owns a Greuze." "Well?" "Surely the inference is plain." "You mean that he has a great income and that he must earn it in an illegal fashion?" "Exactly.
After all," Greuze would add, "Citizen Homer and Citizen Raphael will outlive those great citizens of ours, whose names I have never before heard of." Yet of the personal history of Homer nothing is known, and of Raphael comparatively little.
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