1725-1805 French Jean Baptiste Greuze Galleries French painter and draughtsman. He was named an associate member of the Academie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Simeon Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Francois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litteraire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850, when 18th-century painting returned to favour, by such critics as Th?ophile Thore, Arsene Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huiti?me siecle. By the end of the century Greuze's work, especially his many variations on the Head of a Girl, fetched record prices, and his Broken Pitcher (Paris, Louvre) was one of the most popular paintings in the Louvre. The advent of modernism in the early decades of the 20th century totally obliterated Greuze's reputation. It was only in the 1970s, with Brookner's monograph, Munhall's first comprehensive exhibition of the artist's work, increased sale prices, important museum acquisitions and fresh analyses of his art by young historians, that Greuze began to regain the important place that he merits in the history of French art of the 18th century.  Related Paintings of Jean Baptiste Greuze :. | The Village Betrothal (mk05) | Portrait of a Lady | Louis-Francois Robin | Young Girl Weeping for her Dead Bird | Portrait of Countess Ekaterina Shuvalova |
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Janos Donat
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Jose Villegas y Cordero
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Shalva Kikodze
Shalva Kikodze (Georgian: შალვა ქიქოძე) (1894 - 1921) was a Georgian expressionist painter, graphic artist and theatre decorator. Together with Lado Gudiashvili and David Kakabadze, he is considered a key figure in Georgian art of the early 20th century. He was born in a remote Georgian village Bakhvi, Guria, then part of the Russian Empire. From 1914 to 1918, he studied at Moscow School of Painting, Sculpture and Architecture. In 1916, he took part in an expedition to the Georgian village Nabakhtevi and made copies of the 15th-century murals from the local church. He stayed in his motherland for a short period of 1918-1920, and worked chiefly as a theater decorator for Jabadari Theater in Tbilisi. Afterwards he moved to Paris, where he, together with his fellow painters, Gudiashvili and Kakabadze, held an exhibition in 1921. He died in Freiburg, Germany, on November 7, 1921