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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - - - - -Title: Greuze - - -Author: Alys Eyre Macklin - - - -Release Date: February 20, 2013 [eBook #42140] - -Language: English - -Character set encoding: ISO-8859-1 - - -***START OF THE PROJECT GUTENBERG EBOOK GREUZE*** - - -E-text prepared by sp1nd, Matthew Wheaton, and the Online Distributed -Proofreading Team (http://www.pgdp.net) from page images generously made -available by Internet Archive (http://archive.org/) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 42140-h.htm or 42140-h.zip: - (http://www.gutenberg.org/files/42140/42140-h/42140-h.htm) - or - (http://www.gutenberg.org/files/42140/42140-h.zip) - - - Images of the original pages are available through - Internet Archive. See - http://archive.org/details/greuzeocad00mackuoft - - - - - -Masterpieces in Colour -Edited by--T. Leman Hare - -GREUZE - -1725-1805 - - * * * * * * - -"MASTERPIECES IN COLOUR" SERIES - - ARTIST. AUTHOR. - BELLINI. GEORGE HAY. - BOTTICELLI. HENRY B. BINNS. - BOUCHER. C. HALDANE MACFALL. - BURNE-JONES. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - CHARDIN. PAUL G. KONODY. - CONSTABLE. C. LEWIS HIND. - COROT. SIDNEY ALLNUTT. - DA VINCI. M. W. BROCKWELL. - DELACROIX. PAUL G. KONODY. - DÜRER. H. E. A. FURST. - FRA ANGELICO. JAMES MASON. - FRA FILIPPO LIPPI. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - FRANZ HALS. EDGCUMBE STALEY. - GAINSBOROUGH. MAX ROTHSCHILD. - GREUZE. ALYS EYRE MACKLIN. - HOGARTH. C. LEWIS HIND. - HOLBEIN. S. L. BENSUSAN. - HOLMAN HUNT. MARY E. COLERIDGE. - INGRES. A. J. FINBERG. - LAWRENCE. S. L. BENSUSAN. - LE BRUN, VIGÉE. C. HALDANE MACFALL. - LEIGHTON. A. LYS BALDRY. - LUINI. JAMES MASON. - MANTEGNA. MRS. ARTHUR BELL. - MEMLINC. W. H. J. & J. C. WEALE. - MILLAIS. A. LYS BALDRY. - MILLET. PERCY M. TURNER. - MURILLO. S. L. BENSUSAN. - PERUGINO. SELWYN BRINTON. - RAEBURN. JAMES L. CAW. - RAPHAEL. PAUL G. KONODY. - REMBRANDT. JOSEF ISRAELS. - REYNOLDS. S. L. BENSUSAN. - ROMNEY. C. LEWIS HIND. - ROSSETTI. LUCIEN PISSARRO. - RUBENS. S. L. BENSUSAN. - SARGENT. T. MARTIN WOOD. - TINTORETTO. S. L. BENSUSAN. - TITIAN. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - VAN DYCK. PERCY M. TURNER. - VAN EYCK. J. CYRIL M. WEALE. - VELAZQUEZ. S. L. BENSUSAN. - WATTEAU. C. LEWIS HIND. - WATTS. W. LOFTUS HARE. - WHISTLER. T. MARTIN WOOD. - _Others in Preparation._ - - * * * * * * - - -[Illustration: PLATE I.--L'ACCORDÉE DU VILLAGE. (Frontispiece) - -This picture, at first entitled "A Father handing over the -Marriage-portion of his Daughter," then "The Village Bride," is -the best of Greuze's subject pictures. The scene is more or less -naturally arranged, and informed with the tender homely sentiment -inspired by the subject; and the bride, with her fresh young face -and modest attitude, is a delicious figure. It was exhibited in the -Salon of 1761, and now hangs in the Louvre.] - - -GREUZE - -by - -ALYS EYRE MACKLIN - -Illustrated with Eight Reproductions in Colour - - - - - - - -[Illustration: IN SEMPITERNUM.] - -London: T. C. & E. C. Jack -New York: Frederick A. Stokes Co. - - - - -CONTENTS - - Chap. Page - - I. Early Days and First Success 11 - - II. The Times in which Greuze Lived 20 - - III. Greuze's Moral Pictures 27 - - IV. The Pictures by which we know Greuze 35 - - V. The Vanity of Greuze 44 - - VI. "The Broken Pitcher" and other well-known Pictures 52 - - VII. Ruin and Death 62 - - VIII. The Art of Greuze 71 - - - - - LIST OF ILLUSTRATIONS - - - Plate - - I. L'Accordée du Village Frontispiece - In the Louvre - - Page - - II. L'Innocence tenant deux Pigeons 14 - In the Wallace Collection - - III. La Malédiction paternelle 24 - In the Louvre - - IV. Portrait d'Homme 34 - In the Louvre - - V. L'Oiseau Mort 40 - In the Louvre - - VI. Les Deux Soeurs 50 - In the Louvre - - VII. La Cruche Cassée 60 - In the Louvre - - VIII. La Laitière 70 - In the Louvre - - - - -CHAPTER I - -EARLY DAYS AND FIRST SUCCESS - - -Few names suggest so much beauty as that of Greuze. - -"Greuze"--"a Greuze"--you have only to hear the word and there rises -before your mental vision a radiant procession of maidens each -lovelier than the last, with the blue of a spring sky in their -shining eyes, rosy blood flushing delicate cheeks, soft silken hair -escaping in gold-touched curls at temples where the blue veins show, -lips like dewy carnations, rounded necks and curving bosoms that -suggest all the sweets of June. A veritable "garden of girls" in the -first fresh bloom of budding womanhood; and they come to you not so -much as painted pictures as delicate visions breathed on canvas from -which they might at any moment tremble into pulsing life. - -Yet the Greuze to whom we owe this exquisite series was first known as -the painter of pictures of a very different kind. Before speaking of -these let us begin at the beginning, by seeing when and under what -conditions the child who was to become the poet-painter of a certain -type of womanhood first saw the world he was destined to enrich. - -Born at Tournus, a little town near Macon in France, on August 21, -1725, the early life of Jean Baptiste Greuze curiously resembles in -its broad lines those of many other well-known artists. His parents -were humble people who lived in the tiny house at Tournus, now -decorated with a commemorative plaque; the father an overman slater; -and the godparents, who play such an important part in the life of the -French child, respectively a slater and a baker. The father seems to -have been ambitious, for he resolved to take his son into an evidently -expanding business, not as a workman, but as architect. At the usual -early age, however, the child's vocation declared itself. It was in -vain the father, alarmed by symptoms that threatened to disarrange his -plans, took materials from him and then whipped him for making -pictures all over the walls--anywhere, everywhere. The boy cared for -nothing but drawing of a kind that did not fall in with the cherished -architectural idea, and after many struggles he won the day by giving -his father for a birthday present a pen-and-ink drawing of the head of -St. James, well enough done to be at first mistaken for an engraving. -This had been copied at nights when he was supposed to be asleep, and -touched and convinced, the father finally gave in and sent him off to -Lyons to learn the business in the studio of the painter Grandon. - - [Illustration: PLATE II.--L'INNOCENCE TENANT DEUX PIGEONS - - "L'Innocence tenant deux Pigeons," or "Innocence holding two - Pigeons," is a typical example of the eyes Greuze never tired of - painting, large innocent orbs with a sparkle that suggests the - morning sun on flowers wet with dew. The moist half-open lips - you also find in most of his girl-heads. The lovely colour - scheme is particularly happy even for Greuze. The original is in - the Wallace Collection, London.] - -The term "learn the business" is used advisedly. Grandon's studio was -more a manufactory of pictures than anything else, and was just as bad -a school as a young artist could well have. Pictures were copied, -recopied, and adapted, turned out for all the world as Jean Baptiste's -godmother turned the loaves out of her oven; and while the boy learnt -the use of colours, and some drawing, he also learnt that facility -which is the deadly enemy of art, artifice rather than invention, to -copy rather than to create--weaknesses which beset him ever -afterwards. - -It was natural that, when manhood was arrived at, Greuze should yield -to the inevitable law that draws exceptional talent to great centres. -When he was about twenty he left Lyons, and with very little capital -but his abilities, his blonde beauty, and a large stock of -self-satisfaction, he set out gaily to make his fortune in Paris. - -The story of the first ten years there is also the conventional one of -early artist days, the old tale of stress and struggle, of bitter -disappointments alternating with brilliant hopes and small -achievements. Young Greuze was too personal and faulty in his work to -please the Academy, not strong enough yet to convince any advanced -movement there might be, and he divided ten trying years between a -little study at the Academy and a great deal of painting the -pot-boilers he had learnt to make at Lyons. At last his work attracted -the attention and gained for him the friendship of two well-known -artists, Sylvestre, and Pigalle, the King's sculptor, and they were -instrumental in his being able to exhibit in the Academy of 1755, when -he was thirty years old, the picture which brought him his first -success, "Un Père qui lit la Bible à ses Enfants." - -This picture shows the living room of a raftered cottage, with the old -father sitting at a table round which are gathered his six sons and -daughters. One of his large, horny hands is on the open Bible before -him, the other holds the spectacles he has taken off as he stops to -explain the passage he has been reading. The children listen -respectfully, some attentively, the others with an air of being -absorbed in their own reflections, while the mother, sitting near, -stops her spinning to tell the baby on the floor not to tease the dog. - -It is not well painted. Except that it shows a picturesque interior -and expresses the sentiment of piety in the home it is intended to -convey, it has but little merit, is, indeed, so mediocre that you -wonder why, far from bringing fame to the young man, it should have -been noticed at all. - -To understand its success, and the still greater success of similar -pictures which followed, you must glance at the epoch of its -production. - - - - -CHAPTER II - -THE TIMES IN WHICH GREUZE LIVED - - -It was that period of the eighteenth century before the Revolution -when society was at its worst, the paints and powders that covered its -face, the scents which over-perfumed its body, its manners artificial -as the antics of marionettes, being emblematic of its state of mind. -Society was, in short, so corrupt it could not become any more so, and -at length, weary of the search for a new sensation, there was nothing -for it but a sudden rebound to some sort of morality. - -Opportunist philosophers appeared quickly on the scene, and began to -preach the pleasant doctrine that man was born very good, full of -honesty and good feeling, running over with generosity and all the -virtues, and if he did not keep so, it was because the miserable -conventions of society had drawn him from the original perfection of -his state. To find virtue you must look among those of humble estate, -the poor who thought of nothing but their work and the bringing up of -their large families. Away, then, from social life and its -corruptions, return to the simple ways of the lowly and needy--thus -and thus only could France be regenerated! - -The aristocratic victims of their caste drank all this in eagerly, and -their exaggerated efforts to follow the new cult of simplicity made -the bitter-tongued Voltaire describe them as "mad with the desire to -walk on their hands and feet, so as to imitate as nearly as possible -their virtuous ancestors of the woods." - -Diderot, whose sudden burning enthusiasms and throbbing eloquence -would have carried away his hearers in spite of themselves if they -had not been only too eager to listen, was the great apostle of the -new doctrine, and, always in extremes, he boldly dragged his moral -theories into even the realm of art. - -"To render virtue charming and vice odious ought to be the object of -every honest man who wields a pen, a paint-brush, or the sculptor's -chisel," he declared. - -The vivid intelligence of Greuze seized the position, and sure of at -least attracting attention if nothing else, he set to work to paint -some scene which would fall in with the prevalent "debauch of morals," -as some one called it. Thus, "Le Père qui lit la Bible à ses Enfants" -appeared at that psychological moment which does so much to ensure -success. Further, it came as a refreshing change to a public weary of -the pleasant insipidities of Boucher, of a long-continued series of -pale pastorals showing the doubtful pleasures of light love. It was, -moreover, a novelty, for no one had painted such subjects before in -France. - - [Illustration: PLATE III.--LA MALÉDICTION PATERNELLE - - "La Malédiction paternelle," or "The Father's Curse," is in the - Louvre, and is one of the best known of Greuze's moral pictures. - It is one of his worst productions. Observe the theatrical - attitudes and gestures, the too carefully arranged draperies, - etc., of the actors in this exaggerated scene, which in real - life would pass in formless disorder and rough confusion.] - -And so more than the expected happened. From the day of its exhibition -till the Salon was closed, it was surrounded by admiring crowds, and -every one said, "Who is this wonderful Greuze?" Those there were who -replied that Greuze had not painted the picture himself, was incapable -of such work, for the overweening personal vanity that marred Greuze's -character had already made for him many enemies; but the happy -preacher-painter proved his position, and but gained additional -interest from the discussions that raged round him. - -From this moment Greuze's position was assured. He was made _agréé_ of -the Academy, which among other privileges gave him the right to -exhibit what he liked there in future. He sold the celebrated picture -for a comparatively large sum to a Monsieur de la Live de Jully. He -made hosts of friends, many of them influential. One of his new -acquaintances offered to provide him with a studio. Another, l'Abbé -Gougenot, invited him to accompany him to Italy to study art, an offer -which was accepted. - -Greuze stayed two years in Italy, but except that some of his pictures -have Italian names and show Italian costumes, this visit exercised no -perceptible influence on his work, and in 1757 he returned to steady -work in the Paris which was to be for him the scene of so many -triumphs--and later, of so much despair. - - - - -CHAPTER III - -GREUZE'S MORAL PICTURES - - -The well-known "Village Bride," or "L'Accordée du Village," exhibited -in 1761, was his second great success. - -"A Father handing over the Marriage-portion of his Daughter" was the -first title of this picture, and one which better, if less poetically, -explains the scene. The homely ceremony takes place in the picturesque -living room of a big cottage or small farm, and twelve people take -part in it. Backed up by the village functionary, who has drawn up the -contract, the old father is evidently giving some good advice as he -places the bag of money in the hands of his future son-in-law. The -young man listens respectfully, the shy but proud young bride hanging -on to his arm. The mother has taken one of her daughter's hands, -while a younger sister leans her head on the bride's shoulder. -Children play about in various attitudes among a family of fowls who -feed in the foreground. Though it has some of the faults of those -which followed it, this is undoubtedly the best subject-picture -painted by Greuze. The composition is good, it is well drawn, full of -a charming tender sentiment, and the head of the fiancée, -foreshadowing Greuze's future successes, is delicious, fully deserving -Gautier's eulogy: "It is impossible to find anything younger, fresher, -more innocent, and more coquettishly virginal, if the two words may be -connected, than this head." - -Preaching the beauty of family life, the sacredness of marriage, and -the virtues and happiness of the humble, "L'Accordée du Village" -raised a furore. Its material success was equally great. It was sold -for 9000 livres, and later, in 1780, it was bought for the Cabinet du -Roi for 16,650 livres. - -Very much less successful from the artistic point of view were the two -well-known pictures now in the Louvre, which appeared three or four -years later, "La Malédiction paternelle" and--a sequel--"Le Fils -puni." - -The first shows the vicious and debauched son trying to tear himself -from the grasp of an agonised mother and little brother, to go away -with the colour-sergeant who is waiting near the door. While the -mother pleads, the father, unable to move from the chair in which -illness holds him, storms, and with hands violently outstretched, -pronounces the curse that terrifies the other shuddering members of -the family. - -The punishment is shown in the second picture, when the repentant son, -shabby and travel-stained, returns to find his father dead. His stick -fallen from his trembling hands, his knees giving way beneath him, one -hand on his heart, the other pressed convulsively to his forehead, he -stands helpless at the foot of the bed on which the dead man lies. -Beside him stands his mother, pointing tragically to the corpse, with -an air of saying, "Behold your work!" The other members of the family -are too occupied with their own sorrow to notice him, and give way to -their despair in various attitudes. - -The artificiality of pose and gesture more than suggested in -"L'Accordée du Village" is here exaggerated into cheap theatricalness. -In "Le Fils puni," for example, the attitude of the Prodigal, and the -Lady Macbeth pose of the classically-draped mother, are impossible, -and the outstretched arms, the heaven-turned eyes, and open mouths of -the others are almost offensive. This exaggeration defeats its own -object. You feel that these dramatis personæ are only posing, -tableau-vivant fashion, to impress, and they do not do it well enough -to excite anything but criticism in you. The colour is bad, heavy, -and dull. The draperies hang in stiff folds, without suppleness. - -These two canvases are arrangements, not pictures; and in spite of -certain gracious qualities which always charm in Greuze, all the -others of the long series that followed can be dismissed with the same -criticism. - -Such was not the opinion of Diderot, the painter's most admiring -critic and friend. He could not find words in which to adequately -praise productions that proved such "great qualities of the heart, and -such good morals." - -"Beautiful! Very beautiful! Sublime! Courage, my friend Greuze; -continue always to paint such subjects, so that when you come to die -there will be nothing you have painted you can recall without -pleasure." - -"Le Paralytique, ou la Piété filiale," "Le Fruit d'une bonne -Education," now in the celebrated Hermitage Gallery in Russia, "La -Bénédiction paternelle," are further examples of this series of the -ten commandments turned badly into paint and canvas, and less -interesting still are subjects of the order of "The Torn Will," -falling, as they do, into the form of the cheapest melodrama. - - [Illustration: PLATE IV.--PORTRAIT D'HOMME - - A very good example of Greuze as a portraitist. This picture is - in the Louvre, and is remarkable for its delicate harmonious - colouring and the living expression in the eyes. The man seems - to be listening to some one, and on the point of opening his - mouth to reply.] - - - - -CHAPTER IV - -THE PICTURES BY WHICH WE KNOW GREUZE - - -From time to time during these years Greuze had painted children's -heads that gave evidence of the real character of his talent, and in -1765, the year of "La Malédiction paternelle," he produced "Le Baiser -envoyé," now in London in the collection of the Baron Alfred de -Rothschild. - -"Le Baiser envoyé," or "The Kiss," represents a young woman leaning -forward among the flowers of her window-sill to throw a kiss to her -departing lover. The beautiful form, the charming curved face, all -instinctive with tenderness and longing, the grace of the attitude, -the tapering fingers, the arrangement of the framing draperies, -combine to make this one of the most exquisitely graceful of his -pictures, and one that would alone have proved his surpassing talent -for portraying a certain type of woman. No wonder the charmed -beholders turned to ask each other whether this moral painter was not -at his best when his subjects were not moral! - -Of course there is nothing immoral about "The Kiss," only Greuze had -been so praised for his preacher work, it was only natural he should -be criticised when he produced "La Voluptueuse," as he first called -this picture. Of the appropriateness of the title there can be no -doubt. The lovely kiss-thrower absolutely respires voluptuousness; -moreover, there is hardly a female figure of Greuze, except those -showing very early childhood, that does not suggest this -characteristic. Even when the eyes of his very young girls are candid -and clear with innocence, the pouting lips of the half-opened mouths -are sensuous, the swelling bosom and rounded throat suggestive, the -attitude provoking. In short, the impression given, if wholly -seductive, is invariably complex, troubled, full of a certain delicate -corruption--see "Innocence" or "Fidelity" in the Wallace Collection in -London. "A moralist with a passion for lovely shoulders, a preacher -who wants to see and show the bosoms of young girls," is how he has -been described. - -Not that any one cared. On the contrary, every one, moralists -included, was libertine in the eighteenth century, and "_deshabillé et -désir_" only stamped a painter as being the mirror of his times. So -Greuze's name took on still more lustre as his rosebuds grew into -roses whose morning dew sparkled beneath the voluptuousness that began -to bow their lovely heads. "Love-Dreams," "Bacchantes," "Desire," -"Flora," "Volupté"--there is a host of canvases bearing similar -titles; and there are many others with symbolic names showing girls -weeping sentimental griefs over emblematic objects, such as broken -mirrors, dead birds, crushed flowers, broken eggs or jars, a kind of -badinage that was the fashion then. - -In a way, he had also great success with his numerous portraits. He -never got beneath the surface, was not psychological enough to express -the soul of his sitter, but the fleshy envelope he reproduced with -skill. The pictures of his friends Pigalle and Sylvestre, and an -excellent one of the engraver Wille, whose prints, advertisements, and -praises did so much to extend the Greuze cult, are well known; and in -the vogue that followed his first success, he received commissions to -paint the Dauphin and other important personages. In spite of its dull -colour, the portrait of the painter Jeaurat, now in the Louvre, is an -interesting piece of work, showing characterisation, the brilliant -eyes giving the impression of a man accustomed to observe closely -and see most things. But naturally Greuze was at his best when he -painted women. Very beautiful is the picture of the Marquise de -Chauvelin, at present in the collection of Baron Alphonse de -Rothschild, and some of his portraits of his wife justly caused a -sensation. - - [Illustration: PLATE V.--L'OISEAU MORT - - "L'Oiseau Mort," or "The Dead Bird," bequeathed by Baron Arthur - de Rothschild to the Louvre, shows one of Greuze's most - beautiful child-figures, a little girl who has just found her - bird dead. You forget the mannered pose of the hands and arms, - to admire their curves and dimples. The delicacy of the little - grieving face is beyond praise, with the tears starting beneath - the downcast lashes, and a mouth that seems to quiver under the - stir of shadow that plays round it.] - -To turn for a moment from the artist to the man, it goes without -saying that one so sensitive to the beauty of woman must have been -susceptible to her influence, and Greuze's numerous heart-histories -are all the more interesting in that they are as creditable to his -chivalry as they are romantic. His first _grande passion_ was his -boyish love for the wife of his master Grandon at Lyons, a woman with -grown-up daughters. He nursed this adoration in silence, and it was -one of the idol's daughters who afterwards told how she once surprised -the love-sick youth passionately kissing one of her mother's shoes he -had found under a table. - -Later, when he went to Italy with l'Abbé Gougenot, there was a love -story which in some of its details recalls the "Romeo and Juliet" -legend. The lovely young daughter of the proud Duke for whom he was -copying pictures fell in love with the artist, and declared her -passion. The young man was equally enamoured, but realising the -inequality of their situation he hesitated, and it was only after the -lady pined, fell ill, and had secret meetings arranged by her old -nurse, that he confessed that the love was mutual. A period of madness -followed, the lady making plans to take the money her mother had left -her and elope to Paris, where Greuze was to become a second Raphael; -but his sense of honour triumphed, and to avoid temptation he feigned -an illness which kept him away from the palace. He really did fall ill -at last, but as soon as he was able to be up he fled, fearing to see -the lady again. An agreeable, if unromantic sequel to the history is -a letter he received from the heroine some years later, thanking him -for having behaved as he had done. She was now a contented wife and -the mother of some beautiful children, she said, and she owed all her -happiness to him! - -Then there is the story of his devotion to his wife; but unfortunately -that will be told later under a very different heading to that of -"romance." - - - - -CHAPTER V - -THE VANITY OF GREUZE - - -Mention has already been made of the overweening vanity which was -Greuze's most pronounced personal characteristic. He had, above all, -the highest possible opinion of his own talent, and could not brook -the slightest adverse criticism of his work. - -Even when he first came to Paris and had not proved his abilities, he -made enemies by stupid remarks like his reply to Natoire, who had -suggested some alteration in a detail of one of his pictures. -"Monsieur, you would be only too happy if you were able to do anything -so good yourself." Later, when success had come and he was surrounded -by admirers, the desire for praise became a mania, and he fell into a -violent passion if any one made a remark that suggested anything but -flattery. A great friend of his, and one of his patrons, a Madame -Geoffrin, at whose house he had met many of his most influential -friends and kindest critics, said laughingly, and with truth, that -there was a "_véritable fricassée d'enfants_" in "La Mère Bien-aimée." -Some one repeated this to Greuze. - -"How dare she venture to criticise a work of art," he cried violently. -"Let her tremble with fear lest I immortalise her by painting her as a -schoolmistress, with a whip in her hand and a face that will terrify -all children living or to be born." - -Under the influence of his infatuation for himself, he lost all sense -of the proportion of things--witness the scene when the Dauphin, -delighted with his own portrait, asked him to begin one of the -Dauphine. The presence of the lady did not prevent Greuze, ordinarily -well-mannered, and particularly so to women, from replying shortly -that he did not know how to paint heads of the kind, making reference -to the paint and powder all society women wore at the time. Small -wonder that thereafter royal favours were scarce, and he had to wait -several years longer than was necessary for the _logement_ in the -Louvre to which his position entitled him. - -This same trait played a prominent part in his historic quarrel with -the Academy over his diploma picture. It was the rule for every member -to present to the Academy on his election some representative work, -but Greuze, satisfied that the honour was theirs, and that he was in a -position to form his own precedent, let years go by without offering -the expected _chef d'oeuvre_. It was only when the delay had lasted -fourteen years, and they wrote saying they would be obliged to forbid -him to show his pictures in the Salon unless he fulfilled his -obligation, that he conceded to the rule, and having replied by a -letter that was "a model of pride and impertinence," set to work on -the picture. - -Believing he could do any form of subject equally well, he chose a -grandiloquent historical subject, a style absolutely unsuited to his -limitations. "Septime Sévère reprochant à son fils Caracalla d'avoir -attenté à sa vie dans les défilés d'Écosse, et lui disant, Si tu -désires ma mort, ordonne à Papinien de me la donner" was its title; -and if you look at it where it hangs skied in the Louvre above the -violently outstretched arms of "La Malédiction paternelle," you see -that it is a most faulty and insignificant production. The Academy -could not refuse it, but they told him frankly what they thought of -it. - -"Monsieur," said the Director, calling him in from the room where he -awaited the congratulations of the associates, whose approval he -believed he had now fully earned, "the Academy receives you as -_peintre de genre_. It has taken into account your former -productions, which are excellent, and has shut its eyes on this one, -which is worthy neither of them nor you." - -The disappointment of Greuze, who had counted on the dignity and -material advantages conferred by the title of Historical Painter, can -be imagined, but amazement and fury dominated. For days he could -neither sleep nor eat; and he covered reams of paper in writing to the -papers to prove by technical laws and logical arguments that the -picture was not only good, but a masterpiece. But for once the adoring -public remained unresponsive. The last straw was his friend Diderot's -criticism, published in the usual way. - -"The figure of Septime Sévère is ignoble in character. It has the -dark, swarthy skin of a convict; its action is uncertain. It is badly -drawn, it has the wrist broken; the distance from the neck to the -breast-bone is exaggerated. Neither do you see the beginning of -the right knee nor where it goes to beneath the covering of the bed. -Caracalla is even more ignoble than his father, a wooden figure, -without suppleness or movement. Those who force their talent do -nothing with grace." - - [Illustration: PLATE VI.--LES DEUX SOEURS - - "Les Deux Soeurs," or "The Two Sisters," has been until - recently in the private collection of Baron Arthur de - Rothschild, who bequeathed it to the Louvre, where it now hangs. - If it lacks some of the charm of Greuze's other pictures of - girls, it possesses many of his most charming - qualities--delicacy of colouring, graceful figures, appealing - gesture. The arrangement of the scarves and draperies is - essentially "Greuze."] - -Having exhausted all other means of protest, Greuze took refuge in the -sulkiness of a naughty child, and more or less independent now that he -was at last to have the coveted _logement_ in the Louvre, he declared -he would never again send a picture to the Academy. - -Nor did he, for when, years later, he was obliged to fall back on its -aid, the Academy as he had known it was swallowed up in the whirlpool -of the Revolution. - - - - -CHAPTER VI - -"THE BROKEN PITCHER" AND OTHER WELL-KNOWN PICTURES - - -To certain temperaments the associations of the Louvre are as -interesting as the treasures it actually contains, and many a dreamer -wandering through those superb galleries must have tried to -reconstitute such scenes as the receptions held by Greuze when, at the -height of his fame, he was at last in possession of the _logement_ -granted him "for life" by the King in March 1769. - -He was now in the prime of life, and the village boy had evolved into -a handsome man of middle height, with an impressive personality and -air of distinction. One of the two portraits of himself hanging now -in the Louvre must have been painted about this period. It shows a -fine head, full of energy, both mental and physical, delicate yet -strong, very sensitive, the brilliant eyes deeply set, the whole face -informed with something akin to, without being genius. The curved -mouth is eloquent, and we are told his conversation was sincere, -elevated, and animated; but much nervous irritability is indicated, -and a physiognomist would point significantly to the exaggerated slope -backwards of the otherwise fine forehead, suggesting a lack of that -reflectiveness which turns keen perceptions and observation to the -best account. - -He was always perfectly dressed, his manners were elegant, and it soon -grew to be the fashion to visit his studio. He used to show his -pictures himself, explaining their beauties, and his extravagant -remarks, absorbed as he was in himself and his work, sometimes -provided more entertainment than the legitimate _raison d'être_ of the -visit. All the talent and beauty of Paris, the greatest nobles, -royalties, and distinguished travellers were at one time or another -his guests. In a characteristic letter to a friend, Madame Roland -describes her visit to see "The Broken Pitcher" we all know so well by -reproductions. The original is back in the Louvre now. - -After speaking of the lovely colouring, fresh and charming, she says: -"She holds the jar she has just broken in her arms, standing near the -fountain where the accident has taken place. Her eyelids are low, and -the mouth still half-open, as she tries to understand the gravity of -her misfortune and does not know whether she is to blame. One can -imagine nothing more piquant and pretty; the only reproach the painter -merits is that he has not made the little girl sorry enough to no -longer feel the temptation to return to the fountain. I said this to -Greuze, and we laughed together." With good-natured malice Madame -Roland goes on to relate how when Greuze told her the Emperor Joseph -II. had complimented him on the personal quality of his work, saying -he was the poet of his pictures, she replied, "It is true one never -quite understands how beautiful your pictures are till you describe -them." A remark which Greuze took quite seriously. - -The "Danæ," now in the Louvre, and "L'Offrande à l'Amour," in the -Wallace Collection, are also mentioned in correspondence as having -been shown by Greuze in his studio about this time. They are the best -examples of his allegorical work--there was no branch of painting he -did not attempt--but they are hardly more successful than his moral -subjects, and quite lack the charm of his homely, familiar scenes. - -Chief among the latter may be mentioned "La paix du Ménage," a young -father and mother clasping each other tenderly as they watch their -sleeping child; "La Mère Bien-aimée," whose pretty head comes out of -a crowd of the clambering children, who excited Madame Geoffrin's -ill-received remark; "Le Gouter," a young mother feeding her two fat -little boys with a spoon, while a cat sits on the table watching -enviously; "Le Silence," in which the mother, nursing one child, tells -an unhappy older one not to blow his trumpet in case he wakes the babe -in the cradle. Greuze was never tired of painting mothers with their -little children, and the picturesque interiors in which he places them -are perhaps more charming than the figures, showing, as they do, the -old-world utensils and objects he had round him in his own childhood. -The oddly-shaped cradle which he reproduced so often was that in -which he himself had been rocked. - -Very celebrated at the time were the companion pictures, "L'Enfant -envoyé en Nourrice" and "Le Retour de Nourrice." The first scene is -laid in the quaint courtyard of a little thatched farm, with all the -family clustering round the mule on which the foster-mother is to -carry away the baby. The composition is charming, with the -foster-father arranging the saddle, the grandmother giving a last word -of advice to the young nurse, the two little children afraid of the -strange dog, and the mother giving a last kiss to the baby she would -give much not to have to part with. The return of the baby, now a -sturdy child on his feet, is set in the interior, where the little -hero of the occasion struggles away from his eager mother and the -brother who strives to amuse him, to return to the foster-mother. -These are the least affected of all the subject-pictures. With the -exception of the foster-father, who stands in the second one with a -cradle on his back and his eyes piously uplifted to the rafters, all -the actors seem absorbed in what they are doing, and this sincerity -accentuates the grace and sentiment which always informs Greuze's -work. - -Engravings of all these canvases, of all his work, were sent out in -their thousands. He was well known in Germany and other countries, and -his name was almost as familiar in the bourgeois homes of provincial -France as in Paris. - -Seeing him at this period of his career, the pet of princes, and -earning vast sums of money, it is difficult to realise Greuze could -ever have fallen on evil days, have come to actual want. Yet so it was -to be. - -The visit of the Emperor Joseph II. referred to by Madame Roland, and -followed by a command for a picture, a present of 4000 ducats, and -the conferring of the title of baron on the painter, was the -high-water mark in his career. And the tide of success was not only to -turn, but to recede with tragic rapidity. - - [Illustration: PLATE VII.--LA CRUCHE CASSÉE - - "La Cruche Cassée," or "The Broken Pitcher," is too well known - in every form of reproduction to need description. It hangs in - the Louvre, and is always surrounded by eager copyists, who - strive, very frequently in vain, to reproduce the delicate tints - of the flesh and the vague, wondering expression in the eyes of - the charming heroine.] - - - - -CHAPTER VII - -RUIN AND DEATH - - -Even during these brilliant days, when Greuze was considered the most -fortunate of mortals, there lurked beneath the glittering surface of -his life a grim reality which made happiness impossible, the misery of -a private life dominated by as bad a wife as ever cursed a man's -existence. - -She was a Mademoiselle Babuty, daughter of a bookseller on the Quai -des Augustins, and entering the little shop to buy some books, Greuze -became infatuated with her beauty. "White and slender as a lily, red -as a rose," is how Diderot describes her, and though she was past -thirty when Greuze made her acquaintance, she must have been a -remarkably pretty woman, with a round, smooth forehead, eyes full of -_naïveté_ beneath long shadowing lashes, small nose, moist lips, -delicate complexion. A sentimental, coquettish air redeemed what would -otherwise have been an inane expression. In the portraits under her -own name, and several pictures for which she posed, such as "La Mère -Bien-aimée" and "La Philosophie endormie," you see that if she was not -the actual model, she was certainly the ideal that inspired most of -Greuze's best work. - -At first he had no intention of marrying her, and they had known each -other two or three years before she practically compelled him to do so -by threatening to kill herself if he did not make her his wife. It was -a disastrous marriage. Lazy, greedy, extravagant, devoid of all moral -sense, she soon got over the satisfaction the position of her husband -gave her, and began to regard his work merely as a means to supply her -caprices. When she had been married a few years she sent her two -little girls away to school, and going from bad to worse, ended by -filling the house with vulgar men, who made Greuze ridiculous. Her -business training fitted her to keep the monetary accounts of the -family, and when at length her husband was obliged to look into them -to try to account for the disappearance of vast sums of money, he -found she had been squandering them on her dissolute friends. The -extent of her audacity can be judged by her accounting for the -disappearance of 100,000 livres by saying she had invested it in a -ship which had gone down at sea, and she refused to give the name of -the vessel or captain. - -Of all that freedom of mind and internal peace so important to all -successful work, but supremely so to the artist whose creations are to -be strong, Greuze knew nothing. Petty discussions, foolish quarrels, -then grievous wrongs and personal violences, made up the background of -his life, and it is astonishing that the trials of man and husband -did not sap the strength of the artist. You would wonder why he -supported it all so long did you not know that the artistic -temperament finds the most important part of its life in its work, and -falls an easy prey to imposition in most things outside it. Besides, -at first he loved her very sincerely, and she was the mother of his -two daughters. At length, when cartoons were printed ridiculing her -lightness, and her husband for supporting it, and her behaviour was -instrumental in his having to resign his _logement_ in the Louvre, -even Greuze's patience gave way, and in 1785 a deed of separation -enabled him to get rid of her. - -Considering the large sums commanded by his pictures--and it was said -he painted one a day--and the vast sale of the engravings, it is -unlikely, even with a vicious wife's extravagance, Greuze could ever -have known want in the ordinary course of events. But the terrible -days of the Revolution were at hand. Bank after bank failed, and -slowly but surely all his savings had vanished. With the fall of the -monarchy, the annual pension of 1500 livres granted by the King for -thirty-seven years of work in "an art he had exercised with success" -went, and finally he was reduced to what he was producing as a means -of living. But, alas, when from chaos anything like order arose, and -Greuze, now grown old, sent to the Salon of the year VIII. seventeen -works of the kind that had earned for him so much glory in the past, -the new order of things knew him not. The risen David was the god of -the moment, and at each new picture of his a little more scorn fell on -those who had preceded him. - -It was in vain that he wrote to the papers, calling attention, as of -old, to the moral meaning of his work; in vain that he tried to fall -in with new ideas and paint classical scenes like his "Ariadne at -Naxos." Any notice he received was worse than none, and two years -before he died he was cruelly summed up by a critic who wrote: "Greuze -is an old man inspired by Boucher, whom he followed. His colour is not -true, his drawing poor." We hear of his receiving 175 francs for a -picture that would formerly have brought him thousands of livres; we -hear of his wearing shabby frayed clothes he could not afford to -replace. Finally, there are pitiful letters, one asking for an advance -on a picture ordered out of charity, another saying, "I am -seventy-five years old, and have not a single order for a picture. I -have nothing left but my talent and my courage." - -In these days of bitter neglect and dire poverty Greuze's pride stood -him in good stead. He seems to have worried more at the prospect of -leaving his daughters unprovided for than because of his own -privations, and till the last he kept the indomitable spirit that -characterised him. "Who is king to-day?" he would ask sarcastically, -as he lay in bed waiting for the end. - -"I am ready for the journey," he said to his friend Barthélemy, just -before he died. "Good-bye. I shall expect you at my funeral. You will -be all alone there, like the poor man's dog." - -Worn out as much by the heavy weight of a dead reputation as by the -years his robust country constitution enabled him to carry so lightly, -he died on March 21, 1805. The humble funeral, followed by two -persons, would have been tragic in its friendlessness but for the -message of hope written on a wreath of Immortelles placed on his -coffin by a weeping woman closely veiled in black. - -"These flowers, offered by the most grateful of his pupils, are the -emblem of his glory." - - [Illustration: PLATE VIII.--LA LAITIÈRE - - "La Laitière," or "The Milkmaid," may perhaps be given as quite - the most representative of Greuze's works. The affected pose and - simpering smile, the unsuitability and over-arrangement of the - dress, are as characteristic of the painter as the perfect grace - of the _ensemble_, the delicious coquetry of the attitude, the - dimpled roundness of the form, and, above all, the sparkle in - the clear eyes and the exquisite bloom of the flesh. The picture - is in the Louvre.] - - - - -CHAPTER VIII - -THE ART OF GREUZE - - -When you think of the important place held by Greuze before the -Revolution in the art of the eighteenth century, above all, when you -reflect on how, being long dead, he still speaks in accents of such -beauty, his pictures, valued at vast sums, finding honoured places in -the art treasure-houses of the world, it comes almost as a shock to -consider how far from being a really great artist he was. - -Absence of sincerity is his chief fault. We read he used to talk much -and very eloquently about studying Nature, and had at one time a habit -of wandering about the streets in search of subjects, that he used -even to make sketches and studies on the spot, but once home and at -work on the composition of the picture, he evidently gave rein to the -libertine imagination we know. In short, if he really Saw, he -Interpreted his own way, and that way resulted in his eliminating all -the Strength and most of the Truth. In the theatrical moral pictures, -for example, it never seems to have occurred to him that each scene -that would tell a story is composed of a whole series of emotions and -gestures, and that to try to fix on one canvas a situation which of -its nature must be mobile and composed of many changes, is to attempt -the false as well as the impossible. Further, even taking him as -Diderot's disciple, "a painter who studied with a literary man," he is -grievously at fault, for the idea of life he conveys is that of a -melodrama in which vice is invariably punished and virtue -rewarded--and life is not thus. - -He took liberties with Nature, too, when he supposedly copied his -homely, familiar scenes direct from life. His peasant women take on -attitudes and smirk as they feed the carefully placed children; no -sweeping or labour of any sort seems to soil the hands of the busiest -housewife; clinging children never succeed in disarranging the -garments or hair of the mothers and nurses. By no stretch of the -imagination could you see his milkmaids delivering milk; his servants -look like ladies "making believe." The attitudes of all his dramatis -personæ are always affected, the _naïveté_ of his girls and children -mannered, their pathos conventional. Tears never redden their eyes; no -emotion disarranges the kerchief carefully arranged to show more than -is necessary of the throat and breast. And the head of a child of -twelve is often placed on the throat and bosom of a girl of seventeen. - -Except when he touches flesh his colour is rarely good, the scheme too -grey, with undecided reds, dull violets, dirty blues, and muddy -foundations. The draperies are often badly painted, a fault which he -explained by saying he purposely neglected them to give more value to -the painting of the flesh. - -Then there is his monotony. No painter ever copied himself with more -constancy and indefatigability. He has but three or four types, and -these he copies and recopies till you never want to see them again. -The father is always the same venerable man, much too old to be the -father of such young children; the mother does not vary; it is always -the same child a size or two smaller or larger, as the case may be. -Although he nominally gives to his girls and women a profession by -labelling them washerwomen, knitters, philosophers, chesnut-sellers, -kitchen wenches, and so forth, they all have the air of being members -of one family, and striking likenesses at that. And one and all have -the appearance of posing in light opera rather than of playing a part -in life. The peasant mothers of large families have that charming -coquettishness which is the hall-mark of every female he painted. The -picturesque interiors are equally wanting in variety. - -It has been urged by Greuze's admirers that if he had been properly -trained, or had at least been spared those early years in Grandon's -picture-manufactory, had been less inclined to listen to flatteries -and the advice of Diderot, who praised him for "not making his -peasants coarse," he might have overcome his faults and developed the -qualities of a Chardin. The reply to this is that anything touching on -genius cannot be held in check or turned from its own full expansion, -that it is more than likely that Greuze expressed all he had to say, -and himself summed up his own limitations when he said, "Be piquant, -if you cannot be true." - -To turn to the much pleasanter theme of his good qualities, Greuze was -an innovator. He was the first to go to humble life for inspiration, -and he brought into the painting of bourgeois subjects a distinct -character till then seen only in historical scenes. He created in -France the moral type of painting. On Sundays in the Louvre you still -see those who do not understand the beauty of colour, line, and -subtler poetry, and find utility the essential condition of all art, -lingering admiringly before "La Malédiction paternelle" and "Le Fils -puni"; and engravings of similar works are still cherished objects in -many a home. - -Valuable, too, is his quality of being documentary. He admirably -interpreted his age with its superficiality running into -theatricalness, its affectations of a morality which worshipped -languor and voluptuousness under the name of "Innocence." - -Last and best of all, there are the heads by which we know him. Merely -clever in all else, Greuze rises above himself when he approaches -these. Nothing could be fresher or more lightly touched than the -little blonde heads of his children, the fresh rose of their cheeks, -the features suggested under the baby fat, the delicacy of the little -unformed members set down with a tenderness that mocks at the -limitations of pigments. The same rare quality of livingness animates -the older heads. The eyes of the young girls have depth and flame, or -their dewy sparkle is subdued in seductive languor. The face almost -seems to tremble with emotion while a gleaming tear, a big wet drop, -escapes from beneath the heavy lids. The nostrils quiver, the breath -comes from between the half-opened mouth, the full lips seem to be -making a movement forward. The white flesh is soft and warm, and rich -life pulses delicately under the gauze-veiled bosom. - -In short, mediocre in all other branches of painting, and affected and -faulty at his best, in this exquisite series Greuze not only proves -that he possessed a very personal and poetic vision of his own, but -that he had a glint of that "divine spark" which sets technique at -naught, and results in the instinctive work of the inspired artist. - - -The plates are printed by BEMROSE & SONS, LTD., Derby and London - -The text at the BALLANTYNE PRESS, Edinburgh - - - -***END OF THE PROJECT GUTENBERG EBOOK GREUZE*** - - -******* This file should be named 42140-8.txt or 42140-8.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/2/1/4/42140 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org - - - - - -Title: Greuze - - -Author: Alys Eyre Macklin - - - -Release Date: February 20, 2013 [eBook #42140] - -Language: English - -Character set encoding: ISO-646-US (US-ASCII) - - -***START OF THE PROJECT GUTENBERG EBOOK GREUZE*** - - -E-text prepared by sp1nd, Matthew Wheaton, and the Online Distributed -Proofreading Team (http://www.pgdp.net) from page images generously made -available by Internet Archive (http://archive.org/) - - - -Note: Project Gutenberg also has an HTML version of this - file which includes the original illustrations. - See 42140-h.htm or 42140-h.zip: - (http://www.gutenberg.org/files/42140/42140-h/42140-h.htm) - or - (http://www.gutenberg.org/files/42140/42140-h.zip) - - - Images of the original pages are available through - Internet Archive. See - http://archive.org/details/greuzeocad00mackuoft - - - - - -Masterpieces in Colour -Edited by--T. Leman Hare - -GREUZE - -1725-1805 - - * * * * * * - -"MASTERPIECES IN COLOUR" SERIES - - ARTIST. AUTHOR. - BELLINI. GEORGE HAY. - BOTTICELLI. HENRY B. BINNS. - BOUCHER. C. HALDANE MACFALL. - BURNE-JONES. A. LYS BALDRY. - CARLO DOLCI. GEORGE HAY. - CHARDIN. PAUL G. KONODY. - CONSTABLE. C. LEWIS HIND. - COROT. SIDNEY ALLNUTT. - DA VINCI. M. W. BROCKWELL. - DELACROIX. PAUL G. KONODY. - DUERER. H. E. A. FURST. - FRA ANGELICO. JAMES MASON. - FRA FILIPPO LIPPI. PAUL G. KONODY. - FRAGONARD. C. HALDANE MACFALL. - FRANZ HALS. EDGCUMBE STALEY. - GAINSBOROUGH. MAX ROTHSCHILD. - GREUZE. ALYS EYRE MACKLIN. - HOGARTH. C. LEWIS HIND. - HOLBEIN. S. L. BENSUSAN. - HOLMAN HUNT. MARY E. COLERIDGE. - INGRES. A. J. FINBERG. - LAWRENCE. S. L. BENSUSAN. - LE BRUN, VIGEE. C. HALDANE MACFALL. - LEIGHTON. A. LYS BALDRY. - LUINI. JAMES MASON. - MANTEGNA. MRS. ARTHUR BELL. - MEMLINC. W. H. J. & J. C. WEALE. - MILLAIS. A. LYS BALDRY. - MILLET. PERCY M. TURNER. - MURILLO. S. L. BENSUSAN. - PERUGINO. SELWYN BRINTON. - RAEBURN. JAMES L. CAW. - RAPHAEL. PAUL G. KONODY. - REMBRANDT. JOSEF ISRAELS. - REYNOLDS. S. L. BENSUSAN. - ROMNEY. C. LEWIS HIND. - ROSSETTI. LUCIEN PISSARRO. - RUBENS. S. L. BENSUSAN. - SARGENT. T. MARTIN WOOD. - TINTORETTO. S. L. BENSUSAN. - TITIAN. S. L. BENSUSAN. - TURNER. C. LEWIS HIND. - VAN DYCK. PERCY M. TURNER. - VAN EYCK. J. CYRIL M. WEALE. - VELAZQUEZ. S. L. BENSUSAN. - WATTEAU. C. LEWIS HIND. - WATTS. W. LOFTUS HARE. - WHISTLER. T. MARTIN WOOD. - _Others in Preparation._ - - * * * * * * - - -[Illustration: PLATE I.--L'ACCORDEE DU VILLAGE. (Frontispiece) - -This picture, at first entitled "A Father handing over the -Marriage-portion of his Daughter," then "The Village Bride," is -the best of Greuze's subject pictures. The scene is more or less -naturally arranged, and informed with the tender homely sentiment -inspired by the subject; and the bride, with her fresh young face -and modest attitude, is a delicious figure. It was exhibited in the -Salon of 1761, and now hangs in the Louvre.] - - -GREUZE - -by - -ALYS EYRE MACKLIN - -Illustrated with Eight Reproductions in Colour - - - - - - - -[Illustration: IN SEMPITERNUM.] - -London: T. C. & E. C. Jack -New York: Frederick A. Stokes Co. - - - - -CONTENTS - - Chap. Page - - I. Early Days and First Success 11 - - II. The Times in which Greuze Lived 20 - - III. Greuze's Moral Pictures 27 - - IV. The Pictures by which we know Greuze 35 - - V. The Vanity of Greuze 44 - - VI. "The Broken Pitcher" and other well-known Pictures 52 - - VII. Ruin and Death 62 - - VIII. The Art of Greuze 71 - - - - - LIST OF ILLUSTRATIONS - - - Plate - - I. L'Accordee du Village Frontispiece - In the Louvre - - Page - - II. L'Innocence tenant deux Pigeons 14 - In the Wallace Collection - - III. La Malediction paternelle 24 - In the Louvre - - IV. Portrait d'Homme 34 - In the Louvre - - V. L'Oiseau Mort 40 - In the Louvre - - VI. Les Deux Soeurs 50 - In the Louvre - - VII. La Cruche Cassee 60 - In the Louvre - - VIII. La Laitiere 70 - In the Louvre - - - - -CHAPTER I - -EARLY DAYS AND FIRST SUCCESS - - -Few names suggest so much beauty as that of Greuze. - -"Greuze"--"a Greuze"--you have only to hear the word and there rises -before your mental vision a radiant procession of maidens each -lovelier than the last, with the blue of a spring sky in their -shining eyes, rosy blood flushing delicate cheeks, soft silken hair -escaping in gold-touched curls at temples where the blue veins show, -lips like dewy carnations, rounded necks and curving bosoms that -suggest all the sweets of June. A veritable "garden of girls" in the -first fresh bloom of budding womanhood; and they come to you not so -much as painted pictures as delicate visions breathed on canvas from -which they might at any moment tremble into pulsing life. - -Yet the Greuze to whom we owe this exquisite series was first known as -the painter of pictures of a very different kind. Before speaking of -these let us begin at the beginning, by seeing when and under what -conditions the child who was to become the poet-painter of a certain -type of womanhood first saw the world he was destined to enrich. - -Born at Tournus, a little town near Macon in France, on August 21, -1725, the early life of Jean Baptiste Greuze curiously resembles in -its broad lines those of many other well-known artists. His parents -were humble people who lived in the tiny house at Tournus, now -decorated with a commemorative plaque; the father an overman slater; -and the godparents, who play such an important part in the life of the -French child, respectively a slater and a baker. The father seems to -have been ambitious, for he resolved to take his son into an evidently -expanding business, not as a workman, but as architect. At the usual -early age, however, the child's vocation declared itself. It was in -vain the father, alarmed by symptoms that threatened to disarrange his -plans, took materials from him and then whipped him for making -pictures all over the walls--anywhere, everywhere. The boy cared for -nothing but drawing of a kind that did not fall in with the cherished -architectural idea, and after many struggles he won the day by giving -his father for a birthday present a pen-and-ink drawing of the head of -St. James, well enough done to be at first mistaken for an engraving. -This had been copied at nights when he was supposed to be asleep, and -touched and convinced, the father finally gave in and sent him off to -Lyons to learn the business in the studio of the painter Grandon. - - [Illustration: PLATE II.--L'INNOCENCE TENANT DEUX PIGEONS - - "L'Innocence tenant deux Pigeons," or "Innocence holding two - Pigeons," is a typical example of the eyes Greuze never tired of - painting, large innocent orbs with a sparkle that suggests the - morning sun on flowers wet with dew. The moist half-open lips - you also find in most of his girl-heads. The lovely colour - scheme is particularly happy even for Greuze. The original is in - the Wallace Collection, London.] - -The term "learn the business" is used advisedly. Grandon's studio was -more a manufactory of pictures than anything else, and was just as bad -a school as a young artist could well have. Pictures were copied, -recopied, and adapted, turned out for all the world as Jean Baptiste's -godmother turned the loaves out of her oven; and while the boy learnt -the use of colours, and some drawing, he also learnt that facility -which is the deadly enemy of art, artifice rather than invention, to -copy rather than to create--weaknesses which beset him ever -afterwards. - -It was natural that, when manhood was arrived at, Greuze should yield -to the inevitable law that draws exceptional talent to great centres. -When he was about twenty he left Lyons, and with very little capital -but his abilities, his blonde beauty, and a large stock of -self-satisfaction, he set out gaily to make his fortune in Paris. - -The story of the first ten years there is also the conventional one of -early artist days, the old tale of stress and struggle, of bitter -disappointments alternating with brilliant hopes and small -achievements. Young Greuze was too personal and faulty in his work to -please the Academy, not strong enough yet to convince any advanced -movement there might be, and he divided ten trying years between a -little study at the Academy and a great deal of painting the -pot-boilers he had learnt to make at Lyons. At last his work attracted -the attention and gained for him the friendship of two well-known -artists, Sylvestre, and Pigalle, the King's sculptor, and they were -instrumental in his being able to exhibit in the Academy of 1755, when -he was thirty years old, the picture which brought him his first -success, "Un Pere qui lit la Bible a ses Enfants." - -This picture shows the living room of a raftered cottage, with the old -father sitting at a table round which are gathered his six sons and -daughters. One of his large, horny hands is on the open Bible before -him, the other holds the spectacles he has taken off as he stops to -explain the passage he has been reading. The children listen -respectfully, some attentively, the others with an air of being -absorbed in their own reflections, while the mother, sitting near, -stops her spinning to tell the baby on the floor not to tease the dog. - -It is not well painted. Except that it shows a picturesque interior -and expresses the sentiment of piety in the home it is intended to -convey, it has but little merit, is, indeed, so mediocre that you -wonder why, far from bringing fame to the young man, it should have -been noticed at all. - -To understand its success, and the still greater success of similar -pictures which followed, you must glance at the epoch of its -production. - - - - -CHAPTER II - -THE TIMES IN WHICH GREUZE LIVED - - -It was that period of the eighteenth century before the Revolution -when society was at its worst, the paints and powders that covered its -face, the scents which over-perfumed its body, its manners artificial -as the antics of marionettes, being emblematic of its state of mind. -Society was, in short, so corrupt it could not become any more so, and -at length, weary of the search for a new sensation, there was nothing -for it but a sudden rebound to some sort of morality. - -Opportunist philosophers appeared quickly on the scene, and began to -preach the pleasant doctrine that man was born very good, full of -honesty and good feeling, running over with generosity and all the -virtues, and if he did not keep so, it was because the miserable -conventions of society had drawn him from the original perfection of -his state. To find virtue you must look among those of humble estate, -the poor who thought of nothing but their work and the bringing up of -their large families. Away, then, from social life and its -corruptions, return to the simple ways of the lowly and needy--thus -and thus only could France be regenerated! - -The aristocratic victims of their caste drank all this in eagerly, and -their exaggerated efforts to follow the new cult of simplicity made -the bitter-tongued Voltaire describe them as "mad with the desire to -walk on their hands and feet, so as to imitate as nearly as possible -their virtuous ancestors of the woods." - -Diderot, whose sudden burning enthusiasms and throbbing eloquence -would have carried away his hearers in spite of themselves if they -had not been only too eager to listen, was the great apostle of the -new doctrine, and, always in extremes, he boldly dragged his moral -theories into even the realm of art. - -"To render virtue charming and vice odious ought to be the object of -every honest man who wields a pen, a paint-brush, or the sculptor's -chisel," he declared. - -The vivid intelligence of Greuze seized the position, and sure of at -least attracting attention if nothing else, he set to work to paint -some scene which would fall in with the prevalent "debauch of morals," -as some one called it. Thus, "Le Pere qui lit la Bible a ses Enfants" -appeared at that psychological moment which does so much to ensure -success. Further, it came as a refreshing change to a public weary of -the pleasant insipidities of Boucher, of a long-continued series of -pale pastorals showing the doubtful pleasures of light love. It was, -moreover, a novelty, for no one had painted such subjects before in -France. - - [Illustration: PLATE III.--LA MALEDICTION PATERNELLE - - "La Malediction paternelle," or "The Father's Curse," is in the - Louvre, and is one of the best known of Greuze's moral pictures. - It is one of his worst productions. Observe the theatrical - attitudes and gestures, the too carefully arranged draperies, - etc., of the actors in this exaggerated scene, which in real - life would pass in formless disorder and rough confusion.] - -And so more than the expected happened. From the day of its exhibition -till the Salon was closed, it was surrounded by admiring crowds, and -every one said, "Who is this wonderful Greuze?" Those there were who -replied that Greuze had not painted the picture himself, was incapable -of such work, for the overweening personal vanity that marred Greuze's -character had already made for him many enemies; but the happy -preacher-painter proved his position, and but gained additional -interest from the discussions that raged round him. - -From this moment Greuze's position was assured. He was made _agree_ of -the Academy, which among other privileges gave him the right to -exhibit what he liked there in future. He sold the celebrated picture -for a comparatively large sum to a Monsieur de la Live de Jully. He -made hosts of friends, many of them influential. One of his new -acquaintances offered to provide him with a studio. Another, l'Abbe -Gougenot, invited him to accompany him to Italy to study art, an offer -which was accepted. - -Greuze stayed two years in Italy, but except that some of his pictures -have Italian names and show Italian costumes, this visit exercised no -perceptible influence on his work, and in 1757 he returned to steady -work in the Paris which was to be for him the scene of so many -triumphs--and later, of so much despair. - - - - -CHAPTER III - -GREUZE'S MORAL PICTURES - - -The well-known "Village Bride," or "L'Accordee du Village," exhibited -in 1761, was his second great success. - -"A Father handing over the Marriage-portion of his Daughter" was the -first title of this picture, and one which better, if less poetically, -explains the scene. The homely ceremony takes place in the picturesque -living room of a big cottage or small farm, and twelve people take -part in it. Backed up by the village functionary, who has drawn up the -contract, the old father is evidently giving some good advice as he -places the bag of money in the hands of his future son-in-law. The -young man listens respectfully, the shy but proud young bride hanging -on to his arm. The mother has taken one of her daughter's hands, -while a younger sister leans her head on the bride's shoulder. -Children play about in various attitudes among a family of fowls who -feed in the foreground. Though it has some of the faults of those -which followed it, this is undoubtedly the best subject-picture -painted by Greuze. The composition is good, it is well drawn, full of -a charming tender sentiment, and the head of the fiancee, -foreshadowing Greuze's future successes, is delicious, fully deserving -Gautier's eulogy: "It is impossible to find anything younger, fresher, -more innocent, and more coquettishly virginal, if the two words may be -connected, than this head." - -Preaching the beauty of family life, the sacredness of marriage, and -the virtues and happiness of the humble, "L'Accordee du Village" -raised a furore. Its material success was equally great. It was sold -for 9000 livres, and later, in 1780, it was bought for the Cabinet du -Roi for 16,650 livres. - -Very much less successful from the artistic point of view were the two -well-known pictures now in the Louvre, which appeared three or four -years later, "La Malediction paternelle" and--a sequel--"Le Fils -puni." - -The first shows the vicious and debauched son trying to tear himself -from the grasp of an agonised mother and little brother, to go away -with the colour-sergeant who is waiting near the door. While the -mother pleads, the father, unable to move from the chair in which -illness holds him, storms, and with hands violently outstretched, -pronounces the curse that terrifies the other shuddering members of -the family. - -The punishment is shown in the second picture, when the repentant son, -shabby and travel-stained, returns to find his father dead. His stick -fallen from his trembling hands, his knees giving way beneath him, one -hand on his heart, the other pressed convulsively to his forehead, he -stands helpless at the foot of the bed on which the dead man lies. -Beside him stands his mother, pointing tragically to the corpse, with -an air of saying, "Behold your work!" The other members of the family -are too occupied with their own sorrow to notice him, and give way to -their despair in various attitudes. - -The artificiality of pose and gesture more than suggested in -"L'Accordee du Village" is here exaggerated into cheap theatricalness. -In "Le Fils puni," for example, the attitude of the Prodigal, and the -Lady Macbeth pose of the classically-draped mother, are impossible, -and the outstretched arms, the heaven-turned eyes, and open mouths of -the others are almost offensive. This exaggeration defeats its own -object. You feel that these dramatis personae are only posing, -tableau-vivant fashion, to impress, and they do not do it well enough -to excite anything but criticism in you. The colour is bad, heavy, -and dull. The draperies hang in stiff folds, without suppleness. - -These two canvases are arrangements, not pictures; and in spite of -certain gracious qualities which always charm in Greuze, all the -others of the long series that followed can be dismissed with the same -criticism. - -Such was not the opinion of Diderot, the painter's most admiring -critic and friend. He could not find words in which to adequately -praise productions that proved such "great qualities of the heart, and -such good morals." - -"Beautiful! Very beautiful! Sublime! Courage, my friend Greuze; -continue always to paint such subjects, so that when you come to die -there will be nothing you have painted you can recall without -pleasure." - -"Le Paralytique, ou la Piete filiale," "Le Fruit d'une bonne -Education," now in the celebrated Hermitage Gallery in Russia, "La -Benediction paternelle," are further examples of this series of the -ten commandments turned badly into paint and canvas, and less -interesting still are subjects of the order of "The Torn Will," -falling, as they do, into the form of the cheapest melodrama. - - [Illustration: PLATE IV.--PORTRAIT D'HOMME - - A very good example of Greuze as a portraitist. This picture is - in the Louvre, and is remarkable for its delicate harmonious - colouring and the living expression in the eyes. The man seems - to be listening to some one, and on the point of opening his - mouth to reply.] - - - - -CHAPTER IV - -THE PICTURES BY WHICH WE KNOW GREUZE - - -From time to time during these years Greuze had painted children's -heads that gave evidence of the real character of his talent, and in -1765, the year of "La Malediction paternelle," he produced "Le Baiser -envoye," now in London in the collection of the Baron Alfred de -Rothschild. - -"Le Baiser envoye," or "The Kiss," represents a young woman leaning -forward among the flowers of her window-sill to throw a kiss to her -departing lover. The beautiful form, the charming curved face, all -instinctive with tenderness and longing, the grace of the attitude, -the tapering fingers, the arrangement of the framing draperies, -combine to make this one of the most exquisitely graceful of his -pictures, and one that would alone have proved his surpassing talent -for portraying a certain type of woman. No wonder the charmed -beholders turned to ask each other whether this moral painter was not -at his best when his subjects were not moral! - -Of course there is nothing immoral about "The Kiss," only Greuze had -been so praised for his preacher work, it was only natural he should -be criticised when he produced "La Voluptueuse," as he first called -this picture. Of the appropriateness of the title there can be no -doubt. The lovely kiss-thrower absolutely respires voluptuousness; -moreover, there is hardly a female figure of Greuze, except those -showing very early childhood, that does not suggest this -characteristic. Even when the eyes of his very young girls are candid -and clear with innocence, the pouting lips of the half-opened mouths -are sensuous, the swelling bosom and rounded throat suggestive, the -attitude provoking. In short, the impression given, if wholly -seductive, is invariably complex, troubled, full of a certain delicate -corruption--see "Innocence" or "Fidelity" in the Wallace Collection in -London. "A moralist with a passion for lovely shoulders, a preacher -who wants to see and show the bosoms of young girls," is how he has -been described. - -Not that any one cared. On the contrary, every one, moralists -included, was libertine in the eighteenth century, and "_deshabille et -desir_" only stamped a painter as being the mirror of his times. So -Greuze's name took on still more lustre as his rosebuds grew into -roses whose morning dew sparkled beneath the voluptuousness that began -to bow their lovely heads. "Love-Dreams," "Bacchantes," "Desire," -"Flora," "Volupte"--there is a host of canvases bearing similar -titles; and there are many others with symbolic names showing girls -weeping sentimental griefs over emblematic objects, such as broken -mirrors, dead birds, crushed flowers, broken eggs or jars, a kind of -badinage that was the fashion then. - -In a way, he had also great success with his numerous portraits. He -never got beneath the surface, was not psychological enough to express -the soul of his sitter, but the fleshy envelope he reproduced with -skill. The pictures of his friends Pigalle and Sylvestre, and an -excellent one of the engraver Wille, whose prints, advertisements, and -praises did so much to extend the Greuze cult, are well known; and in -the vogue that followed his first success, he received commissions to -paint the Dauphin and other important personages. In spite of its dull -colour, the portrait of the painter Jeaurat, now in the Louvre, is an -interesting piece of work, showing characterisation, the brilliant -eyes giving the impression of a man accustomed to observe closely -and see most things. But naturally Greuze was at his best when he -painted women. Very beautiful is the picture of the Marquise de -Chauvelin, at present in the collection of Baron Alphonse de -Rothschild, and some of his portraits of his wife justly caused a -sensation. - - [Illustration: PLATE V.--L'OISEAU MORT - - "L'Oiseau Mort," or "The Dead Bird," bequeathed by Baron Arthur - de Rothschild to the Louvre, shows one of Greuze's most - beautiful child-figures, a little girl who has just found her - bird dead. You forget the mannered pose of the hands and arms, - to admire their curves and dimples. The delicacy of the little - grieving face is beyond praise, with the tears starting beneath - the downcast lashes, and a mouth that seems to quiver under the - stir of shadow that plays round it.] - -To turn for a moment from the artist to the man, it goes without -saying that one so sensitive to the beauty of woman must have been -susceptible to her influence, and Greuze's numerous heart-histories -are all the more interesting in that they are as creditable to his -chivalry as they are romantic. His first _grande passion_ was his -boyish love for the wife of his master Grandon at Lyons, a woman with -grown-up daughters. He nursed this adoration in silence, and it was -one of the idol's daughters who afterwards told how she once surprised -the love-sick youth passionately kissing one of her mother's shoes he -had found under a table. - -Later, when he went to Italy with l'Abbe Gougenot, there was a love -story which in some of its details recalls the "Romeo and Juliet" -legend. The lovely young daughter of the proud Duke for whom he was -copying pictures fell in love with the artist, and declared her -passion. The young man was equally enamoured, but realising the -inequality of their situation he hesitated, and it was only after the -lady pined, fell ill, and had secret meetings arranged by her old -nurse, that he confessed that the love was mutual. A period of madness -followed, the lady making plans to take the money her mother had left -her and elope to Paris, where Greuze was to become a second Raphael; -but his sense of honour triumphed, and to avoid temptation he feigned -an illness which kept him away from the palace. He really did fall ill -at last, but as soon as he was able to be up he fled, fearing to see -the lady again. An agreeable, if unromantic sequel to the history is -a letter he received from the heroine some years later, thanking him -for having behaved as he had done. She was now a contented wife and -the mother of some beautiful children, she said, and she owed all her -happiness to him! - -Then there is the story of his devotion to his wife; but unfortunately -that will be told later under a very different heading to that of -"romance." - - - - -CHAPTER V - -THE VANITY OF GREUZE - - -Mention has already been made of the overweening vanity which was -Greuze's most pronounced personal characteristic. He had, above all, -the highest possible opinion of his own talent, and could not brook -the slightest adverse criticism of his work. - -Even when he first came to Paris and had not proved his abilities, he -made enemies by stupid remarks like his reply to Natoire, who had -suggested some alteration in a detail of one of his pictures. -"Monsieur, you would be only too happy if you were able to do anything -so good yourself." Later, when success had come and he was surrounded -by admirers, the desire for praise became a mania, and he fell into a -violent passion if any one made a remark that suggested anything but -flattery. A great friend of his, and one of his patrons, a Madame -Geoffrin, at whose house he had met many of his most influential -friends and kindest critics, said laughingly, and with truth, that -there was a "_veritable fricassee d'enfants_" in "La Mere Bien-aimee." -Some one repeated this to Greuze. - -"How dare she venture to criticise a work of art," he cried violently. -"Let her tremble with fear lest I immortalise her by painting her as a -schoolmistress, with a whip in her hand and a face that will terrify -all children living or to be born." - -Under the influence of his infatuation for himself, he lost all sense -of the proportion of things--witness the scene when the Dauphin, -delighted with his own portrait, asked him to begin one of the -Dauphine. The presence of the lady did not prevent Greuze, ordinarily -well-mannered, and particularly so to women, from replying shortly -that he did not know how to paint heads of the kind, making reference -to the paint and powder all society women wore at the time. Small -wonder that thereafter royal favours were scarce, and he had to wait -several years longer than was necessary for the _logement_ in the -Louvre to which his position entitled him. - -This same trait played a prominent part in his historic quarrel with -the Academy over his diploma picture. It was the rule for every member -to present to the Academy on his election some representative work, -but Greuze, satisfied that the honour was theirs, and that he was in a -position to form his own precedent, let years go by without offering -the expected _chef d'oeuvre_. It was only when the delay had lasted -fourteen years, and they wrote saying they would be obliged to forbid -him to show his pictures in the Salon unless he fulfilled his -obligation, that he conceded to the rule, and having replied by a -letter that was "a model of pride and impertinence," set to work on -the picture. - -Believing he could do any form of subject equally well, he chose a -grandiloquent historical subject, a style absolutely unsuited to his -limitations. "Septime Severe reprochant a son fils Caracalla d'avoir -attente a sa vie dans les defiles d'Ecosse, et lui disant, Si tu -desires ma mort, ordonne a Papinien de me la donner" was its title; -and if you look at it where it hangs skied in the Louvre above the -violently outstretched arms of "La Malediction paternelle," you see -that it is a most faulty and insignificant production. The Academy -could not refuse it, but they told him frankly what they thought of -it. - -"Monsieur," said the Director, calling him in from the room where he -awaited the congratulations of the associates, whose approval he -believed he had now fully earned, "the Academy receives you as -_peintre de genre_. It has taken into account your former -productions, which are excellent, and has shut its eyes on this one, -which is worthy neither of them nor you." - -The disappointment of Greuze, who had counted on the dignity and -material advantages conferred by the title of Historical Painter, can -be imagined, but amazement and fury dominated. For days he could -neither sleep nor eat; and he covered reams of paper in writing to the -papers to prove by technical laws and logical arguments that the -picture was not only good, but a masterpiece. But for once the adoring -public remained unresponsive. The last straw was his friend Diderot's -criticism, published in the usual way. - -"The figure of Septime Severe is ignoble in character. It has the -dark, swarthy skin of a convict; its action is uncertain. It is badly -drawn, it has the wrist broken; the distance from the neck to the -breast-bone is exaggerated. Neither do you see the beginning of -the right knee nor where it goes to beneath the covering of the bed. -Caracalla is even more ignoble than his father, a wooden figure, -without suppleness or movement. Those who force their talent do -nothing with grace." - - [Illustration: PLATE VI.--LES DEUX SOEURS - - "Les Deux Soeurs," or "The Two Sisters," has been until - recently in the private collection of Baron Arthur de - Rothschild, who bequeathed it to the Louvre, where it now hangs. - If it lacks some of the charm of Greuze's other pictures of - girls, it possesses many of his most charming - qualities--delicacy of colouring, graceful figures, appealing - gesture. The arrangement of the scarves and draperies is - essentially "Greuze."] - -Having exhausted all other means of protest, Greuze took refuge in the -sulkiness of a naughty child, and more or less independent now that he -was at last to have the coveted _logement_ in the Louvre, he declared -he would never again send a picture to the Academy. - -Nor did he, for when, years later, he was obliged to fall back on its -aid, the Academy as he had known it was swallowed up in the whirlpool -of the Revolution. - - - - -CHAPTER VI - -"THE BROKEN PITCHER" AND OTHER WELL-KNOWN PICTURES - - -To certain temperaments the associations of the Louvre are as -interesting as the treasures it actually contains, and many a dreamer -wandering through those superb galleries must have tried to -reconstitute such scenes as the receptions held by Greuze when, at the -height of his fame, he was at last in possession of the _logement_ -granted him "for life" by the King in March 1769. - -He was now in the prime of life, and the village boy had evolved into -a handsome man of middle height, with an impressive personality and -air of distinction. One of the two portraits of himself hanging now -in the Louvre must have been painted about this period. It shows a -fine head, full of energy, both mental and physical, delicate yet -strong, very sensitive, the brilliant eyes deeply set, the whole face -informed with something akin to, without being genius. The curved -mouth is eloquent, and we are told his conversation was sincere, -elevated, and animated; but much nervous irritability is indicated, -and a physiognomist would point significantly to the exaggerated slope -backwards of the otherwise fine forehead, suggesting a lack of that -reflectiveness which turns keen perceptions and observation to the -best account. - -He was always perfectly dressed, his manners were elegant, and it soon -grew to be the fashion to visit his studio. He used to show his -pictures himself, explaining their beauties, and his extravagant -remarks, absorbed as he was in himself and his work, sometimes -provided more entertainment than the legitimate _raison d'etre_ of the -visit. All the talent and beauty of Paris, the greatest nobles, -royalties, and distinguished travellers were at one time or another -his guests. In a characteristic letter to a friend, Madame Roland -describes her visit to see "The Broken Pitcher" we all know so well by -reproductions. The original is back in the Louvre now. - -After speaking of the lovely colouring, fresh and charming, she says: -"She holds the jar she has just broken in her arms, standing near the -fountain where the accident has taken place. Her eyelids are low, and -the mouth still half-open, as she tries to understand the gravity of -her misfortune and does not know whether she is to blame. One can -imagine nothing more piquant and pretty; the only reproach the painter -merits is that he has not made the little girl sorry enough to no -longer feel the temptation to return to the fountain. I said this to -Greuze, and we laughed together." With good-natured malice Madame -Roland goes on to relate how when Greuze told her the Emperor Joseph -II. had complimented him on the personal quality of his work, saying -he was the poet of his pictures, she replied, "It is true one never -quite understands how beautiful your pictures are till you describe -them." A remark which Greuze took quite seriously. - -The "Danae," now in the Louvre, and "L'Offrande a l'Amour," in the -Wallace Collection, are also mentioned in correspondence as having -been shown by Greuze in his studio about this time. They are the best -examples of his allegorical work--there was no branch of painting he -did not attempt--but they are hardly more successful than his moral -subjects, and quite lack the charm of his homely, familiar scenes. - -Chief among the latter may be mentioned "La paix du Menage," a young -father and mother clasping each other tenderly as they watch their -sleeping child; "La Mere Bien-aimee," whose pretty head comes out of -a crowd of the clambering children, who excited Madame Geoffrin's -ill-received remark; "Le Gouter," a young mother feeding her two fat -little boys with a spoon, while a cat sits on the table watching -enviously; "Le Silence," in which the mother, nursing one child, tells -an unhappy older one not to blow his trumpet in case he wakes the babe -in the cradle. Greuze was never tired of painting mothers with their -little children, and the picturesque interiors in which he places them -are perhaps more charming than the figures, showing, as they do, the -old-world utensils and objects he had round him in his own childhood. -The oddly-shaped cradle which he reproduced so often was that in -which he himself had been rocked. - -Very celebrated at the time were the companion pictures, "L'Enfant -envoye en Nourrice" and "Le Retour de Nourrice." The first scene is -laid in the quaint courtyard of a little thatched farm, with all the -family clustering round the mule on which the foster-mother is to -carry away the baby. The composition is charming, with the -foster-father arranging the saddle, the grandmother giving a last word -of advice to the young nurse, the two little children afraid of the -strange dog, and the mother giving a last kiss to the baby she would -give much not to have to part with. The return of the baby, now a -sturdy child on his feet, is set in the interior, where the little -hero of the occasion struggles away from his eager mother and the -brother who strives to amuse him, to return to the foster-mother. -These are the least affected of all the subject-pictures. With the -exception of the foster-father, who stands in the second one with a -cradle on his back and his eyes piously uplifted to the rafters, all -the actors seem absorbed in what they are doing, and this sincerity -accentuates the grace and sentiment which always informs Greuze's -work. - -Engravings of all these canvases, of all his work, were sent out in -their thousands. He was well known in Germany and other countries, and -his name was almost as familiar in the bourgeois homes of provincial -France as in Paris. - -Seeing him at this period of his career, the pet of princes, and -earning vast sums of money, it is difficult to realise Greuze could -ever have fallen on evil days, have come to actual want. Yet so it was -to be. - -The visit of the Emperor Joseph II. referred to by Madame Roland, and -followed by a command for a picture, a present of 4000 ducats, and -the conferring of the title of baron on the painter, was the -high-water mark in his career. And the tide of success was not only to -turn, but to recede with tragic rapidity. - - [Illustration: PLATE VII.--LA CRUCHE CASSEE - - "La Cruche Cassee," or "The Broken Pitcher," is too well known - in every form of reproduction to need description. It hangs in - the Louvre, and is always surrounded by eager copyists, who - strive, very frequently in vain, to reproduce the delicate tints - of the flesh and the vague, wondering expression in the eyes of - the charming heroine.] - - - - -CHAPTER VII - -RUIN AND DEATH - - -Even during these brilliant days, when Greuze was considered the most -fortunate of mortals, there lurked beneath the glittering surface of -his life a grim reality which made happiness impossible, the misery of -a private life dominated by as bad a wife as ever cursed a man's -existence. - -She was a Mademoiselle Babuty, daughter of a bookseller on the Quai -des Augustins, and entering the little shop to buy some books, Greuze -became infatuated with her beauty. "White and slender as a lily, red -as a rose," is how Diderot describes her, and though she was past -thirty when Greuze made her acquaintance, she must have been a -remarkably pretty woman, with a round, smooth forehead, eyes full of -_naivete_ beneath long shadowing lashes, small nose, moist lips, -delicate complexion. A sentimental, coquettish air redeemed what would -otherwise have been an inane expression. In the portraits under her -own name, and several pictures for which she posed, such as "La Mere -Bien-aimee" and "La Philosophie endormie," you see that if she was not -the actual model, she was certainly the ideal that inspired most of -Greuze's best work. - -At first he had no intention of marrying her, and they had known each -other two or three years before she practically compelled him to do so -by threatening to kill herself if he did not make her his wife. It was -a disastrous marriage. Lazy, greedy, extravagant, devoid of all moral -sense, she soon got over the satisfaction the position of her husband -gave her, and began to regard his work merely as a means to supply her -caprices. When she had been married a few years she sent her two -little girls away to school, and going from bad to worse, ended by -filling the house with vulgar men, who made Greuze ridiculous. Her -business training fitted her to keep the monetary accounts of the -family, and when at length her husband was obliged to look into them -to try to account for the disappearance of vast sums of money, he -found she had been squandering them on her dissolute friends. The -extent of her audacity can be judged by her accounting for the -disappearance of 100,000 livres by saying she had invested it in a -ship which had gone down at sea, and she refused to give the name of -the vessel or captain. - -Of all that freedom of mind and internal peace so important to all -successful work, but supremely so to the artist whose creations are to -be strong, Greuze knew nothing. Petty discussions, foolish quarrels, -then grievous wrongs and personal violences, made up the background of -his life, and it is astonishing that the trials of man and husband -did not sap the strength of the artist. You would wonder why he -supported it all so long did you not know that the artistic -temperament finds the most important part of its life in its work, and -falls an easy prey to imposition in most things outside it. Besides, -at first he loved her very sincerely, and she was the mother of his -two daughters. At length, when cartoons were printed ridiculing her -lightness, and her husband for supporting it, and her behaviour was -instrumental in his having to resign his _logement_ in the Louvre, -even Greuze's patience gave way, and in 1785 a deed of separation -enabled him to get rid of her. - -Considering the large sums commanded by his pictures--and it was said -he painted one a day--and the vast sale of the engravings, it is -unlikely, even with a vicious wife's extravagance, Greuze could ever -have known want in the ordinary course of events. But the terrible -days of the Revolution were at hand. Bank after bank failed, and -slowly but surely all his savings had vanished. With the fall of the -monarchy, the annual pension of 1500 livres granted by the King for -thirty-seven years of work in "an art he had exercised with success" -went, and finally he was reduced to what he was producing as a means -of living. But, alas, when from chaos anything like order arose, and -Greuze, now grown old, sent to the Salon of the year VIII. seventeen -works of the kind that had earned for him so much glory in the past, -the new order of things knew him not. The risen David was the god of -the moment, and at each new picture of his a little more scorn fell on -those who had preceded him. - -It was in vain that he wrote to the papers, calling attention, as of -old, to the moral meaning of his work; in vain that he tried to fall -in with new ideas and paint classical scenes like his "Ariadne at -Naxos." Any notice he received was worse than none, and two years -before he died he was cruelly summed up by a critic who wrote: "Greuze -is an old man inspired by Boucher, whom he followed. His colour is not -true, his drawing poor." We hear of his receiving 175 francs for a -picture that would formerly have brought him thousands of livres; we -hear of his wearing shabby frayed clothes he could not afford to -replace. Finally, there are pitiful letters, one asking for an advance -on a picture ordered out of charity, another saying, "I am -seventy-five years old, and have not a single order for a picture. I -have nothing left but my talent and my courage." - -In these days of bitter neglect and dire poverty Greuze's pride stood -him in good stead. He seems to have worried more at the prospect of -leaving his daughters unprovided for than because of his own -privations, and till the last he kept the indomitable spirit that -characterised him. "Who is king to-day?" he would ask sarcastically, -as he lay in bed waiting for the end. - -"I am ready for the journey," he said to his friend Barthelemy, just -before he died. "Good-bye. I shall expect you at my funeral. You will -be all alone there, like the poor man's dog." - -Worn out as much by the heavy weight of a dead reputation as by the -years his robust country constitution enabled him to carry so lightly, -he died on March 21, 1805. The humble funeral, followed by two -persons, would have been tragic in its friendlessness but for the -message of hope written on a wreath of Immortelles placed on his -coffin by a weeping woman closely veiled in black. - -"These flowers, offered by the most grateful of his pupils, are the -emblem of his glory." - - [Illustration: PLATE VIII.--LA LAITIERE - - "La Laitiere," or "The Milkmaid," may perhaps be given as quite - the most representative of Greuze's works. The affected pose and - simpering smile, the unsuitability and over-arrangement of the - dress, are as characteristic of the painter as the perfect grace - of the _ensemble_, the delicious coquetry of the attitude, the - dimpled roundness of the form, and, above all, the sparkle in - the clear eyes and the exquisite bloom of the flesh. The picture - is in the Louvre.] - - - - -CHAPTER VIII - -THE ART OF GREUZE - - -When you think of the important place held by Greuze before the -Revolution in the art of the eighteenth century, above all, when you -reflect on how, being long dead, he still speaks in accents of such -beauty, his pictures, valued at vast sums, finding honoured places in -the art treasure-houses of the world, it comes almost as a shock to -consider how far from being a really great artist he was. - -Absence of sincerity is his chief fault. We read he used to talk much -and very eloquently about studying Nature, and had at one time a habit -of wandering about the streets in search of subjects, that he used -even to make sketches and studies on the spot, but once home and at -work on the composition of the picture, he evidently gave rein to the -libertine imagination we know. In short, if he really Saw, he -Interpreted his own way, and that way resulted in his eliminating all -the Strength and most of the Truth. In the theatrical moral pictures, -for example, it never seems to have occurred to him that each scene -that would tell a story is composed of a whole series of emotions and -gestures, and that to try to fix on one canvas a situation which of -its nature must be mobile and composed of many changes, is to attempt -the false as well as the impossible. Further, even taking him as -Diderot's disciple, "a painter who studied with a literary man," he is -grievously at fault, for the idea of life he conveys is that of a -melodrama in which vice is invariably punished and virtue -rewarded--and life is not thus. - -He took liberties with Nature, too, when he supposedly copied his -homely, familiar scenes direct from life. His peasant women take on -attitudes and smirk as they feed the carefully placed children; no -sweeping or labour of any sort seems to soil the hands of the busiest -housewife; clinging children never succeed in disarranging the -garments or hair of the mothers and nurses. By no stretch of the -imagination could you see his milkmaids delivering milk; his servants -look like ladies "making believe." The attitudes of all his dramatis -personae are always affected, the _naivete_ of his girls and children -mannered, their pathos conventional. Tears never redden their eyes; no -emotion disarranges the kerchief carefully arranged to show more than -is necessary of the throat and breast. And the head of a child of -twelve is often placed on the throat and bosom of a girl of seventeen. - -Except when he touches flesh his colour is rarely good, the scheme too -grey, with undecided reds, dull violets, dirty blues, and muddy -foundations. The draperies are often badly painted, a fault which he -explained by saying he purposely neglected them to give more value to -the painting of the flesh. - -Then there is his monotony. No painter ever copied himself with more -constancy and indefatigability. He has but three or four types, and -these he copies and recopies till you never want to see them again. -The father is always the same venerable man, much too old to be the -father of such young children; the mother does not vary; it is always -the same child a size or two smaller or larger, as the case may be. -Although he nominally gives to his girls and women a profession by -labelling them washerwomen, knitters, philosophers, chesnut-sellers, -kitchen wenches, and so forth, they all have the air of being members -of one family, and striking likenesses at that. And one and all have -the appearance of posing in light opera rather than of playing a part -in life. The peasant mothers of large families have that charming -coquettishness which is the hall-mark of every female he painted. The -picturesque interiors are equally wanting in variety. - -It has been urged by Greuze's admirers that if he had been properly -trained, or had at least been spared those early years in Grandon's -picture-manufactory, had been less inclined to listen to flatteries -and the advice of Diderot, who praised him for "not making his -peasants coarse," he might have overcome his faults and developed the -qualities of a Chardin. The reply to this is that anything touching on -genius cannot be held in check or turned from its own full expansion, -that it is more than likely that Greuze expressed all he had to say, -and himself summed up his own limitations when he said, "Be piquant, -if you cannot be true." - -To turn to the much pleasanter theme of his good qualities, Greuze was -an innovator. He was the first to go to humble life for inspiration, -and he brought into the painting of bourgeois subjects a distinct -character till then seen only in historical scenes. He created in -France the moral type of painting. On Sundays in the Louvre you still -see those who do not understand the beauty of colour, line, and -subtler poetry, and find utility the essential condition of all art, -lingering admiringly before "La Malediction paternelle" and "Le Fils -puni"; and engravings of similar works are still cherished objects in -many a home. - -Valuable, too, is his quality of being documentary. He admirably -interpreted his age with its superficiality running into -theatricalness, its affectations of a morality which worshipped -languor and voluptuousness under the name of "Innocence." - -Last and best of all, there are the heads by which we know him. Merely -clever in all else, Greuze rises above himself when he approaches -these. Nothing could be fresher or more lightly touched than the -little blonde heads of his children, the fresh rose of their cheeks, -the features suggested under the baby fat, the delicacy of the little -unformed members set down with a tenderness that mocks at the -limitations of pigments. The same rare quality of livingness animates -the older heads. The eyes of the young girls have depth and flame, or -their dewy sparkle is subdued in seductive languor. The face almost -seems to tremble with emotion while a gleaming tear, a big wet drop, -escapes from beneath the heavy lids. The nostrils quiver, the breath -comes from between the half-opened mouth, the full lips seem to be -making a movement forward. The white flesh is soft and warm, and rich -life pulses delicately under the gauze-veiled bosom. - -In short, mediocre in all other branches of painting, and affected and -faulty at his best, in this exquisite series Greuze not only proves -that he possessed a very personal and poetic vision of his own, but -that he had a glint of that "divine spark" which sets technique at -naught, and results in the instinctive work of the inspired artist. - - -The plates are printed by BEMROSE & SONS, LTD., Derby and London - -The text at the BALLANTYNE PRESS, Edinburgh - - - -***END OF THE PROJECT GUTENBERG EBOOK GREUZE*** - - -******* This file should be named 42140.txt or 42140.zip ******* - - -This and all associated files of various formats will be found in: -http://www.gutenberg.org/dirs/4/2/1/4/42140 - - - -Updated editions will replace the previous one--the old editions -will be renamed. - -Creating the works from public domain print editions means that no -one owns a United States copyright in these works, so the Foundation -(and you!) can copy and distribute it in the United States without -permission and without paying copyright royalties. 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