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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..27b7089 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #69226 (https://www.gutenberg.org/ebooks/69226) diff --git a/old/69226-0.txt b/old/69226-0.txt deleted file mode 100644 index 964f935..0000000 --- a/old/69226-0.txt +++ /dev/null @@ -1,2109 +0,0 @@ -The Project Gutenberg eBook of Greuze, by Harold Armitage - -This eBook is for the use of anyone anywhere in the United States and -most other parts of the world at no cost and with almost no restrictions -whatsoever. 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. If you are not located in the United States, you -will have to check the laws of the country where you are located before -using this eBook. - -Title: Greuze - -Author: Harold Armitage - -Release Date: October 24, 2022 [eBook #69226] - -Language: English - -Produced by: Al Haines - -*** START OF THE PROJECT GUTENBERG EBOOK GREUZE *** - - - - - - - -[Frontispiece: INNOCENCE.] - - - - - Bell's Miniature Series of Painters - - - GREUZE - - BY - - HAROLD ARMITAGE - - - - LONDON - GEORGE BELL & SONS - 1902 - - - - -{v} - -PREFACE - -Although Paris, during the eighteenth century, became the home of -artists of more subtle genius than Greuze, yet the pictures of no -other painter of that alluring period have become so familiar to the -people of our own country. Engravings, etchings, photographs, and -reproductions in colour of the works of Greuze abound on every hand; -but many have admired the art who have not known so much as the name -of the artist, and more have known his name, and have still been far -from any knowledge of the story of his life. - -Indeed, though brief narrations of what Greuze did and suffered in -this world have appeared in volumes that have contained also the -biographies of other artists, no book, in this country, has been -devoted solely to an account of his romantic career. Moreover, the -addition of twenty-one of the works of Greuze to the possessions of -the British nation by the bequest of the Wallace Collection, and the -exhibition of nine more at the Art Gallery of the Corporation of -London in 1902, must have awakened curiosity concerning a painter -whose peculiar place in the evolution of art in France, {vi} whose -character, and whose eventful life, make his history interesting -alike to those who delight in pictures and to those who read -biography for its own sake. - -The author hopes that this volume will make more available than it -has hitherto been an account of the principal happenings in the story -of an artist with whose charming pictures the world has been for many -years so intimately acquainted. - - - - -{vii} - -TABLE OF CONTENTS - - -Early Years - -Fame in Paris - -Poverty and Death - -Romance and Tragedy - -Personal Characteristics - -Characteristics of his Work - -Position in French Art - -Our Illustrations - -The Chief Works of Greuze - - - - -{viii} - -LIST OF ILLUSTRATIONS - - -Innocence ... Frontispiece - -The Village Bride (L'Accordée de Village) - -The Pretty Laundress (La Belle Blanchisseuse) - -The Listening Girl - -The Kiss (Le Baiser Jeté) - -Portrait of Robespierre - -The Broken Pitcher (La Cruche Cassée) - -The Milkmaid (La Laitière) - - - - -{1} - -LIFE OF GREUZE - - - -EARLY YEARS - -The way of life in which Jean Baptiste Greuze spent his childhood and -his youth was not different from that of most other artists. His -parents were obscure people, who had no riches; and his father -opposed his desire to be a painter. - -For many years, even his own countrymen who wrote of Greuze, gave the -date of his birth any time between 1725 and 1732; but it is known now -that the accurate date is August 21, 1725, the one which has since -been inscribed on the modest house in Tournus, near Mâcon, where his -father and mother were living when the artist was born. - -By the time that Greuze was eight years of age he had manifested a -strong inclination towards the use of the pencil. Drawing became his -chief amusement; and he employed, indifferently, stray pieces of -paper, or whitewashed walls, for the display of his draughtsmanship. -His father, as the way of fathers is, had planned for his son a -position more exalted than his own in an occupation with which he -himself was connected. The elder Greuze was {2} a kind of provincial -builder, contractor, and slater; and he wished the younger Greuze to -become an architect. - -Although it is not apparent why an architect, who to-day undergoes -severe discipline in drawing, should be the worse because he had a -propensity for sketching, it has yet been stated by some of the -biographers of Greuze that the father used persuasions and threats to -prevent the son from making drawings, and that the boy was thereby -driven to the device of exercising his skill surreptitiously in his -bedroom. - -But a day came when the father saw the folly of his continued -resistance. Mistaking for an engraving a head of St. James which -his son had copied with a pen, that he might give it to his father as -a birthday present, the elder Greuze was so much impressed by the -skill of the lad that he thought it better after all to allow him to -have his own way in the choice of a profession; and Greuze therefore -became the pupil of Grandon, of Lyons, a portrait painter. - -In Grandon's constitution the artist was subservient to the man of -affairs; and De Goncourt has written that his studio was a veritable -picture factory. Greuze, however, had more elevated notions of the -vocation of an artist than to remain content in marking time for the -rest of his life as a sort of inglorious piece-worker, and his -ambition and self-confidence urged him to Paris, where he believed -his powers would win for him both fame and fortune. - -{3} - -In Paris Greuze worked unobtrusively, often in solitude, and earned a -precarious livelihood, possibly not without invoking the aid of some -of the methods of the master whom he had left in Lyons. He was not -immediately successful, and his chance of triumphing over the -obstacles which beset a raw youth from the provinces, seeking fame in -Paris, seemed to be but a remote one. Yet Pigalle, the king's -sculptor, believing that Greuze had the qualities which win success -ultimately, encouraged the painter to persevere. - -Greuze had, or fancied he had, to contend against the hostility and -the jealousy of the other artists. At the Academy, where he went to -draw, he received less consideration than his ability merited, and he -complained eventually to the artist Silvestre, to whom also he showed -some specimens of his work. Silvestre, admiring his skill, wished to -have his portrait painted by Greuze, and as Silvestre was a man of -some influence, this commission was the means of making Greuze's name -more widely known. About this time, too, Greuze attracted attention -by one of his representations of scenes from the life of humbler folk -than were usually seen in pictures during that period. This painting -was _L'Aveugle Trompé_, and Greuze was made _agréé_ of the Academy on -June 28, 1755, either by the good offices of Silvestre or of Pigalle, -and thus acquired the right to exhibit his pictures at the annual -exhibitions. - - - - -{4} - -FAME IN PARIS - -Popular as was this picture of _L'Aveugle Trompé_, its success was -eclipsed by the fame of _Un Père de Famille qui lit la Bible à ses -Enfants_, a work which advanced Greuze to the front rank of the -leading painters of that time. Even when one remembers that this is -a better picture than many which he painted afterwards, it is yet not -easy to-day to understand the enthusiasm that it caused when it was -first exhibited. One reason for our difficulty is that we do not -feel the force of its novelty as the people of Paris felt it when -they had become satiated with the painted pastorals, allegories, and -coquetries of that voluptuous era. - -The picture, pleasing as a whole, contains indications of the -tendency towards artificiality which afterwards became so marked in -many of Greuze's melodramatic paintings. But for the rest the scene -is nature in a mirror compared with other canvases of the same -century. The painter has represented the interior of a farm kitchen, -and a devout and venerable farmer reads, from a large Bible, some -chapters of the New Testament to the other members of the household. -All these, from the grandmother to the child of three years, are -picturesque and pleasing, and they are happily placed in the picture. -This work was bought by Monsieur de la Live de Jully, a rich -connoisseur, who invited artists and others interested in painting to -go to his house, to see {5} the new kind of picture which Greuze had -introduced into Paris. - -Even from artists and critics the picture won a generous meed of -praise; but, containing as it does all the elements which still -appeal to "the man in the street," it was not until 1755, when it was -exhibited at the Salon, that it achieved its greatest triumph. As -long as the exhibition was open the people crowded round this pious -presentment of humble life which had strayed so unaccountably amongst -the pictures of the Court painters--pictures which for many years, as -we shall see, had been free from the suspicion of any odour of -sanctity. - -"Whence comes he? Whose pupil is he?" asked the bewildered -Academicians, who, in the manner of Academicians, could not believe -it possible for an artist outside their circle to attain either -excellence or fame. The answer came, "He is a pupil of Diderot." - -Although this answer did not contain the whole truth, it was yet -significant of a change that was taking place in the aspirations of -many French people. Diderot, a clever and copious man of letters, -had commenced to write about pictures, and he was now advocating that -art should be devoted to the cause of morality. Greuze's picture -happening to coincide with his own idea, he at once wrote an -enthusiastic, one may almost say a gushing, eulogy of this and other -similar works of the artist; and in that way he helped to swell the -renown which Greuze had now achieved. - -{6} - -Meanwhile, the artist, with that perversity which one has noted in -the early life of other famous men, must now leave his own path to go -to study art in Italy. Hundreds of years have been needed to -convince painters that the Italian artists wrought great pictures -because they expressed their own ideas of beauty, just as away from -Italy Rembrandt "saw picturesque grandeur and noble dignity in the -Jews' quarter of Amsterdam, and lamented not that its inhabitants -were not Greeks." "I do not study the ancients," wrote Chantrey, -heedless of syntax, "but I study where the ancients studied--nature." - -The ambition of Greuze at this time was to belong to that singularly -dreary and barren class of painters known as historical painters; and -he wasted some years in the pursuit of a project which, in the end, -brought him one of the most crushing humiliations of his whole life. -"Woe to the artist," Goethe has written, "who leaves his hut to -squander himself in academic halls of state!" and this woe fell upon -Greuze in exceeding bitterness when his first historical picture was -exhibited. But that incident belongs to the year 1769, and it was at -the end of the year 1755, when he was thirty years of age, that he -went to Italy. - -Almost the only effect of his stay of two years in Italy was that for -some time the figures in his pictures were arrayed in the -"resplendent small clothes" of the people of that country, and had -also Italian names. The {7} painter who did really influence Greuze -was Rubens, who was not an Italian, and whose pictures, no further -away than the Luxembourg in Paris, it was in later years one of the -great delights of his life to study. - -In the list of Greuze's works for the year 1757 we notice amongst -some pictures of the _genre_ type--the representation, that is, of -the life of the humble--a number of paintings which have Italian -names; and then there are portraits, and the first of that long -series of heads of girls and boys whose fame has outlasted the fame -of all his more pretentious works. - -Greuze's industry was now very great, and in 1761 there was exhibited -one more of his greater triumphs, _Un Mariage à l'instant où le Père -de l'accordée delivre la dot à son gendre_, a picture which created -another sensation in Paris. It was unfinished when the Salon of that -year was opened, and was hung only during the last few days of the -exhibition. But all through these days people gathered round it with -the same avidity with which they had elbowed one another for a peep -at _Un Père de Famille qui lit la Bible à ses Enfants_. - -During the next two years Greuze painted portraits and heads of -children, and the year 1769 is notable because of his unhappy attempt -to become a member of the Academy as an historical painter. He had, -as we have seen, been made _agréé_, but he had not yet complied with -the rule that required each member to provide the Academy with one of -his pictures. {8} The picture he now submitted bore the sufficiently -comprehensive title of _Septime-Sévère reprochant à son fils -Caracalla d'avoir attenté à sa vie dans les défilés d'Ecosse et lui -disant:--Si tu désires ma mort, ordonne à Papinien de me la donner_. -The members of the Academy assembled, and the picture was placed upon -an easel that they might examine it, while Greuze awaited their -verdict in another room. In an hour the artist was admitted. - -"Monsieur Greuze," said the director, "the Academy receives you; come -forward and take the oath." When this ceremony had been completed -the director continued, "You have been received; but it is as a -painter of _genre_. The Academy has considered your former -productions, which are excellent, but it has closed its eyes upon -this picture, which is worthy neither of the Academy nor of you." - -Greuze was astounded and disappointed; and he commenced to stammer -out a confused defence of the picture, the worst probably that he -ever painted. Then Lagrenée, taking a pencil from one of his -pockets, pointed out some of the mistakes in drawing on the canvas. -Greuze, cut to the heart, went away, and continued a defence of his -picture in the newspapers. - -One of the letters which Greuze sent to the public journals is an -interesting revelation of how little of what is understood now as art -went to the making of an historical painting. Greuze wrote: - -{9} - -"In the continuation of your comments upon the pictures exhibited at -the Salon in the last number of your journal you have been unjust -towards me upon two points; and as an honourable man you would no -doubt wish to remove these injustices in your next issue. In the -first place, instead of treating me as you have treated the other -artists, my confrères, to whom you have offered, in a few lines, the -tribute of commendation which they have merited, you have gone out of -your way to discuss, with the public, how, according to your opinion, -Poussin would have painted the same subject. I do not doubt, sir, -that Poussin, of the same subject, would have made a sublime work; -but to a certainty he would have painted a very different picture -from the one which you have imagined. I must ask you to believe that -I have studied, as carefully as you have been able to study, the -works of that great man, and I have, above all, sought to acquire the -art of endowing my characters with dramatic expression. You have -carried your views a long way, it is true, inasmuch as you have -remarked that Poussin would have put the clasps of the cloaks upon -the right side, while I have put that of the robe of Caracalla upon -the left--surely a very grave error! But I do not surrender so -easily concerning the character which you pretend that Poussin would -have given to the Emperor. All the world knows that Severus was the -most passionate, the most violent of men, and you would wish {10} -that when he says to his son, 'If thou desirest my death, order -Papinian to kill me with that sword,' he should, in my picture, have -an air as calm and as tranquil as Solomon had in similar -circumstances. I ask all sensible men to judge whether that was or -was not the expression which should have been put on the face of that -redoubtable Emperor. - -"Another injustice, much greater still, is that, after you had -endeavoured to discover how Poussin would have treated this subject, -you have assumed that I had the idea to paint Geta, the brother of -Caracalla, in the personage that I have placed behind Papinian. -First of all, Geta was not present at that scene; it was Castor the -chamberlain, one of the most faithful servants of Severus. In the -second place, in supposing gratuitously, as you have done, that I had -the design to represent Geta, you would have been right to have -reproached me if I had painted him too old, because he was the -younger brother of Caracalla. Thirdly, I should still have been -wrong if I had not painted him in his armour. You see, sir, what -absurdities you have attributed to me in order that you might indulge -your love of criticism. I believe you to be a man too honest to -refuse me the satisfaction of making this letter public in your -journal. It is due to me to be allowed to explain my own picture and -to correct the interpretation which you have given to it without -consulting me and without consulting history. - -{11} - -"Do you wish to discourage an artist who sacrifices all to merit the -favours with which the public has so far honoured him? Why, upon my -first essay, attack me so openly? This is to me a new kind of -painting, but it is one in which I flatter myself that I shall become -perfect as time goes on. Why compare me alone, amongst all my -confrères, to the most learned painter of the French school? If you -have done this to indulge me, you have not done it happily, for I can -find nothing in all that article but a marked design to annoy me. -Nor shall I be able to recognise any other than that design--a most -unworthy one in a writer who ought to be impartial--until I have seen -your willingness to print my letter in your journal." - -It will be noticed that in this letter there is not a single word -written about art. All the discussion turns upon archæological -details. Poussin is not mentioned as an artist, but merely as a -"learned painter," and we shall see, when we discuss the position -held by Greuze amongst French artists, that scholars, excellent in -their own place, came at length to push the painters "from their -stools," with very disastrous results for the art of France. - -Even Diderot turned upon this picture and condemned it; for he and -his followers now saw that after all Greuze was not the painter of -morality for whom they had been seeking. Greuze, it appeared, was -ready "to pay homage to traditional conventions," and to become a -{12} backslider from the ideals which they had cherished. After this -scene Greuze refused to exhibit any of his pictures at the annual -exhibitions of the Academy until the Revolution swept away -restrictions, and opened the doors of the Salon to all artists. He -also shook the dust of Paris from his feet, and lived for a time in -Anjou, where he painted a number of pictures, including that portrait -of Madame de Porcin which is to-day one of the treasures of the -museum of Angers. - -When Greuze returned to Paris his repute was greater than it had ever -been before. It was now the fashion to visit his studio, and royal -princes, the nobility, the Emperor Joseph the Second and other -foreign notabilities came to see _La Cruche Cassée_, _La Malédiction -Paternelle_, _La Dame de Charité_, _Le Fils Puni_, and other -paintings which happened at that time to be still in his possession. -He amassed money notwithstanding the great losses caused by his -wife's lawless extravagance. High prices were paid for his -paintings, and the engravers Massard, Gaillard, Levasseur and Flipart -were kept busy making plates, the impressions from which were in the -houses of Paris, of the provinces, and of foreign countries. -Moreover, curious dilettanti, people of the kind whose chief regard -is for technical and accidental states of the plates, began to -collect these engravings, and to compete with one another to possess -them. One engraver, Jean Georges Wille, had always been the staunch -friend of {13} Greuze; and his son, Pierre Alexandre, became a pupil -in Greuze's studio. At a time when the artist had been less known, -it was Wille who disseminated a knowledge of his works, not only in -France, but also in Germany. - - - - -POVERTY AND DEATH - -Suddenly, amidst all the splendour of his great reputation, the -Revolution smote Paris, and Greuze was bereaved of all his glory. -The pension he had received from the King ceased with the authority -of the King. The attention of the people was withdrawn from him, and -such regard as was paid to pictures during this distracted epoch went -to the paintings of David, who was both painter and politician. -Greuze's ironical inquiry each morning, "Who is King to-day, then?" -is significant of the instability of the time. No more the elite of -Paris crowded round his easel; but one of his two daughters still -remained with him; and a number of his scholars, especially his girl -pupils, were faithful to the end. - -"You have a family and you have talent, young man," he once said to -Prudhon; "that is enough in these days to bring about one's death by -starvation. Look at my cuffs," continued the old man bitterly; and -then Greuze would show him his torn shirt-sleeves, "for even he could -no longer find means of getting on in the new order of things." - -{14} - -How poor he was may be inferred from his letter to the Minister of -the Interior: "The picture which I am painting for the government is -but half finished. The situation in which I find myself has forced -me to ask you to pay me part of the money in advance, so that I may -be enabled to finish the work. I have been honoured by your sympathy -in all my misfortunes; I have lost everything but my talent and my -courage. I am seventy-five years of age, and have not a single order -for a picture; indeed, this is the most painful moment of my life. -You have a kind heart, and I flatter myself that you will relieve me -in accordance with the urgency of my need." - -"Well, Greuze," said his friend Barthélemy one day to him, when -sitting at his bedside. - -"Well, my friend," replied the artist, "I am dying.... I am -commencing to know no longer what I am saying; but patience! yet a -little while and I shall say nothing more." - -"_Allons, mon ami_--courage, one doesn't die on the first day of -spring." - -"Ah! my God, since the Sans-culottides I have taken no heed of the -seasons. Are we in _Ventóse_ or in _Germinal_? Is to-day Saint -_Pissenlit_ or _Saint Asperge_?" - -"What matters! See how beautifully the sun shines." - -"I am quite at ease for my journey. Adieu, Barthelemy. I await you -at my burial. You will be all alone like the poor man's dog." - -{15} - -So in poverty and neglect the artist died. There is a tradition that -when Napoleon heard of it, he exclaimed, "Dead! poor and neglected! -Why did he not speak? I would have given him a pitcher made of -Sèvres china, filled to the brim with gold, for every copy of his -_Broken Pitcher_." - -At the funeral, when the coffin rested in the church, a lady, whose -emotion could not be hidden, even by the thick veil which she wore, -advanced to the coffin, and placed upon it a bouquet of -_immortelles_. She then withdrew again to an obscure part of the -church. Tied to the bouquet was discovered a piece of paper which -bore this inscription: "These flowers, offered by the most grateful -of his pupils, are the emblem of his glory." - -A newspaper of the time gave the name of the young lady as -Mademoiselle Mayer, the artist who, before she committed suicide, did -so much to cheer the desolate life of Prudhon, and who now occupies -the same tomb as Prudhon in the cemetery of Père la Chaise in Paris. -Madame de Valory, however, the god-daughter of Greuze, has stated -that the woman was Madame Jubot, another of the pupils of Greuze. - -Tournus neglected him in his life, but to-day is proud of its -illustrious son. A monument of the artist has been erected in the -town, some of his pictures hang in the church and in the museum, and -a tablet marks the house in which he was born. - - - - -{16} - -ROMANCE AND TRAGEDY - -It was peculiarly fitting that a lady should deposit upon the coffin -of Greuze a bouquet of _immortelles_, for his romantic and chivalrous -regard for women, from a very early period in his career, had a great -influence upon his life and work. Even as a pupil of Grandon, Greuze -fell in love with his master's wife, a woman of very great beauty and -charm. He never told his love; but one day Grandon's daughter -surprised Greuze on his knees in the studio. She asked him what he -was doing there, and he replied that he was looking for something he -had lost. But she had seen that he had one of her mother's shoes, -and that he was covering it with ardent kisses. - -Exceptionally romantic, too, was his love for the beautiful Lætitia -during the two years that he spent in Italy. Greuze had carried with -him to that country letters of introduction to the Duc del Or...., by -whom he had been received with great cordiality. The Duke's wife had -died, but he had a charming daughter, Lætitia, to whom it was -arranged that Greuze should give lessons in painting. Greuze was a -man to whom women and girls were instinctively attracted, and Lætitia -fell in love with him, with all the violence and passion of the -Italian temperament. Her beauty and her charming manners had also -fascinated Greuze; but he was very much disconcerted when he found -that she loved him, because he was conscious {17} of the gulf which -birth and fortune had placed between them. He, therefore, rigorously -repressed his desire to see her, and forced himself to stay away from -the palace. - -Meanwhile, his doleful demeanour, innocent face, and light curls -obtained for him, from Fragonard and other French students, who were -in Italy at the time, the name of the love-sick cherub. - -Greuze at length heard that Lætitia was ill, and that no one could -discover the cause or nature of her malady. He loitered near her -home to try to obtain tidings of her, and one day he encountered the -Duke, who took him to the palace to show him two pictures by Titian, -which he had recently purchased. - -"My daughter," he said, "has promised herself the pleasure of copying -them when her health has been restored. I hope that you will come to -superintend her work. That is what she wishes." - -The Duke further asked Greuze to make a copy of one of the pictures -as soon as he could, because he wished to send the copy away as a -present. Greuze could not refuse; and thus he was soon installed in -the palace again, working there day by day. Each morning he was -informed, by an old retainer of the family, who had been Lætitia's -nurse, how the young lady fared. The old nurse knew the two were in -love with each other. Indeed, a little later, she arranged a secret -interview between them, {18} and Greuze found his idol pale and thin, -but not less beautiful than before. - -At first neither of them could speak; but, encouraged by the nurse, -Lætitia blurted out: - -"Monsieur Greuze, I love you. Tell me frankly, do you love me?" - -Greuze was too happy to speak, and Lætitia, mistaking the cause of -his silence, hid her face in her hands, and burst into tears. - -This melted Greuze to the uttermost. He threw himself at her feet, -and then, in the intervals between his impetuous kisses, he poured -out impassioned declarations of his love. - -"I can now be happy," cried Lætitia, clapping her hands, and behaving -like a gladdened child. She ran and embraced her nurse, and again -and again gave expression to her ecstasy. "Listen to me, you two; -here is my scheme. I love Greuze, and I will marry him." - -"My dear child, you dream," replied the nurse. "What about your -father?" - -"My nurse, you wish to say that my father will not consent. Well I -know that. He wishes me to marry his eternal Casa--the oldest and -the ugliest of men; or the young Count Palleri, whom I do not know, -nor ever wish to know. I am rich through my mother, and I give my -fortune to Greuze, whom I marry. He takes me to France, and you will -follow us there." - -And intoxicated with the future which she had arranged, she detailed, -with a delicious {19} volubility, the life that they would lead -together in Paris. Greuze would continue to paint. He would become -another Titian, and in the end her father would be proud to have such -a son-in-law. - -When Greuze next saw Lætitia he had had time to review all the -circumstances, and he appeared with a woeful face. Lætitia derided -him, and then tried to coax him tenderly out of his gloomy mood. At -last, becoming angry, she called him perfidious, and reproached him -that he had pretended to love her that he might the more easily break -her heart. She cried and tore her hair, and Greuze fell at her feet, -and promised to obey her blindly. - -But as soon as he had left the palace he saw the folly of it all. He -saw the despair of her father, heard his maledictions, and felt his -vengeance, and all the misfortune which would come upon their love. -He then decided that he would not relent again, nor see Lætitia any -more. As an excuse for not visiting her he pretended that he was -ill, and this simulated illness became real. For three months he was -ailing, and part of the time he was consumed by fever and delirium. - -At the end of his illness Lætitia was still eager to marry him; but -with extraordinary firmness of will he resisted the temptation and -fled from Italy, carrying with him secretly a copy of the portrait of -Lætitia, which he had painted for her father. - -Many years later, when Greuze was once {20} more a poor man, he wrote -in reply to the Grand Duchess of Russia, who had offered ten thousand -livres for the portrait of Lætitia, "If you were to give me all the -riches of the Empire of Russia they would not pay for that picture," -and probably in his old age he read yet again the letter he had -received from Lætitia, eight years after he quitted Rome. "Yes, my -dear Greuze, your old pupil is now a good mother; I have five -charming children, whom I adore. My eldest daughter is worthy to be -offered as a subject for your happy talent; she is beautiful as an -angel. Ask the Prince d'Este. My husband almost convinces me that I -continue to be young and pretty, so much does he still love me. As I -have told you, this happiness is due to you, and I love you for -having prevented me from loving you." - -Greuze had scarcely returned from Italy when he was attracted by -Mademoiselle Anne-Gabrielle Babuty, who was in charge of a bookshop -in Paris. Diderot, who had himself been very much in love with her, -has described her as a smart dashing young woman, of upright -carriage, and with a complexion of lilies and roses. De Goncourt -also speaks of her numerous charms. She had a pretty face, which -Greuze seemed to be never tired of painting. It was the smooth face -of a child, and had an attractive roundness, and a soft, tender, -peach-like delicate complexion. The expression was simple and -unaffected, and there was enough of piquancy to animate a face {21} -which, for all its manifold good qualities, would else have had a -tendency towards insipidity. Her eyebrows were very much arched, and -this circumstance lent to her face its expression of naïveté. Her -eyelashes were long, and when her eyes were downcast they gave a -charming look to her face, resting like a caress upon her cheeks. -Her little nose, the nose of a child, was exquisitely formed, and -seemed to indicate an alert and lively character, and her rosy lips -were also finely shaped, and particularly alluring. - -Her portrait appears often in the paintings of Greuze in _La -Philosophie Endormie_, _La Mère Bien Aimée_, _La Voluptueuse_, and in -many others. - -The story of their first encounter, and of their subsequent -relations, is best told by a few extracts from a document which -Greuze had cause to execute some years afterwards. He wrote: - -"A few days after having arrived from Rome--I know not by what -fatality--I passed along the _Rue Saint Jacques_, and saw in her shop -Mademoiselle Babuty, who was the daughter of a bookseller. - -"I was struck with admiration, for she had a very beautiful figure; -and that I might have a better chance of seeing her I bought a number -of books. Her face was without character, and was indeed rather -sheep-like. I paid her as many compliments as she could wish, and -she knew who I was, for my reputation had already commenced, and I -had been recognised by the Academy. - -{22} - -"She was then thirty and some odd years of age, and therefore in -danger of remaining single all her life. She employed all the -cajoleries that were possible to attach me to her, and to cause me to -come again, and I continued to pay her visits for about a month. One -afternoon I found her more animated than usual. She took one of my -hands, and, regarding me with a very passionate look, she said, -'Monsieur Greuze, would you marry me if I were to consent?' - -"I avow I was confounded by such a question. I said to her, -'Mademoiselle, would not one be too happy to pass his life with a -woman so lovable as you are?' - -"Of course, this was but lightly said, yet that did not prevent her -from taking action at once; for, upon the very next morning, she went -with her mother to the Quai des Orfèvres, and there bought, at the -shop of Monsieur Strass, earrings of false diamonds, and next day she -did not hesitate to wear these in her ears. - -"As she lived in a shop, the neighbours were not slow in paying her -compliments, and in asking her who had presented these jewels to her. - -"With downcast eyes she answered softly, 'It is Monsieur Greuze who -has given them to me.' - -"'You are married, then?' - -"'Ah, no;' but this was said in a way that implied that secretly she -had married me. My friends began at once to congratulate me, but I -assured them there was nothing more false than {23} the news they had -heard, and that I had not money enough to enable me to marry. - -"Outraged at such effrontery, I did not return to Mademoiselle Babuty -any more. I lived at that time in _le faubourg Saint Germain_, _rue -du Petit Lion_, in an hotel of furnished rooms called _l'Hôtel des -Vignes_. Three days passed, during which I heard no more of the -matter, and I was already thinking of other affairs, when one fine -day she came knocking at my door accompanied by her little servant -girl. I took no notice of the knocks, but she knew I was there, and -she attacked my door with her hands and feet like a veritable fury. -Then, to prevent a public scandal, I opened my door, and she threw -herself into my room all in tears. She said to me: - -"'I have done wrong, Monsieur Greuze, but it is love which has misled -me. It is the attachment I have for you which has made me resort to -such a stratagem. My life is in your hands.' Then she flung herself -at my knees, and said she would not rise again until I had promised -that I would marry her. She took my two hands in hers, and they were -wet with tears. I pitied her, and I promised all she wished. - -"We were not married until two years afterwards, in the parish of -Saint Medard--which was not her parish--for fear of the pleasantries -that would have been made, seeing that she had said that we were -already married. I commenced housekeeping with twenty-six livres the -day after our wedding." - -{24} - -During the first seven years of their married life they had three -children. One of the children died, leaving the artist and his wife -with two daughters. - -Concerning these seven years no complaint is made about the conduct -of Madame Greuze; but from that time it would be difficult to find a -more unhappy household than that of Greuze. His wife was a continual -torment, hindering him in his work, putting his life on a lower -level, and making his home intolerable. Diderot even blamed her for -the infelicity of his Academy picture, and Greuze himself suspected -her of having poisoned the minds of the members of the Academy -against him. - -Her faithlessness, gross as it was, received further aggravation from -the insolent openness in which it manifested itself. She received -men of the most disreputable character at her house, caring naught -whether her husband knew or not; and she polluted the morals of his -boy pupils. Her children she neglected and put into a convent, one -for eleven years, and the other for twelve. "It is a year and seven -days since mamma saw us," said one of the girls sadly one day, when -their father had gone to visit them. - -Many a time Greuze went in bodily fear of her violence. When she -asked for the help of a servant, and Greuze suggested that she should -wait a little longer, until he could pay the wages of one, she dealt -him, with all her might, a blow upon his face. She squandered in all -{25} manner of foolish extravagance the large fortune which Greuze -received from the sale of the engravings from his works; and then she -destroyed his account books, that the extent of her defalcations -might never be known. Her household duties were abandoned, and -Greuze nearly died when one day he warmed for himself some food in a -saucepan in which verdigris had been suffered to accumulate. - -At last her violence, her rank immorality, her extravagance and her -neglect could be borne no longer, and in despair Greuze obtained from -the magistrates the legal right to live apart from his wife. - - - - -PERSONAL CHARACTERISTICS - -The sadness of the story of Greuze's married life is all the more -touching because he had the qualities of a true and tender husband. -It is indeed not less than a tragedy that, constituted as he was, he -should have been denied the companionship of a woman worthy of the -great affection of which his nature was capable. Often querulous and -brusque with men, his manner with women was gracious and respectful, -his politeness the true politeness of the kind heart that desires the -well-being of others. As we have seen, his relations with Lætitia -were governed by a most chivalrous ideal of conduct, an ideal which -seems quite quixotic when we think of the period in which he lived. -As Lætitia had been attracted towards him, so {26} also were most of -the women who moved in his social sphere; and, eager as he was for -praise from men, it came with added sweetness from the lips of women. -It is not surprising that he painted women with such perfect charm, -because his heart was in the work. - -Greuze, though only of middle height, had yet an impressive -personality; and people of any discernment saw at a glance that he -was a man of distinction. His head was well formed, his forehead -high, his eyes large and bright, and of a good shape, and his -features indicated genius, candour, and an energetic will. - -His conversation was sincere and elevated, and often piquant and -animated. He sometimes showed signs of nervousness and irritability, -and became quite fiery when his work was criticised, or when he -thought he was not receiving the treatment which his vanity prompted -him to think he ought to receive. - -This self-esteem, always abnormal, had been increased by his early -success with _Un Père de Famille qui lit la Bible à ses Enfants_. -"Our painter is a little vain," wrote Diderot in 1765, "but his -vanity is that of a child;" and it was generally recognised that -there was very much of naïveté in his conceit, and that his good -qualities compensated for any displays of childish self-sufficiency. - -At times his talk became inflated and bombastic. "Oh, sir!" he would -say, concerning his own picture, "here is a work which {27} -astonishes even me who painted it. I cannot understand how a man -can, with a few pounded earths, animate a canvas in this way," and no -ridicule could cure him of this flamboyant manner. - -"That is beautiful," said Monsieur de Marigny, standing before -Greuze's painting of _La Pleureuse_. - -"Sir, I know it; moreover, people praise me, and yet I am in need of -more commissions." - -"It is because you have a host of enemies," said Vernet, who was -present at the time, "and amongst those enemies is one who appears to -love you to the verge of folly, but he will nevertheless ruin you." - -"And who is that?" - -"It is yourself." - -Greuze's irritability sometimes revealed itself in downright -rudeness. Natoire, the professor at the Academy, looking through a -portfolio of drawings of some other artist, questioned the accuracy -of one of the figures, whereupon Greuze turned upon him and said: - -"Sir, you would be happy if you could draw one as well." - -The Dauphin, when Greuze had painted his portrait, wishing to show -how pleased he was with Greuze's work, paid him the high compliment -of suggesting that he should now paint the portrait of the Dauphine, -who was present. Greuze looked at her face, and alluding to the -thick covering of rouge which appeared upon {28} her cheeks, asked to -be excused, for he could not paint such a face as that. No wonder -that Mariette should say that Greuze had the manners of a cobbler. - -There are also hints that Greuze was sometimes jealous. In _Un Homme -d'Autrefois_, by the Marquis Costa de Beauregard, it has been -narrated that Henry Costa, one of the author's ancestors, wishing to -be an artist, went at the age of fourteen years to Paris. He was -received with great kindness by Greuze, and the enthusiastic boy said -"_il parle comme un ange_," but in an article contributed by Augustus -Mansion to _Temple Bay_ we have read, "Another chagrin followed. -Greuze became jealous of his prodigy, tried to shake him off, ignored -letters, and declined to permit himself to be seen at work. It was -an unkindness keenly felt by the boy, who was learning every day a -little more of the world: '_Quelle froideur et quelle mystère!_' he -says. 'Greuze told me he could not communicate certain processes he -was employing, that what was useful for him might not be the same for -me. I cannot understand how a fine genius can be capable of such -meanness.'" - -Yet one cannot estimate the whole character of Greuze by these -isolated incidents. Like other people, he said and did different -things when he was in different moods, and we know that when the -artists of Paris held aloof from Prudhon, whose poverty had compelled -him to "draw vignettes on letter sheets for the {29} government -offices, business cards for tradesmen, and even little pictures for -bon-bonnières... Greuze alone treated him amicably." - -Greuze's industry was abnormal. As a worker he seemed indefatigable. -He was absorbed in his art, putting all his soul and brains into his -pictures, and seeming to live for his work, and for no other thing. - - - - -{30} - -CHARACTERISTICS OF HIS WORK - -There is so little variety in the works of Greuze that if one divides -them into two main classes, nearly all his pictures, with the -exception of the portraits, may be placed in one or other of these -two divisions. In one class there are his _genre_ pictures, -containing as a rule many figures; and then, better known than these, -and of greater merit, are his single heads of girls and boys, which -constitute the other principal category. - -His first great success was achieved with his picture of the _genre_ -class, _Un Père de Famille qui lit la Bible à ses Enfants_, and this -book contains an illustration from another popular work of this sort -called _L'Accordée de Village_. A section of this volume explains -the relative position of Greuze in the history of art, and reasons -are given which account for the great acclamation with which this and -similar works were received in Paris when first they were exhibited. -Meanwhile we will consider the intrinsic merits of these pictures -without reference to the novelty of their appearance--an appearance -in which a number of adventitious circumstances are involved. - -[Illustration: THE VILLAGE BRIDE. (L'Accordée de Village.)] - -{31} - -In painting pictures of scenes in the life of humble people, Greuze -had an aim other than the representation of some beauty of nature by -which his own emotions had been profoundly stirred. He wished to -play the schoolmaster, and the history of painting has demonstrated -that, whatever may be the immediate effect of pictures that have been -wrought in this mood, they have never been the pictures that have -endured for all time the test of a comparison with the severest -standards of excellence in art, and they have invariably sunk into -their own place--amongst pictures not in the first class. - -Again and again it has been shown that a man cannot be a preacher or -a story-writer on canvas and at the same time an artist of the first -rank. The reason for this is that it is not the function of -pictorial art to tell tales, nor to preach sermons, though artists -can do both, and yet be very popular. - -"Sir," said Dr. Johnson, "a woman's preaching is like a dog's walking -on his hind legs: it is not done well; but you are surprised to find -it done at all." And one may apply the same remark to the -pulpiteering of the painter with much less risk of evoking a protest. - -During recent years this truth has begun to receive recognition. -Théophile Gautier has written strenuously against story-telling -pictures, and Whistler has argued that Art "is, withal, selfishly -occupied with her own perfection only--having no desire to -teach--seeking {32} and finding the beautiful in all conditions and -in all times." - -While these opinions of modern critics upon anecdotal art are in our -minds, it will be appropriate to mention Greuze's own views as -revealed in what he called "_une note historique_" upon his painting -of _La Belle-Mère_. "For a long time I had wished," he says, "to -paint that character, but in each sketch the expression of the -stepmother always appeared to me to be feeble and unsatisfactory. -One day, however, when I was crossing the Pont-Neuf, I saw two women, -who spoke to one another with much vehemence. One of them began to -shed tears, and she exclaimed, 'Such a stepmother too! Yes, she gave -me bread, but in giving it to me she broke my teeth.' That was a -_coup de lumière_ for me; I returned to the house, and I made the -sketch for my picture, which contains five figures: the step-mother, -the daughter of the dead mother, the grandmother of the orphan, the -daughter of the stepmother, and a child of three years. I have -supposed in my picture that it is the dinner-hour, and that the poor -little girl goes to take a seat at the table with the other children. -Then the stepmother takes a piece of bread from the table, and, -holding the orphan back by her apron, thrusts the bread roughly into -her mouth. I have set myself the task of showing in that action the -deliberate hate of the woman. The child seeks to evade her -stepmother's violence, and seems as one {33} who would say, 'Why -would you ill-use me? I have done you no harm.' The child's -expression is a mixture of shyness and of fear. Her grandmother is -at the other end of the table. Harrowed by grief, she lifts her eyes -to heaven, and, with hands trembling, seems to say, 'Ah! my daughter, -where are you? What misfortunes! what bitterness!' The daughter of -the stepmother, not at all sympathetic concerning the lot of her -sister, laughs to witness the despair of the poor old woman, and, in -ridicule, draws her mother's attention to her gestures. The infant -of the family, whose heart has not yet been corrupted, gratefully -stretches out her arms towards the sister who has bestowed so much -kindness upon her. I have wished to paint a woman who maltreats a -child that does not belong to her, and who, by a double crime, has -also corrupted the heart of her own daughter." - -Here, then, we see an anecdotal painting in the making. Although -this rehearsal is very touching, as a revelation of the kind heart of -the man, it yet seems to-day a particularly naïve exposition of the -motive for a work of art. Nothing could show with greater clearness -the wide gulf that, in the art world, lies between the end of the -eighteenth century and the end of a century which closed with -discussions of the theories of impressionists, vibrists, symbolists -and pointillists, and with the theories of those who, denying that -art is primarily moral, or even intellectual, have contended that it -is {34} simply a means by which we are made to respond to an artist's -emotion. - -If Whistler, to mention an artist representative of some newer -movements than those of the eighteenth century, had been on the -Pont-Neuf, from what a different source would have come any _coup de -lumière_ which might have flashed into his brain! Not during high -noon, nor in the gossip of the people, would he have found the motive -for his paintings. His _coup de lumière_ would have come "when the -evening mist clothes the riverside with poetry, as with a veil, and -the buildings lose themselves in the dim sky, and the tall chimneys -become campanili, and the warehouses are palaces in the night, and -the whole city hangs in the heavens, and fairyland is before us--then -the wayfarer hastens home; and the working man and the cultured one, -the wise man and the one of pleasure, cease to understand, as they -have ceased to see, and Nature, who, for once, has sung in tune, -sings her exquisite song to the artist alone, her son and her -master--her son in that he loves her, her master in that he knows -her." - -Whistler's eyes would have been directed towards the beauties of -colour and of tone that he might find on the river or on its banks; -and the Isle de France, as it is seen by the tired journalist as he -makes his way to the Latin Quarter at dawn of day, with its tender -grays, and its evasive charms of exquisite light and colour, would be -of more account to him than {35} all the conversations in the world, -however vehement they might be. The idea of preaching or moralizing -on canvas would never have entered his head for a moment. - -When Greuze, in harmony with the raw notions of Diderot upon art, did -preach, his homilies were singularly unimpressive. The pictures -which he painted when in this sermonizing vein have all the elements -that go to the making of what is now called melodrama. The scenes -are not the result of a discriminating observation of real life; are -not, to use Zola's phrase, "Nature seen through a temperament." They -are founded upon conventions, upon the artificial and sentimental -ideas of life that have by some curious freak of the human mind -established themselves in books and plays and pictures. - -The figures in Greuze's _genre_ pictures pose before the spectators; -they gesticulate and overdo their parts like barn-stormers. Pity -becomes maudlin, morality degenerates into sanctimoniousness, and -humility is degraded into utter abasement. The sentimentality in _Un -Paralytique Soigné par sa Famille_, _ou le Fruit de la Bonne -Education_, and in _La Mère Paralytique_ is particularly nauseating, -and in _La Mère bien Aimée_ the exaggeration of what is in actual -life a very tender sentiment makes of that picture a very significant -example of Greuze's stilted manner. The six children--all of them -about the same age--who have flung themselves upon their mother, seem -so numerous, {36} and are so involved in a confused heap of humanity -that Madame Geoffrin spoke of the picture as a "fricassee of -children," and incurred thereby the fulminations of the artist. In -his _genre_ pictures, too, as is usual in melodrama elsewhere, the -humble cottage is the headquarters of all the virtues. - -Greuze, it is true, made sketches for his pictures in the streets and -in the market-places; but there is none of the freshness of the -sketch when the figure appears on the canvas, and De Goncourt has -complained that little tatterdemalions with their split breeches have -become on their way to Greuze's canvases the Cupids of Boucher -dressed as Savoyards; and further, he has put in a mild demurrer that -the artist's washerwomen do not wash! - -In strong contrast to Greuze's melodramatic, affected, domestic -scenes are those by Chardin, another French artist of the eighteenth -century. No ethical teaching is obtruded in his pictures; there is -no pose, and the spectator can enjoy the real poetry of life, the -sweetness and simplicity of well-ordered homes, undisturbed by the -poseurs who clamour for our regard in many of the pictures by Greuze. - -[Illustration: THE PRETTY LAUNDRESS. (La Belle Blanchisseuse.)] - -Another fault of Greuze's _genre_ pictures is their poverty and -feebleness of colour. There is a general deadness, and in parts an -abuse of purple and violet. Some of the tints have a dirty muddled -look, and the shadows are heavy and brown. Still the chief fault is -that art in {37} these pictures is relegated to a second place; the -pictures are a means, and not an end. - -To see many of his _genre_ pictures together is to receive an -impression of monotony. It is clear that the range of the artist is -narrow, that he is making a few ideas cover a great area of canvas, -and that he ceased to grow intellectually at an early stage of his -career. - -Greuze and Hogarth have often been compared, but there are many -essential differences between the two men. There was dissimilarity -in their temperaments, and while Greuze has adopted the attitude of a -mild-mannered Sabbath-school superintendent, towards those whose -immorality he would correct, Hogarth, as Professor Muther has -written, has "swung over this human animal the stout cudgel of -morality in the manner of a sturdy policeman and Puritan -_bourgeois_." Charles Normand explains the difference with some -disregard for international amenity. Greuze, he says, "did not paint -for the English, at once drunkards and theologians, maundering on -through life, with a pot of gin in one hand and a Bible in the other." - -And yet Greuze is no Puritan, even when he preaches most. There is -often an air of coquetry and voluptuousness in his most serious -pictures. Charles Blanc has written that Greuze is a moralist who is -passionately fond of beautiful shoulders, a preacher who loves to see -and to reveal to us the bosoms of young girls; and Lady Dilke has -pointed out that "even in _Un {38} Père de Famille qui lit la Bible à -ses Enfants_ ... the instinct which bade him associate with his -lessons of grace and morality the stimulus of voluptuous charm has -tempted him to give prominence to the girl whose thoughts are far -away, and whose kerchief is torn just where it should hide the -budding breast." - -But when criticism has said all it can say in dispraise of Greuze's -pictures, even of his _genre_ pictures, it may be seen that Greuze -was by temperament an artist. The melodramatic moralist was only -part of the man and not the whole. Even Robert Louis Stevenson had -"something of the Shorter-Catechist" in his constitution, and yet -remains the most romantic and interesting figure of the latter-day -world of letters. - -It need not be forgotten that in the most theatrical works of Greuze -there are many beauties. There is often a figure in these otherwise -imperfect pictures which indicates his love for the beautiful, and in -some of his paintings, for instance in _Un Père de Famille qui lit la -Bible à ses Enfants_, the melodramatic element, though present, is -not obtrusive, and is more than compensated by the other qualities of -tenderness and graceful composition. - -We may now consider the other class of Greuze's paintings, the heads -of children, and it is in these that Greuze is seen at his best; it -is in these that he redeems himself, and reveals more of the artist. -To-day, though his other works are scarcely ever mentioned, his heads -{39} of girls and boys are treasured in the most costly collections, -and are known far and wide by means of photographs and other -reproductions. - -In many an art gallery the beautiful eyes of these pretty, -rosy-cheeked children meet our own, and we stay yet again to admire -their fresh lips and their brown hair, in which the piece of blue -ribbon nestles with such harmony of colouring. Often a light gauze -has been thrown round their necks or upon their shoulders, and often, -too, a posy of flowers tucked into the tops of their bodices emulates -the carnation and white of their complexions. There are few pictures -that are more sweet and alluring than these heads of children. - -In London it is an easy matter to study Greuze's child portraits, -because there are a few examples at the National Gallery, and more at -Hertford House. Standing before these canvases the general effect is -one of sweetness and delicacy, one colour melting into another in -almost imperceptible gradations, and giving an impression very unlike -the one we receive from the hard edges of a painting by Maclise for -example. The colours are not positive, but have been softened and -harmonized. For instance, if a piece of white paper is held against -what may seem to be a piece of white drapery, it will be found that -the white has been modified into a beautiful delicate pearly gray. -The same test may be applied to the other colours. Hold a piece of -positive blue {40} near to one of Greuze's seemingly blue ribbons, -and it will be noticed that a similar modification has been effected. - -The forms, too, have been rounded, and have been freed from all -angularities. Indeed, Greuze has carried this process as far as it -is possible. Too much of this smoothing and the picture would lose -in character, and would become but a vapid piece of work. - -[Illustration: THE LISTENING GIRL.] - -In the long series of heads of girls and boys that Greuze painted, -some of the pictures are conspicuously better than the rest. Of -these may be mentioned the _Head of a Young Girl Veiled in Black_, -which belongs to M. Leopold Goldschmidt, and two more which are in -the Museum at Besançon, _Paul Strogonoff_, _Infant_, and the _Head of -a Young Girl_. Also characteristic of Greuze at his best, and more -available to the people of this country, is _A Girl with Doves_. In -the year 1800 he exhibited at the Salon _L'Innocence tenant Deux -Pigeons_. It has not been definitely ascertained, but it is possible -that this is the beautiful picture that hangs now in the Wallace -Gallery. Few paintings by Greuze are more pleasing than this one. -The picture is well painted, and it is quite free from Greuze's -besetting sins. Where in other pictures one finds posturing and -affectation, one finds here the simplicity and sweetness of nature. -The painting was a commission from a Mr. Wilkinson, and Greuze -received 4,500 francs for it. When Mr. Wilkinson's pictures were -sold in 1828, Mr. Nieuwenhuys became {41} the purchaser, and he paid -245 guineas for the painting. Later the work became the property of -Mr. W. Wells, of Redleaf, and when, in 1848, his pictures were -dispersed, the Marquis of Hertford gave £787 10s. for this one, and -thus it has become part of the splendid collection at Hertford House, -now belonging to the nation. During the Manchester Exhibition of -1857 the public had a chance to see it there, and it was exhibited -again at Bethnal Green in 1874. Another picture in which Greuze's -style may be studied is _A Girl's Head, draped with a Scarf_. In -England this is one of the best-known of the artist's works. Thirty -and more years ago it was reproduced in popular publications, and it -has been reproduced many times since by various processes. By the -bequest of Mr. R. Simmons, the original picture has become the -property of the nation, and it is now the most characteristic example -of Greuze amongst those that hang in the National Gallery. Upon this -canvas one may see many of the qualities to which we have already -referred. There is more than a suspicion of mannerism in the way -that the hands are held, and one feels, concerning the shoulder, -that, beautiful as it is, it has been obtruded upon the notice of the -spectator with a somewhat free anatomical license. The half-open -mouth also gives an impression of affectation; and yet, when -criticism has pronounced its last word, the picture still remains -graceful and seductive. - -Some of the faults of Greuze's manner which {42} have been noted in -his _genre_ pictures appear also in his heads of children. The girls -in a number of the pictures are too self-conscious and affected, -imperfections that one may see prominently illustrated in _Fidelity_ -and in _Ariadne_, in the Wallace Collection. - -A few, indeed, of Greuze's heads can scarcely be called paintings of -children at all, so many of the elements of womanhood has he mingled -with what is otherwise typical of childhood. As representations of -the charm and the insouciance of childhood, a painting by Greuze -would ill bear comparison, for example, with a work by Chardin -amongst his own compatriots, with works by Reynolds and Gainsborough; -or, to come to our time, with some of the children of Millais, with -Watts' _Agathoniké Hélène Ionides_, Whistler's _Miss Alexander_, -Mouat Loudan's _Isa_, John Lavery's _A Girl in White_, or with Edward -Arthur Walton's _The Girl in Brown_. - -Most of the French critics who have written of Greuze have drawn -attention to this imperfection in the artist's paintings of children. -De Goncourt in some passages of searching criticism has written -regarding a number of these heads that they represent "the innocence -of Paris and of the eighteenth century, an easy innocence which is -near its fall." And De Goncourt, Diderot, and other writers have -pointed out that in many the head is the head of a girl on the body -of a woman; that Greuze has, in fact, put "young heads on old -shoulders." {43} Charles Blanc has written of _Une Jeune Fille qui -pleure la Mort de son Oiseau_, that the head is the head of a child, -but the grief is the grief of a woman; and he has added to this -criticism that it is rare to find in Greuze's pictures of this class -the head in harmony with the body. - -Despite all these shortcomings, however, the pictures are charming, -but the appeal of Greuze will be specially to the young, who mark the -beauty only, and are unconscious of any pose or any incongruity. - -In addition to the kinds of paintings we have mentioned, Greuze -showed that he was not quite free from the conventions of the period -by painting a few mythological, religious, and allegorical works, but -these are pictures which are not of any importance. - -"Keep yourself free from formulas," he said to Count Henry Costa, but -therein he did not follow his own bidding. A writer in the _Nouvelle -Biographie Générale_ has recorded that during this era it was -accepted and taught that a sphere should be represented as though it -had many sides. Greuze at one time accepted this absurd dogma, and -in some of his pictures the chubby cheeks of children have been -painted as though they had facets. His most finished works, however, -are free from this blemish. Greuze's desire to be an historical -painter is more evidence that he was not without the conventional -ideas which have strangled art with such persistency. - -{44} - -Although Greuze sometimes sketched rapidly, yet his works are usually -the result of slow and laborious effort renewed again and again. His -plan was to return to his picture when he was at his best, and to -paint and repaint, no matter how often, until he felt that the work -was as free from faults as he could make it. - - - - -{45} - -HIS POSITION IN FRENCH ART - -During the seventeenth century France had not an art of her own. The -native painters derived their pictures from Roman or Grecian -traditions. They shut their eyes upon the beauties of Nature, -painted tedious repetitions of other people's notions, and could not -so much as paint their own King, Louis XIV., except as Cyrus or as -Alexander! - -This period of dulness, pomposity, and general boredom was succeeded -by one of light and gaiety, when the joy and the colour of life -received recognition. To this consummation the supreme genius of -Watteau contributed some of the most exquisite and poetical pictures -of all time, and delivered France "from the oppressive yoke of the -Italian tradition." Watteau had many imitators, and his style -dominated art for many years, but eventually freedom degenerated into -license, and even into sheer obscenity. Count Henry Costa, visiting -Paris during this period, wrote in a letter to his parents in Savoy: -"Greuze, I think, is not partial to Boucher; and rightly loathes the -filthiness in fashion now, which desecrates art and ruins morality." -Boucher he described as {46} "an old worldling, more dissipated and -done up than you can imagine." - -It is in the writings of Diderot that one can see, as well as in any -other place, an indication that towards the end of the eighteenth -century influential people in France were growing more and more -studious and serious. The ideas of Rousseau were taking possession -of the minds of other people. The nation must study Nature, and -discover her laws. Prejudices, authority, tradition, must all be -examined in the light of this new idea. Vice must be subdued, -artificiality, insincerity, luxury, false refinements, must be swept -away, and the people must return to a life of greater simplicity. -Man, by nature moral, had been corrupted by civilization, and it was -therefore the least civilized who were the least corrupt. - -Ideas like these, set forth with the power and the burning zeal of -Rousseau, and with the deftness of Diderot, had prepared the minds of -the Parisians to receive the _genre_ pictures of Greuze, for to some -extent he is an advocate of these ideas in his pictures, seeing that -virtues are attributed in a generous measure to the poor and -downtrodden of the people. - -It is thus that, breaking away from the style of the painters who did -little more than pander to the French Court, the pictures of Greuze -mark with perfect clearness the beginning of a new tendency which was -making itself felt in Paris at the end of the eighteenth century. -Instead of adding to the great store of _fêtes {47} galantes_, and -the triumphs of love of the time, Greuze looked for his subjects upon -the quays, and boulevards, and market-places, and in the cottages of -humble people. - -"Courage, my good Greuze," said Diderot of one of Greuze's pictures -of domestic drama; "introduce morality into painting. What! has not -the palette been long enough, and too long, consecrated to debauchery -and vice? Ought we not to be delighted at seeing it at last, united -with dramatic poetry, in instructing, correcting us, and inviting us -to virtue?" - -Living amidst such ideas as these, Greuze founded in France, in the -words of De Goncourt, "the deplorable school of the literary painter, -and the moralizing artist," or of "that barbaric, story-telling art," -as Muther, writing in a similar strain, has described it. - -It was this manner of painting that brought out what similarity there -is between Hogarth and Greuze, who has been called "a sentimental -Hogarth." Like the painter of _The Rake's Progress_, Greuze told -moral tales in a series of pictures in which virtue is exalted and -vice abashed, a kind of painting quite different from the pictures -which had hitherto been exhibited in Paris. Truly, as Charles -Normand has written, "the hour of the reaction against the pastorals -and the mythological insipidities of Boucher had sounded. It was -Greuze who was the pioneer in the new departure, and he reaped the -reward. His fault is that he replaced one convention by another." -Hitherto {48} the Court had been all in all, but now had arrived, in -the phrase of Charles Blanc, "l'usurpation bourgeoise." - - -Yet though Greuze thus parted from his predecessors, and, at his -best, went along the line of progress towards a study of Nature at -first hand, he brought about no violent change such as was seen in -England when Madox Brown and the Pre-Raphaelites broke in upon the -complacent mediocrities who represented art in England during early -Victorian times. - -Though he preached against the ardent sensuality of his era, his own -pictures were not wholly free from it, and in the collection at -Hertford House his _L'Offrande a l'Amour_, and particularly _La -Bacchante_, strike no new note amongst the other paintings of the -same period. There is not the great difference that would be noticed -if an early Millais were to be hung amidst a collection of the works -of Maclise, Landseer, Collins, Newton, Leslie, Mulready, and Webster. -Greuze did not free France in the same way that the Pre-Raphaelites -loosed the bonds of convention and tradition in our own country. - -Greuze founded no school, and indeed outlived his own movement; for -he and Fragonard were left in hopeless isolation when the Revolution -overwhelmed France. There are few more pathetic passages in the -lives of painters than those which relate how, for the sake of their -daily bread, these poor old men made {49} ineffectual attempts, -Fragonard with his _Le Grand Prêtre Corésus se sacrifie pour sauver -Callirrhoé_, and Greuze with his _Ariadne at Naxos_, to adapt -themselves to the new situation. - -The Revolution, so far from freeing art in France, brought about, -under David--excellent as he was as a painter of portraits--a -reaction to a "barren, wearisome classicism," represented by pictures -which are now absolutely without attraction. Instead of studying -Nature, the painters studied the statues and the friezes of the -ancients. They became antiquaries and geometricians, and left the -open air to weary themselves in musty libraries, in the pursuit of -archæological accuracy. Formulas and conventions, traditions and -self-constituted authority were once more exalted upon pedestals, and -the century which opened with the "pipes and timbrels" of Watteau -closed with the prosing of the most tedious bores. - -So successfully did David put back the clock, that it was not until -the nineteenth century was nearly thirty years of age that the -artists of France, inspired, as we love to think, by our own John -Constable, issued from the house of bondage to study Nature in the -forest of Fontainebleau. - - - - -{50} - -OUR ILLUSTRATIONS - -_The Kiss_ (_Le Baiser Jeté_).--Although this work has not been -reproduced so many times as _La Cruche Cassée_, it yet ranks with -that painting as one of the most fascinating of the works of Greuze. -A young woman looks from the window of her room. She has received a -letter from the hands of her lover, to whom she throws a kiss as he -departs. In his treatment of this subject Greuze has shown that it -was not a lack of capacity that caused him sometimes to lapse into -melodrama. His acute feeling for what is beautiful has been -expressed on this canvas with remarkable skill. Writing of the -painting in 1765, Diderot called it "a charming picture," and Charles -Normand, in giving a description of the work, has written: "The -eighteenth century, amorous and unrestrained, has been made to live -again in that woman, who, her eyes full of longing, her mouth partly -opened, her throat scarcely veiled by a light gauze, throws from her -window a kiss to her lover. The seductive shapeliness of her neck, -the expression of love, the hand carried tenderly to her lips, the -whole effect of her beautiful figure, which palpitates at the sight -of her lover, justifies the title of _La {51} Voluptueuse_ which the -painter has also given to the picture." A copy of this painting, by -C. Turner, was sold in London in 1902 for £136. - -[Illustration: THE KISS. (Le Baiser Jeté.)] - - -_The Village Bride_ (_L'Accordée de Village_).--This is the short -title of the work "Un Mariage à l'instant où le père de l'accordée -délivre la dot à son gendre." The first title was _Un Père qui vient -de payer la dot de sa Fille_. The scene is a great country kitchen, -which has a freedom from furniture that is refreshing in these days -of senseless overcrowding. Stone steps lead from the kitchen to an -upper chamber. A shelf, a gun, a lantern, a great cupboard, and a -few chairs and a table, would almost complete an inventory of the -movables. Twelve people, arranged as though they were on the stage -of a theatre, or for a _tableau vivant_, take part in the scene. The -parish official, sitting at a small table, has registered the -marriage, and one of the children toys with the document. The father -of the bride, a venerable old man with white hair, has just handed to -his son-in-law a small leather bag, containing his daughter's -marriage portion, and he is now holding forth in true melodramatic -style, his face to the gallery, and, as one may fancy, the limelight -streaming on his head. The bridegroom, a tall, handsome fellow, -listens in a respectful attitude; and the pretty bride, whose eyes -are downcast, has her arm linked in his, and the fingers of one hand -are laid lovingly upon one of his hands. Her other arm is held by -her mother, {52} a comely matron, dressed in simple and picturesque -attire. The bride's sisters and brother watch with intense interest, -except one little girl of five or six years, who feeds a hen and -chickens on the kitchen floor. Another sister has her head upon the -bride's shoulder, and a third is weeping. In the incident of one of -the chickens, balanced on the edge of the dish of water, trying its -wings, some writers have seen an allegorical reference to the -marriage. It is said that the head of the bride is a portrait of -Mademoiselle Ducreux when she was fifteen years of age. In this -painting Greuze's tendency to cause his figures to assume -self-conscious poses is apparent; but there is not so much of -theatricality here as to spoil the picture, and thus one may still -derive some pleasure from a contemplation of the scene. It is -interesting to remember that this is the picture which caused such a -sensation during the last few days of the Salon of 1761. It was -bought by Monsieur de Marigny for 3,000 livres, and at the sale of -his pictures, twenty years later, the price paid for it was 16,650 -livres. The picture is now in the Louvre in Paris. It has often -been reproduced. During the life of the artist it was engraved by -Flipart, and then was reproduced in colours by Alix. Greuze also -painted a replica of the picture. - - -[Illustration: ROBESPIERRE.] - -_Portrait of Maximilien Marie Isidore Robespierre_.--In John Morley's -"Critical Miscellanies" {53} we are told that "In the Salon of 1791 -an artist exhibited Robespierre's portrait, simply inscribing it _The -Incorruptible_. Throngs passed before it every day, and ratified the -honourable designation by eager murmurs of approval. The democratic -journals were loud in panegyric on the unsleeping sentinel of -liberty. They loved to speak of him as the modern Fabricius, and -delighted to recall the words of Pyrrhus, that it is easier to turn -the sun from its course than to turn Fabricius from the path of -honour." Mr. A. G. Temple, F.S.A., has written recently that efforts -have been made to identify the Salon portrait with this one, but -unsuccessfully. Robespierre's ancestors were Irish people, but he -was born at Arras. After a successful career as a lawyer he became a -member of the States-General, and Mirabeau prophesied, "That young -man believes what he says; he will go far." Carlyle has described -him as "That anxious, slight, ineffectual-looking man, under thirty, -in spectacles; his eyes (were the glasses off) troubled, careful; -with upturned face, snuffing dimly the uncertain future times; -complexion of a multiplex, atrabiliar colour, the final shade of -which may be pale sea-green." He was small and weakly, fond of -solitude, and sober in most things except in speech. Fluent and -rhetorical, he soon won fame with the populace; but an analysis of -his speeches reveals them "full of sound and fury, signifying -nothing." The latest criticism has dubbed him "a phrase-making {54} -charlatan." On July 28, 1794, still clad in the inevitable blue -coat, white waistcoat, short yellow breeches, white stockings, and -shoes with silver buckles, he himself perished on the guillotine that -had removed so many of his enemies. - - -_The Listening Girl_.--Another of Greuze's exceedingly pretty heads. -This picture, like the _Girl's Head draped with a Scarf_ in the -National Gallery, is an excellent representative of that numerous -class of the artist's work that consists of the heads of girls. The -face is exceedingly dainty, and the workmanship excellent. The -picture forms one of the Wallace Collection, and is, therefore, -easily accessible to the public. Although it is now called _The -Listening Girl_, it is not certain that this title expresses the -intention of the artist. - - -[Illustration: THE BROKEN PITCHER. (La Cruche Cassée)] - -_The Broken Pitcher_ (_La Cruche Cassée_).--No picture by Greuze is -more widely known than this one. In one of Madame Roland's letters -we are able to gain an idea of what was thought of the work at the -time that it was painted. She has written: "It is a girl, naïve, -rosy, charming, who has broken her pitcher. She holds it on her arm, -near to the fountain where the accident has happened. Her eyes are -not too wide open; her mouth is still partly open. She wonders what -account to give of the misfortune, and does not know whether she is -to blame or not. It would {55} not be possible to find anything more -piquant or more pretty, and the only matter upon which one would be -right to reproach Monsieur Greuze is that he has not made the little -girl so sorry but what she would be ready to go to the fountain -again." The derangement of the draperies, the incongruity of the -lapful of flowers, the impossible way in which the pitcher is being -carried, are not less characteristic of Greuze than the sweet face -and the general charm and beauty of the painting. It is, indeed, one -of Greuze's most winsome works, and its fascination will continue to -captivate all but the most hypercritical. The original is in the -Louvre, but Greuze painted the subject again with modifications, and -there are a number of sketches and studies in existence. For -instance, in the National Gallery of Scotland there is the -preliminary sketch in oils for this work, and many prefer this sketch -to some of Greuze's more finished pictures. - - -_The Milkmaid_ (_La Laitière_).--Pretty as is this picture, it -embodies a city man's sentimentality concerning the work of a farm. -The hard labour of an actual milkmaid, and the peculiar conditions of -her employment, are especially fatal to dainty hands, for instance. -Thus, as the presentment of a milkmaid, the picture is far from any -truth to Nature; but as an engaging girl-picture it is one of -Greuze's most graceful and successful works. In 1821 it was sold for -7,210 francs, but in 1899, when {56} it was bequeathed to the Louvre -by Baroness de Rothschild, its value was estimated at 600,000 francs. - -[Illustration: THE MILKMAID. (La Laitière.)] - - -_Innocence_.--Many of the excellent qualities of Greuze's work appear -in this attractive picture. It is true that the lamb is unfortunate, -and, as Greuze's lambs usually are, is more reminiscent of the -Lowther Arcade than of the meadow. Here also we see the head of a -girl on the body of a woman; but the general effect of the picture is -one of sweetness and tenderness, and the girl's expression is free -from the affectations which have marred so many of the artist's -paintings. This picture is one of the Wallace Collection. - - -_The Pretty Laundress_ (_La Belle Blanchisseuse_).--De Goncourt, in a -criticism of Greuze's pictures, has written that the work that goes -on in his paintings is but a simulation of work--that his washerwomen -do not wash. It may be that this is the picture which inspired the -criticism. A charming girl, elegantly dressed, sits in an impossible -position, as far as any effective washing is concerned, before a -ridiculously little bowl. The whole picture is most attractive, but -it is not washing day; and, perhaps, after all, washing day is not -precisely the best subject that an artist could have selected for -sublimation. The picture is now in the collection of Count Axel -Wachtmeister, at Wanas, in Germany. - - - - -{57} - -THE CHIEF WORKS OF GREUZE - -The largest collection of Greuze's pictures is not in his own -country, but is here in England, at Hertford House. The paintings -forming that collection were included in the Wallace bequest, and -thus they have become the property of the nation. Most other -European countries have secured examples of Greuze's work, and -several of his paintings may also be seen in America. - - - -GREAT BRITAIN. - -_WALLACE COLLECTION,_ - -In this collection alone there are twenty-one examples of the work of -Greuze. Some of these are of the best, and a few illustrate the -artist's imperfections. For instance, before _Fidelity_ and -_Ariadne_ one has the same unpleasant sensation as when a girl spoils -the effect of her beauty by stagey poses and by sentimental -attitudinizing. _A Bacchante_ is gross and voluptuous. The most -important pictures in the collection are: - - A Girl with Doves. (See p. 40.) - The Listening Girl. (See p. 54.) - Portrait of Mdlle. Sophie Arnould. - The Votive Offering To Cupid. - The Broken Mirror. - Innocence. (See p. 56.) - Espièglerie, - Girl With A Gauze Scarf. - - -{58} - -_NATIONAL GALLERY._ - - Girl's Head Draped with a Scarf (See p. 41.) - The Head of a Girl. - Girl with an Apple. - Girl with a Lamb. - - -_BUCKINGHAM PALACE._ - -A Mother and Three Children. - -The mother indicates, by a look, that she does not wish the oldest -boy to disturb the youngest by playing his flute. - - Girl in Cap seated on a Chair. - A Girl's Head. - -There are also pictures by Greuze in many of the galleries of private -collectors. For instance, examples may be seen in the collections of -the Duke of Wellington, the Earl of Rosebery, the Earl of Dudley, the -Earl of Northbrook, Lord Yarborough, the Marquis of Lansdowne, Sir -Frederic Cook, Bart., Mr. Alfred de Rothschild, Mr. Reginald Vaile, -Mr. H. L. Bischoffsheim, Mr. Pierpont Morgan, Mr. Lesser Lesser, Mr. -George Donaldson, Mr. Martin Colnaghi, Mr. Charles Morrison, Mr. -Beit, and others. - - -_NATIONAL GALLERY OF SCOTLAND._ - - Girl with Dead Canary. - Girl with Broken Jar. - -This is a sketch in oils of the idea which Greuze afterwards painted -as _The Broken Pitcher_, the famous picture that now hangs in the -Louvre. - - Boy with Lesson-Book. - Interior of a Cottage. - Girl with Folded Hands. - -Other examples of the works of Greuze in Scotland are those in the -collection of Lord Murray. - - -{59} - -FRANCE. - -_PARIS, LOUVRE._ - -During the period of unrest that accompanied and followed the -Revolution, many notable pictures were sold from France, and thus the -largest collection of pictures by Greuze is not to be found in -Greuze's own country. In the Louvre, however, all Greuze's -characteristics may be studied in one or other of the works that hang -there. - - L'accordée de Village. (See p. 51.) - La Laitière. (See p. 55.) - La Cruche Cassée. (See p. 54.) - La Malédiction Paternelle. - Le Fils Puni. - Le Portrait de l'Artiste. - Le Portrait du Peintre Jeaurat. - Several Heads Of Girls. - - -_MUSEÉ FABRE À MONTPELLIER._ - - La Prière du Matin. - Le Gâteau des Rois. - Le Petit Mathématicien. - Jeune Fille, les Mains Jointes. - La Jeune Fille au Panier. - Tête de Jeune Fille. - Etude d'un Enfant de Quatre à Cinque Ans. - - -BESANÇON. - -Here are two particularly good examples of Greuze at his best: - - Paul Strogonoff, Enfant. - Tête De Jeune Fille. - - -{60} - -MUSÉE CONDÉ. - -Tendre Désir. - -Versailles has examples, and the traveller to any of the following, -and to a few other towns, will find works by Greuze: Aix, Angers, -Cherbourg, Dijon, Compiègne, Douai, Lille, Lyons, Marseille, Nantes, -Nîmes, Rouen, Tournus, Troyes; and the members of the Rothschild -family have many examples at their various places of residence. - - - -GERMANY. - -In Germany Greuze is represented by _La Belle Blanchisseuse_, in the -collection of Count Axel Wachtmeister, at Wanas, and by pictures in -the Art Galleries of Berlin, Leipzig, Karlsruhe, Munich, and Metz. - - - -RUSSIA. - -_ST. PETERSBURG, L'HERMITAGE._ - -La Paralytique Servi par ses Enfants - - - -UNITED STATES. - -Pictures by Greuze may be seen at Boston and at Philadelphia. - - - - -{61} - -RECENT CHIEF BOOKS ON GREUZE - - -L'Art du XVIIIme. Siècle. Edmond and Jules de Goncourt, Paris. 1854. - -Histoire De l'Art Pendant la Revolution. Jules Renouvier, Paris. -1863. - -Les Artistes Célèbres: Greuze. Charles Normand, Paris. 1885. - -Histoire des Peintres de toutes les Écoles. Charles Blanc, Paris. -1862. - -French Painters of the Eighteenth Century. Lady Dilke, London. 1899. - -The History of Modern Painting, Vol. I. Richard Muther, London. -1895. - - - - PRINTED BY - BILLING AND SONS, LIMITED, - GUILDFORD - - - - - - - -*** END OF THE PROJECT GUTENBERG EBOOK GREUZE *** - -Updated editions will replace the previous one--the old editions will -be renamed. - -Creating the works from print editions not protected by U.S. copyright -law 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. Special rules, set forth in the General Terms of Use part -of this license, apply to copying and distributing Project -Gutenberg-tm electronic works to protect the PROJECT GUTENBERG-tm -concept and trademark. Project Gutenberg is a registered trademark, -and may not be used if you charge for an eBook, except by following -the terms of the trademark license, including paying royalties for use -of the Project Gutenberg trademark. 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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 <a href="https://www.gutenberg.org">www.gutenberg.org</a>. If you -are not located in the United States, you will have to check the laws of the -country where you are located before using this eBook. -</div> - -<p style='display:block; margin-top:1em; margin-bottom:1em; margin-left:2em; text-indent:-2em'>Title: Greuze</p> -<p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em'>Author: Harold Armitage</p> -<p style='display:block; text-indent:0; margin:1em 0'>Release Date: October 24, 2022 [eBook #69226]</p> -<p style='display:block; text-indent:0; margin:1em 0'>Language: English</p> - <p style='display:block; margin-top:1em; margin-bottom:0; margin-left:2em; text-indent:-2em; text-align:left'>Produced by: Al Haines</p> -<div style='margin-top:2em; margin-bottom:4em'>*** START OF THE PROJECT GUTENBERG EBOOK GREUZE ***</div> - -<p><br><br></p> - -<p class="capcenter"> -<a id="img-front"></a> -<br> -<img class="imgcenter" src="images/img-front.jpg" alt="INNOCENCE."> -<br> -INNOCENCE. -</p> - -<p><br><br></p> - -<p class="t3b"> - Bell's Miniature Series of Painters<br> -</p> - -<h1> -<br><br> - GREUZE<br> -</h1> - -<p class="t3b"> - BY<br> -</p> - -<p class="t2"> - HAROLD ARMITAGE<br> -</p> - -<p><br><br></p> - -<p class="t3"> - LONDON<br> - GEORGE BELL & SONS<br> - 1902<br> -</p> - -<p><br><br><br></p> - -<p> -<span class="pagenum">{<a id="Pv"></a>v}</span> -</p> - -<p class="t3b"> -PREFACE -</p> - -<p> -Although Paris, during the eighteenth -century, became the home of artists of -more subtle genius than Greuze, yet the pictures -of no other painter of that alluring period have -become so familiar to the people of our own -country. Engravings, etchings, photographs, -and reproductions in colour of the works of -Greuze abound on every hand; but many have -admired the art who have not known so much -as the name of the artist, and more have known -his name, and have still been far from any -knowledge of the story of his life. -</p> - -<p> -Indeed, though brief narrations of what -Greuze did and suffered in this world have -appeared in volumes that have contained also -the biographies of other artists, no book, in -this country, has been devoted solely to an -account of his romantic career. Moreover, the -addition of twenty-one of the works of Greuze -to the possessions of the British nation by the -bequest of the Wallace Collection, and the -exhibition of nine more at the Art Gallery of -the Corporation of London in 1902, must have -awakened curiosity concerning a painter whose -peculiar place in the evolution of art in France, -<span class="pagenum">{<a id="Pvi"></a>vi}</span> -whose character, and whose eventful life, make -his history interesting alike to those who -delight in pictures and to those who read -biography for its own sake. -</p> - -<p> -The author hopes that this volume will make -more available than it has hitherto been an -account of the principal happenings in the -story of an artist with whose charming pictures -the world has been for many years so intimately -acquainted. -</p> - -<p><br><br><br></p> - -<p> -<span class="pagenum">{<a id="Pvii"></a>vii}</span> -</p> - -<p class="t3b"> -TABLE OF CONTENTS -</p> - -<p><br></p> - -<p class="noindent"> -<a href="#chap01">Early Years</a> -</p> - -<p class="noindent"> -<a href="#chap02">Fame in Paris</a> -</p> - -<p class="noindent"> -<a href="#chap03">Poverty and Death</a> -</p> - -<p class="noindent"> -<a href="#chap04">Romance and Tragedy</a> -</p> - -<p class="noindent"> -<a href="#chap05">Personal Characteristics</a> -</p> - -<p class="noindent"> -<a href="#chap06">Characteristics of his Work</a> -</p> - -<p class="noindent"> -<a href="#chap07">Position in French Art</a> -</p> - -<p class="noindent"> -<a href="#chap08">Our Illustrations</a> -</p> - -<p class="noindent"> -<a href="#chap09">The Chief Works of Greuze</a> -</p> - -<p><br><br><br></p> - -<p> -<span class="pagenum">{<a id="Pviii"></a>viii}</span> -</p> - -<p class="t3b"> -LIST OF ILLUSTRATIONS -</p> - -<p><br></p> - -<p class="noindent"> -<a href="#img-front">Innocence</a> ... Frontispiece -</p> - -<p class="noindent"> -<a href="#img-030">The Village Bride (L'Accordée de Village)</a> -</p> - -<p class="noindent"> -<a href="#img-036">The Pretty Laundress (La Belle Blanchisseuse)</a> -</p> - -<p class="noindent"> -<a href="#img-040">The Listening Girl</a> -</p> - -<p class="noindent"> -<a href="#img-050">The Kiss (Le Baiser Jeté)</a> -</p> - -<p class="noindent"> -<a href="#img-052">Portrait of Robespierre</a> -</p> - -<p class="noindent"> -<a href="#img-054">The Broken Pitcher (La Cruche Cassée)</a> -</p> - -<p class="noindent"> -<a href="#img-056">The Milkmaid (La Laitière)</a> -</p> - -<p><br><br><br></p> - -<p><a id="chap01"></a></p> - -<p><span class="pagenum">{<a id="P1"></a>1}</span></p> - -<p class="t2"> -LIFE OF GREUZE -</p> - -<p><br><br></p> - -<h3> -EARLY YEARS -</h3> - -<p> -The way of life in which Jean Baptiste -Greuze spent his childhood and his youth -was not different from that of most other artists. -His parents were obscure people, who had no -riches; and his father opposed his desire to be -a painter. -</p> - -<p> -For many years, even his own countrymen -who wrote of Greuze, gave the date of his birth -any time between 1725 and 1732; but it is -known now that the accurate date is August -21, 1725, the one which has since been -inscribed on the modest house in Tournus, near -Mâcon, where his father and mother were living -when the artist was born. -</p> - -<p> -By the time that Greuze was eight years of -age he had manifested a strong inclination -towards the use of the pencil. Drawing became -his chief amusement; and he employed, -indifferently, stray pieces of paper, or whitewashed -walls, for the display of his draughtsmanship. -His father, as the way of fathers is, had -planned for his son a position more exalted -than his own in an occupation with which he -himself was connected. The elder Greuze was -<span class="pagenum">{<a id="P2"></a>2}</span> -a kind of provincial builder, contractor, and -slater; and he wished the younger Greuze to -become an architect. -</p> - -<p> -Although it is not apparent why an architect, -who to-day undergoes severe discipline in -drawing, should be the worse because he had a -propensity for sketching, it has yet been stated -by some of the biographers of Greuze that the -father used persuasions and threats to prevent -the son from making drawings, and that the -boy was thereby driven to the device of -exercising his skill surreptitiously in his bedroom. -</p> - -<p> -But a day came when the father saw the -folly of his continued resistance. Mistaking -for an engraving a head of St. James which his -son had copied with a pen, that he might give -it to his father as a birthday present, the elder -Greuze was so much impressed by the skill of -the lad that he thought it better after all to -allow him to have his own way in the choice of -a profession; and Greuze therefore became the -pupil of Grandon, of Lyons, a portrait painter. -</p> - -<p> -In Grandon's constitution the artist was -subservient to the man of affairs; and De Goncourt -has written that his studio was a veritable -picture factory. Greuze, however, had more -elevated notions of the vocation of an artist -than to remain content in marking time for the -rest of his life as a sort of inglorious -piece-worker, and his ambition and self-confidence -urged him to Paris, where he believed his -powers would win for him both fame and fortune. -</p> - -<p> -<span class="pagenum">{<a id="P3"></a>3}</span> -</p> - -<p> -In Paris Greuze worked unobtrusively, often -in solitude, and earned a precarious livelihood, -possibly not without invoking the aid of some -of the methods of the master whom he had left -in Lyons. He was not immediately successful, -and his chance of triumphing over the obstacles -which beset a raw youth from the provinces, -seeking fame in Paris, seemed to be but a -remote one. Yet Pigalle, the king's sculptor, -believing that Greuze had the qualities which -win success ultimately, encouraged the painter -to persevere. -</p> - -<p> -Greuze had, or fancied he had, to contend -against the hostility and the jealousy of the -other artists. At the Academy, where he went -to draw, he received less consideration than his -ability merited, and he complained eventually -to the artist Silvestre, to whom also he showed -some specimens of his work. Silvestre, -admiring his skill, wished to have his portrait -painted by Greuze, and as Silvestre was a man -of some influence, this commission was the -means of making Greuze's name more widely -known. About this time, too, Greuze -attracted attention by one of his representations -of scenes from the life of humbler folk -than were usually seen in pictures during that -period. This painting was <i>L'Aveugle Trompé</i>, -and Greuze was made <i>agréé</i> of the Academy -on June 28, 1755, either by the good offices -of Silvestre or of Pigalle, and thus acquired -the right to exhibit his pictures at the annual -exhibitions. -</p> - -<p><br><br><br></p> - -<p><a id="chap02"></a></p> - -<p><span class="pagenum">{<a id="P4"></a>4}</span></p> - -<h3> -FAME IN PARIS -</h3> - -<p> -Popular as was this picture of <i>L'Aveugle -Trompé</i>, its success was eclipsed by the fame -of <i>Un Père de Famille qui lit la Bible à ses Enfants</i>, -a work which advanced Greuze to the front -rank of the leading painters of that time. Even -when one remembers that this is a better picture -than many which he painted afterwards, it -is yet not easy to-day to understand the -enthusiasm that it caused when it was first -exhibited. One reason for our difficulty is that -we do not feel the force of its novelty as the -people of Paris felt it when they had become -satiated with the painted pastorals, allegories, -and coquetries of that voluptuous era. -</p> - -<p> -The picture, pleasing as a whole, contains -indications of the tendency towards artificiality -which afterwards became so marked in -many of Greuze's melodramatic paintings. But -for the rest the scene is nature in a mirror -compared with other canvases of the same century. -The painter has represented the interior of a -farm kitchen, and a devout and venerable -farmer reads, from a large Bible, some chapters -of the New Testament to the other members -of the household. All these, from the -grandmother to the child of three years, are -picturesque and pleasing, and they are happily -placed in the picture. This work was bought -by Monsieur de la Live de Jully, a rich -connoisseur, who invited artists and others -interested in painting to go to his house, to see -<span class="pagenum">{<a id="P5"></a>5}</span> -the new kind of picture which Greuze had -introduced into Paris. -</p> - -<p> -Even from artists and critics the picture won -a generous meed of praise; but, containing as -it does all the elements which still appeal to -"the man in the street," it was not until 1755, -when it was exhibited at the Salon, that it -achieved its greatest triumph. As long as the -exhibition was open the people crowded round -this pious presentment of humble life which -had strayed so unaccountably amongst the -pictures of the Court painters—pictures which -for many years, as we shall see, had been free -from the suspicion of any odour of sanctity. -</p> - -<p> -"Whence comes he? Whose pupil is he?" -asked the bewildered Academicians, who, in the -manner of Academicians, could not believe it -possible for an artist outside their circle to -attain either excellence or fame. The answer -came, "He is a pupil of Diderot." -</p> - -<p> -Although this answer did not contain the -whole truth, it was yet significant of a change -that was taking place in the aspirations of -many French people. Diderot, a clever and -copious man of letters, had commenced to write -about pictures, and he was now advocating -that art should be devoted to the cause of -morality. Greuze's picture happening to -coincide with his own idea, he at once wrote an -enthusiastic, one may almost say a gushing, -eulogy of this and other similar works of the -artist; and in that way he helped to swell the -renown which Greuze had now achieved. -</p> - -<p> -<span class="pagenum">{<a id="P6"></a>6}</span> -</p> - -<p> -Meanwhile, the artist, with that perversity -which one has noted in the early life of other -famous men, must now leave his own path to -go to study art in Italy. Hundreds of years -have been needed to convince painters that the -Italian artists wrought great pictures because -they expressed their own ideas of beauty, just -as away from Italy Rembrandt "saw picturesque -grandeur and noble dignity in the -Jews' quarter of Amsterdam, and lamented not -that its inhabitants were not Greeks." "I do -not study the ancients," wrote Chantrey, heedless -of syntax, "but I study where the ancients -studied—nature." -</p> - -<p> -The ambition of Greuze at this time was to -belong to that singularly dreary and barren -class of painters known as historical painters; -and he wasted some years in the pursuit of a -project which, in the end, brought him one of -the most crushing humiliations of his whole -life. "Woe to the artist," Goethe has written, -"who leaves his hut to squander himself in -academic halls of state!" and this woe fell upon -Greuze in exceeding bitterness when his first -historical picture was exhibited. But that -incident belongs to the year 1769, and it was at -the end of the year 1755, when he was thirty -years of age, that he went to Italy. -</p> - -<p> -Almost the only effect of his stay of two -years in Italy was that for some time the -figures in his pictures were arrayed in the -"resplendent small clothes" of the people of that -country, and had also Italian names. The -<span class="pagenum">{<a id="P7"></a>7}</span> -painter who did really influence Greuze was -Rubens, who was not an Italian, and whose -pictures, no further away than the Luxembourg -in Paris, it was in later years one of the -great delights of his life to study. -</p> - -<p> -In the list of Greuze's works for the year -1757 we notice amongst some pictures of the -<i>genre</i> type—the representation, that is, of the life -of the humble—a number of paintings which -have Italian names; and then there are portraits, -and the first of that long series of heads -of girls and boys whose fame has outlasted the -fame of all his more pretentious works. -</p> - -<p> -Greuze's industry was now very great, and -in 1761 there was exhibited one more of his -greater triumphs, <i>Un Mariage à l'instant où le -Père de l'accordée delivre la dot à son gendre</i>, a -picture which created another sensation in -Paris. It was unfinished when the Salon of -that year was opened, and was hung only during -the last few days of the exhibition. But all -through these days people gathered round it -with the same avidity with which they had -elbowed one another for a peep at <i>Un Père de -Famille qui lit la Bible à ses Enfants</i>. -</p> - -<p> -During the next two years Greuze painted -portraits and heads of children, and the year -1769 is notable because of his unhappy attempt -to become a member of the Academy as an -historical painter. He had, as we have seen, -been made <i>agréé</i>, but he had not yet complied -with the rule that required each member to -provide the Academy with one of his pictures. -<span class="pagenum">{<a id="P8"></a>8}</span> -The picture he now submitted bore the sufficiently -comprehensive title of <i>Septime-Sévère -reprochant à son fils Caracalla d'avoir attenté à sa -vie dans les défilés d'Ecosse et lui disant:—Si tu -désires ma mort, ordonne à Papinien de me la donner</i>. -The members of the Academy assembled, and -the picture was placed upon an easel that they -might examine it, while Greuze awaited their -verdict in another room. In an hour the artist -was admitted. -</p> - -<p> -"Monsieur Greuze," said the director, "the -Academy receives you; come forward and take -the oath." When this ceremony had been -completed the director continued, "You have -been received; but it is as a painter of <i>genre</i>. -The Academy has considered your former -productions, which are excellent, but it has closed -its eyes upon this picture, which is worthy -neither of the Academy nor of you." -</p> - -<p> -Greuze was astounded and disappointed; and -he commenced to stammer out a confused -defence of the picture, the worst probably -that he ever painted. Then Lagrenée, taking -a pencil from one of his pockets, pointed out -some of the mistakes in drawing on the -canvas. Greuze, cut to the heart, went away, -and continued a defence of his picture in the -newspapers. -</p> - -<p> -One of the letters which Greuze sent to the -public journals is an interesting revelation of -how little of what is understood now as art -went to the making of an historical painting. -Greuze wrote: -</p> - -<p> -<span class="pagenum">{<a id="P9"></a>9}</span> -</p> - -<p> -"In the continuation of your comments upon -the pictures exhibited at the Salon in the last -number of your journal you have been unjust -towards me upon two points; and as an -honourable man you would no doubt wish to -remove these injustices in your next issue. In -the first place, instead of treating me as you -have treated the other artists, my confrères, to -whom you have offered, in a few lines, the -tribute of commendation which they have -merited, you have gone out of your way to -discuss, with the public, how, according to -your opinion, Poussin would have painted the -same subject. I do not doubt, sir, that -Poussin, of the same subject, would have made a -sublime work; but to a certainty he would have -painted a very different picture from the one -which you have imagined. I must ask you to -believe that I have studied, as carefully as you -have been able to study, the works of that great -man, and I have, above all, sought to acquire -the art of endowing my characters with -dramatic expression. You have carried your -views a long way, it is true, inasmuch as you -have remarked that Poussin would have put -the clasps of the cloaks upon the right side, -while I have put that of the robe of Caracalla -upon the left—surely a very grave error! But -I do not surrender so easily concerning the -character which you pretend that Poussin would -have given to the Emperor. All the world -knows that Severus was the most passionate, -the most violent of men, and you would wish -<span class="pagenum">{<a id="P10"></a>10}</span> -that when he says to his son, 'If thou desirest -my death, order Papinian to kill me with that -sword,' he should, in my picture, have an air as -calm and as tranquil as Solomon had in similar -circumstances. I ask all sensible men to judge -whether that was or was not the expression -which should have been put on the face of that -redoubtable Emperor. -</p> - -<p> -"Another injustice, much greater still, is -that, after you had endeavoured to discover how -Poussin would have treated this subject, you -have assumed that I had the idea to paint Geta, -the brother of Caracalla, in the personage -that I have placed behind Papinian. First of -all, Geta was not present at that scene; it -was Castor the chamberlain, one of the most -faithful servants of Severus. In the second -place, in supposing gratuitously, as you have -done, that I had the design to represent -Geta, you would have been right to have -reproached me if I had painted him too old, -because he was the younger brother of Caracalla. -Thirdly, I should still have been wrong -if I had not painted him in his armour. You -see, sir, what absurdities you have attributed -to me in order that you might indulge your -love of criticism. I believe you to be a man -too honest to refuse me the satisfaction of -making this letter public in your journal. It -is due to me to be allowed to explain my own -picture and to correct the interpretation which -you have given to it without consulting me and -without consulting history. -</p> - -<p> -<span class="pagenum">{<a id="P11"></a>11}</span> -</p> - -<p> -"Do you wish to discourage an artist who -sacrifices all to merit the favours with which -the public has so far honoured him? Why, -upon my first essay, attack me so openly? -This is to me a new kind of painting, but it is -one in which I flatter myself that I shall become -perfect as time goes on. Why compare me -alone, amongst all my confrères, to the most -learned painter of the French school? If you -have done this to indulge me, you have not -done it happily, for I can find nothing in all -that article but a marked design to annoy me. -Nor shall I be able to recognise any other than -that design—a most unworthy one in a writer -who ought to be impartial—until I have seen -your willingness to print my letter in your -journal." -</p> - -<p> -It will be noticed that in this letter there is -not a single word written about art. All the -discussion turns upon archæological details. -Poussin is not mentioned as an artist, but -merely as a "learned painter," and we shall -see, when we discuss the position held by -Greuze amongst French artists, that scholars, -excellent in their own place, came at length to -push the painters "from their stools," with very -disastrous results for the art of France. -</p> - -<p> -Even Diderot turned upon this picture and -condemned it; for he and his followers now -saw that after all Greuze was not the painter -of morality for whom they had been seeking. -Greuze, it appeared, was ready "to pay homage -to traditional conventions," and to become a -<span class="pagenum">{<a id="P12"></a>12}</span> -backslider from the ideals which they had -cherished. After this scene Greuze refused to -exhibit any of his pictures at the annual -exhibitions of the Academy until the Revolution -swept away restrictions, and opened the doors -of the Salon to all artists. He also shook the -dust of Paris from his feet, and lived for a time -in Anjou, where he painted a number of -pictures, including that portrait of Madame de -Porcin which is to-day one of the treasures of -the museum of Angers. -</p> - -<p> -When Greuze returned to Paris his repute -was greater than it had ever been before. It -was now the fashion to visit his studio, and royal -princes, the nobility, the Emperor Joseph the -Second and other foreign notabilities came to -see <i>La Cruche Cassée</i>, <i>La Malédiction Paternelle</i>, -<i>La Dame de Charité</i>, <i>Le Fils Puni</i>, and other -paintings which happened at that time to be -still in his possession. He amassed money -notwithstanding the great losses caused by his -wife's lawless extravagance. High prices -were paid for his paintings, and the engravers -Massard, Gaillard, Levasseur and Flipart were -kept busy making plates, the impressions from -which were in the houses of Paris, of the -provinces, and of foreign countries. Moreover, -curious dilettanti, people of the kind whose -chief regard is for technical and accidental -states of the plates, began to collect these -engravings, and to compete with one another to -possess them. One engraver, Jean Georges -Wille, had always been the staunch friend of -<span class="pagenum">{<a id="P13"></a>13}</span> -Greuze; and his son, Pierre Alexandre, became -a pupil in Greuze's studio. At a time when -the artist had been less known, it was Wille -who disseminated a knowledge of his works, -not only in France, but also in Germany. -</p> - -<p><br><br><br></p> - -<p><a id="chap03"></a></p> - -<h3> -POVERTY AND DEATH -</h3> - -<p> -Suddenly, amidst all the splendour of his -great reputation, the Revolution smote Paris, -and Greuze was bereaved of all his glory. -The pension he had received from the King -ceased with the authority of the King. The -attention of the people was withdrawn from him, -and such regard as was paid to pictures during -this distracted epoch went to the paintings of -David, who was both painter and politician. -Greuze's ironical inquiry each morning, "Who -is King to-day, then?" is significant of the -instability of the time. No more the elite of -Paris crowded round his easel; but one of his -two daughters still remained with him; and a -number of his scholars, especially his girl pupils, -were faithful to the end. -</p> - -<p> -"You have a family and you have talent, -young man," he once said to Prudhon; "that -is enough in these days to bring about one's -death by starvation. Look at my cuffs," -continued the old man bitterly; and then Greuze -would show him his torn shirt-sleeves, "for -even he could no longer find means of getting -on in the new order of things." -</p> - -<p> -<span class="pagenum">{<a id="P14"></a>14}</span> -</p> - -<p> -How poor he was may be inferred from his -letter to the Minister of the Interior: "The -picture which I am painting for the government -is but half finished. The situation in -which I find myself has forced me to ask you -to pay me part of the money in advance, so -that I may be enabled to finish the work. I -have been honoured by your sympathy in all -my misfortunes; I have lost everything but -my talent and my courage. I am seventy-five -years of age, and have not a single order for a -picture; indeed, this is the most painful moment -of my life. You have a kind heart, and I flatter -myself that you will relieve me in accordance -with the urgency of my need." -</p> - -<p> -"Well, Greuze," said his friend Barthélemy -one day to him, when sitting at his bedside. -</p> - -<p> -"Well, my friend," replied the artist, "I am -dying.... I am commencing to know no -longer what I am saying; but patience! yet a -little while and I shall say nothing more." -</p> - -<p> -"<i>Allons, mon ami</i>—courage, one doesn't die -on the first day of spring." -</p> - -<p> -"Ah! my God, since the Sans-culottides I -have taken no heed of the seasons. Are we in -<i>Ventóse</i> or in <i>Germinal</i>? Is to-day Saint -<i>Pissenlit</i> or <i>Saint Asperge</i>?" -</p> - -<p> -"What matters! See how beautifully the -sun shines." -</p> - -<p> -"I am quite at ease for my journey. Adieu, -Barthelemy. I await you at my burial. You -will be all alone like the poor man's dog." -</p> - -<p> -<span class="pagenum">{<a id="P15"></a>15}</span> -</p> - -<p> -So in poverty and neglect the artist died. -There is a tradition that when Napoleon heard -of it, he exclaimed, "Dead! poor and neglected! -Why did he not speak? I would have given -him a pitcher made of Sèvres china, filled to -the brim with gold, for every copy of his <i>Broken -Pitcher</i>." -</p> - -<p> -At the funeral, when the coffin rested in the -church, a lady, whose emotion could not be -hidden, even by the thick veil which she wore, -advanced to the coffin, and placed upon it a -bouquet of <i>immortelles</i>. She then withdrew -again to an obscure part of the church. Tied -to the bouquet was discovered a piece of paper -which bore this inscription: "These flowers, -offered by the most grateful of his pupils, are -the emblem of his glory." -</p> - -<p> -A newspaper of the time gave the name of -the young lady as Mademoiselle Mayer, the -artist who, before she committed suicide, did -so much to cheer the desolate life of Prudhon, -and who now occupies the same tomb as -Prudhon in the cemetery of Père la Chaise in -Paris. Madame de Valory, however, the -god-daughter of Greuze, has stated that the woman -was Madame Jubot, another of the pupils of -Greuze. -</p> - -<p> -Tournus neglected him in his life, but to-day -is proud of its illustrious son. A monument of -the artist has been erected in the town, some -of his pictures hang in the church and in the -museum, and a tablet marks the house in which -he was born. -</p> - -<p><br><br><br></p> - -<p><a id="chap04"></a></p> - -<p><span class="pagenum">{<a id="P16"></a>16}</span></p> - -<h3> -ROMANCE AND TRAGEDY -</h3> - -<p> -It was peculiarly fitting that a lady should -deposit upon the coffin of Greuze a bouquet -of <i>immortelles</i>, for his romantic and chivalrous -regard for women, from a very early period in -his career, had a great influence upon his life -and work. Even as a pupil of Grandon, Greuze -fell in love with his master's wife, a woman of -very great beauty and charm. He never told -his love; but one day Grandon's daughter -surprised Greuze on his knees in the studio. She -asked him what he was doing there, and he -replied that he was looking for something he -had lost. But she had seen that he had one of -her mother's shoes, and that he was covering it -with ardent kisses. -</p> - -<p> -Exceptionally romantic, too, was his love for -the beautiful Lætitia during the two years that -he spent in Italy. Greuze had carried with him -to that country letters of introduction to the -Duc del Or...., by whom he had been received -with great cordiality. The Duke's wife had -died, but he had a charming daughter, Lætitia, -to whom it was arranged that Greuze should -give lessons in painting. Greuze was a man -to whom women and girls were instinctively -attracted, and Lætitia fell in love with him, -with all the violence and passion of the Italian -temperament. Her beauty and her charming -manners had also fascinated Greuze; but he -was very much disconcerted when he found -that she loved him, because he was conscious -<span class="pagenum">{<a id="P17"></a>17}</span> -of the gulf which birth and fortune had placed -between them. He, therefore, rigorously repressed -his desire to see her, and forced himself -to stay away from the palace. -</p> - -<p> -Meanwhile, his doleful demeanour, innocent -face, and light curls obtained for him, from -Fragonard and other French students, who -were in Italy at the time, the name of the -love-sick cherub. -</p> - -<p> -Greuze at length heard that Lætitia was ill, -and that no one could discover the cause or -nature of her malady. He loitered near her -home to try to obtain tidings of her, and one -day he encountered the Duke, who took -him to the palace to show him two pictures -by Titian, which he had recently purchased. -</p> - -<p> -"My daughter," he said, "has promised -herself the pleasure of copying them when her -health has been restored. I hope that you will -come to superintend her work. That is what -she wishes." -</p> - -<p> -The Duke further asked Greuze to make a -copy of one of the pictures as soon as he could, -because he wished to send the copy away as a -present. Greuze could not refuse; and thus he -was soon installed in the palace again, working -there day by day. Each morning he was -informed, by an old retainer of the family, who -had been Lætitia's nurse, how the young lady -fared. The old nurse knew the two were in -love with each other. Indeed, a little later, -she arranged a secret interview between them, -<span class="pagenum">{<a id="P18"></a>18}</span> -and Greuze found his idol pale and thin, but -not less beautiful than before. -</p> - -<p> -At first neither of them could speak; but, -encouraged by the nurse, Lætitia blurted out: -</p> - -<p> -"Monsieur Greuze, I love you. Tell me -frankly, do you love me?" -</p> - -<p> -Greuze was too happy to speak, and Lætitia, -mistaking the cause of his silence, hid her face -in her hands, and burst into tears. -</p> - -<p> -This melted Greuze to the uttermost. He -threw himself at her feet, and then, in the -intervals between his impetuous kisses, he -poured out impassioned declarations of his love. -</p> - -<p> -"I can now be happy," cried Lætitia, -clapping her hands, and behaving like a -gladdened child. She ran and embraced her -nurse, and again and again gave expression -to her ecstasy. "Listen to me, you two; here -is my scheme. I love Greuze, and I will marry -him." -</p> - -<p> -"My dear child, you dream," replied the -nurse. "What about your father?" -</p> - -<p> -"My nurse, you wish to say that my father -will not consent. Well I know that. He -wishes me to marry his eternal Casa—the -oldest and the ugliest of men; or the young -Count Palleri, whom I do not know, nor ever -wish to know. I am rich through my mother, -and I give my fortune to Greuze, whom I -marry. He takes me to France, and you will -follow us there." -</p> - -<p> -And intoxicated with the future which she -had arranged, she detailed, with a delicious -<span class="pagenum">{<a id="P19"></a>19}</span> -volubility, the life that they would lead together -in Paris. Greuze would continue to paint. -He would become another Titian, and in the -end her father would be proud to have such -a son-in-law. -</p> - -<p> -When Greuze next saw Lætitia he had had -time to review all the circumstances, and he -appeared with a woeful face. Lætitia derided -him, and then tried to coax him tenderly out -of his gloomy mood. At last, becoming angry, -she called him perfidious, and reproached him -that he had pretended to love her that he -might the more easily break her heart. She -cried and tore her hair, and Greuze fell at her -feet, and promised to obey her blindly. -</p> - -<p> -But as soon as he had left the palace he saw -the folly of it all. He saw the despair of her -father, heard his maledictions, and felt his -vengeance, and all the misfortune which would -come upon their love. He then decided that -he would not relent again, nor see Lætitia any -more. As an excuse for not visiting her he -pretended that he was ill, and this simulated -illness became real. For three months he was -ailing, and part of the time he was consumed -by fever and delirium. -</p> - -<p> -At the end of his illness Lætitia was still -eager to marry him; but with extraordinary -firmness of will he resisted the temptation and -fled from Italy, carrying with him secretly a -copy of the portrait of Lætitia, which he had -painted for her father. -</p> - -<p> -Many years later, when Greuze was once -<span class="pagenum">{<a id="P20"></a>20}</span> -more a poor man, he wrote in reply to the -Grand Duchess of Russia, who had offered ten -thousand livres for the portrait of Lætitia, "If -you were to give me all the riches of the Empire -of Russia they would not pay for that picture," -and probably in his old age he read yet again -the letter he had received from Lætitia, eight -years after he quitted Rome. "Yes, my dear -Greuze, your old pupil is now a good mother; -I have five charming children, whom I adore. -My eldest daughter is worthy to be offered as a -subject for your happy talent; she is beautiful -as an angel. Ask the Prince d'Este. My -husband almost convinces me that I continue -to be young and pretty, so much does he still -love me. As I have told you, this happiness -is due to you, and I love you for having -prevented me from loving you." -</p> - -<p> -Greuze had scarcely returned from Italy -when he was attracted by Mademoiselle -Anne-Gabrielle Babuty, who was in charge of a -bookshop in Paris. Diderot, who had himself been -very much in love with her, has described her -as a smart dashing young woman, of upright -carriage, and with a complexion of lilies and -roses. De Goncourt also speaks of her -numerous charms. She had a pretty face, -which Greuze seemed to be never tired of -painting. It was the smooth face of a child, -and had an attractive roundness, and a soft, -tender, peach-like delicate complexion. The -expression was simple and unaffected, and there -was enough of piquancy to animate a face -<span class="pagenum">{<a id="P21"></a>21}</span> -which, for all its manifold good qualities, would -else have had a tendency towards insipidity. -Her eyebrows were very much arched, and this -circumstance lent to her face its expression of -naïveté. Her eyelashes were long, and when -her eyes were downcast they gave a charming -look to her face, resting like a caress upon -her cheeks. Her little nose, the nose of a child, -was exquisitely formed, and seemed to indicate -an alert and lively character, and her rosy lips -were also finely shaped, and particularly alluring. -</p> - -<p> -Her portrait appears often in the paintings -of Greuze in <i>La Philosophie Endormie</i>, <i>La Mère -Bien Aimée</i>, <i>La Voluptueuse</i>, and in many others. -</p> - -<p> -The story of their first encounter, and of -their subsequent relations, is best told by -a few extracts from a document which Greuze -had cause to execute some years afterwards. -He wrote: -</p> - -<p> -"A few days after having arrived from Rome—I -know not by what fatality—I passed along -the <i>Rue Saint Jacques</i>, and saw in her shop -Mademoiselle Babuty, who was the daughter -of a bookseller. -</p> - -<p> -"I was struck with admiration, for she had -a very beautiful figure; and that I might have -a better chance of seeing her I bought a -number of books. Her face was without -character, and was indeed rather sheep-like. -I paid her as many compliments as she could -wish, and she knew who I was, for my reputation -had already commenced, and I had been -recognised by the Academy. -</p> - -<p> -<span class="pagenum">{<a id="P22"></a>22}</span> -</p> - -<p> -"She was then thirty and some odd years of -age, and therefore in danger of remaining single -all her life. She employed all the cajoleries -that were possible to attach me to her, and to -cause me to come again, and I continued to pay -her visits for about a month. One afternoon I -found her more animated than usual. She took -one of my hands, and, regarding me with a very -passionate look, she said, 'Monsieur Greuze, -would you marry me if I were to consent?' -</p> - -<p> -"I avow I was confounded by such a question. -I said to her, 'Mademoiselle, would not -one be too happy to pass his life with a woman -so lovable as you are?' -</p> - -<p> -"Of course, this was but lightly said, yet -that did not prevent her from taking action at -once; for, upon the very next morning, she -went with her mother to the Quai des Orfèvres, -and there bought, at the shop of Monsieur -Strass, earrings of false diamonds, and next day -she did not hesitate to wear these in her ears. -</p> - -<p> -"As she lived in a shop, the neighbours -were not slow in paying her compliments, -and in asking her who had presented these -jewels to her. -</p> - -<p> -"With downcast eyes she answered softly, -'It is Monsieur Greuze who has given them -to me.' -</p> - -<p> -"'You are married, then?' -</p> - -<p> -"'Ah, no;' but this was said in a way that -implied that secretly she had married me. My -friends began at once to congratulate me, but I -assured them there was nothing more false than -<span class="pagenum">{<a id="P23"></a>23}</span> -the news they had heard, and that I had not -money enough to enable me to marry. -</p> - -<p> -"Outraged at such effrontery, I did not -return to Mademoiselle Babuty any more. I -lived at that time in <i>le faubourg Saint Germain</i>, -<i>rue du Petit Lion</i>, in an hotel of furnished rooms -called <i>l'Hôtel des Vignes</i>. Three days passed, -during which I heard no more of the matter, -and I was already thinking of other affairs, -when one fine day she came knocking at my -door accompanied by her little servant girl. I -took no notice of the knocks, but she knew I -was there, and she attacked my door with her -hands and feet like a veritable fury. Then, to -prevent a public scandal, I opened my door, -and she threw herself into my room all in tears. -She said to me: -</p> - -<p> -"'I have done wrong, Monsieur Greuze, but -it is love which has misled me. It is the -attachment I have for you which has made me resort -to such a stratagem. My life is in your -hands.' Then she flung herself at my knees, and said -she would not rise again until I had promised -that I would marry her. She took my two -hands in hers, and they were wet with tears. -I pitied her, and I promised all she wished. -</p> - -<p> -"We were not married until two years afterwards, -in the parish of Saint Medard—which -was not her parish—for fear of the pleasantries -that would have been made, seeing that she -had said that we were already married. I -commenced housekeeping with twenty-six livres the -day after our wedding." -</p> - -<p> -<span class="pagenum">{<a id="P24"></a>24}</span> -</p> - -<p> -During the first seven years of their married -life they had three children. One of the -children died, leaving the artist and his wife -with two daughters. -</p> - -<p> -Concerning these seven years no complaint -is made about the conduct of Madame Greuze; -but from that time it would be difficult to find -a more unhappy household than that of Greuze. -His wife was a continual torment, hindering -him in his work, putting his life on a lower -level, and making his home intolerable. Diderot -even blamed her for the infelicity of his Academy -picture, and Greuze himself suspected her of -having poisoned the minds of the members of -the Academy against him. -</p> - -<p> -Her faithlessness, gross as it was, received -further aggravation from the insolent openness -in which it manifested itself. She received men -of the most disreputable character at her house, -caring naught whether her husband knew or -not; and she polluted the morals of his boy -pupils. Her children she neglected and put -into a convent, one for eleven years, and the -other for twelve. "It is a year and seven days -since mamma saw us," said one of the girls -sadly one day, when their father had gone to -visit them. -</p> - -<p> -Many a time Greuze went in bodily fear of -her violence. When she asked for the help of -a servant, and Greuze suggested that she should -wait a little longer, until he could pay the -wages of one, she dealt him, with all her might, -a blow upon his face. She squandered in all -<span class="pagenum">{<a id="P25"></a>25}</span> -manner of foolish extravagance the large -fortune which Greuze received from the sale of -the engravings from his works; and then she -destroyed his account books, that the extent of -her defalcations might never be known. Her -household duties were abandoned, and Greuze -nearly died when one day he warmed for himself -some food in a saucepan in which verdigris -had been suffered to accumulate. -</p> - -<p> -At last her violence, her rank immorality, her -extravagance and her neglect could be borne no -longer, and in despair Greuze obtained from the -magistrates the legal right to live apart from -his wife. -</p> - -<p><br><br><br></p> - -<p><a id="chap05"></a></p> - -<h3> -PERSONAL CHARACTERISTICS -</h3> - -<p> -The sadness of the story of Greuze's married -life is all the more touching because he had the -qualities of a true and tender husband. It is -indeed not less than a tragedy that, constituted -as he was, he should have been denied the -companionship of a woman worthy of the great -affection of which his nature was capable. -Often querulous and brusque with men, his -manner with women was gracious and respectful, -his politeness the true politeness of the -kind heart that desires the well-being of others. -As we have seen, his relations with Lætitia -were governed by a most chivalrous ideal of -conduct, an ideal which seems quite quixotic -when we think of the period in which he lived. -As Lætitia had been attracted towards him, so -<span class="pagenum">{<a id="P26"></a>26}</span> -also were most of the women who moved in his -social sphere; and, eager as he was for praise -from men, it came with added sweetness from -the lips of women. It is not surprising that -he painted women with such perfect charm, -because his heart was in the work. -</p> - -<p> -Greuze, though only of middle height, had -yet an impressive personality; and people of -any discernment saw at a glance that he was -a man of distinction. His head was well -formed, his forehead high, his eyes large and -bright, and of a good shape, and his features -indicated genius, candour, and an energetic -will. -</p> - -<p> -His conversation was sincere and elevated, -and often piquant and animated. He sometimes -showed signs of nervousness and irritability, -and became quite fiery when his work -was criticised, or when he thought he was -not receiving the treatment which his vanity -prompted him to think he ought to receive. -</p> - -<p> -This self-esteem, always abnormal, had been -increased by his early success with <i>Un Père de -Famille qui lit la Bible à ses Enfants</i>. "Our -painter is a little vain," wrote Diderot in 1765, -"but his vanity is that of a child;" and it was -generally recognised that there was very much -of naïveté in his conceit, and that his good -qualities compensated for any displays of childish -self-sufficiency. -</p> - -<p> -At times his talk became inflated and -bombastic. "Oh, sir!" he would say, concerning -his own picture, "here is a work which -<span class="pagenum">{<a id="P27"></a>27}</span> -astonishes even me who painted it. I cannot -understand how a man can, with a few pounded -earths, animate a canvas in this way," and no -ridicule could cure him of this flamboyant -manner. -</p> - -<p> -"That is beautiful," said Monsieur de -Marigny, standing before Greuze's painting of -<i>La Pleureuse</i>. -</p> - -<p> -"Sir, I know it; moreover, people praise -me, and yet I am in need of more commissions." -</p> - -<p> -"It is because you have a host of enemies," -said Vernet, who was present at the time, "and -amongst those enemies is one who appears to -love you to the verge of folly, but he will -nevertheless ruin you." -</p> - -<p> -"And who is that?" -</p> - -<p> -"It is yourself." -</p> - -<p> -Greuze's irritability sometimes revealed -itself in downright rudeness. Natoire, the -professor at the Academy, looking through a -portfolio of drawings of some other artist, -questioned the accuracy of one of the figures, -whereupon Greuze turned upon him and said: -</p> - -<p> -"Sir, you would be happy if you could draw -one as well." -</p> - -<p> -The Dauphin, when Greuze had painted his -portrait, wishing to show how pleased he was -with Greuze's work, paid him the high compliment -of suggesting that he should now paint -the portrait of the Dauphine, who was present. -Greuze looked at her face, and alluding to the -thick covering of rouge which appeared upon -<span class="pagenum">{<a id="P28"></a>28}</span> -her cheeks, asked to be excused, for he could -not paint such a face as that. No wonder -that Mariette should say that Greuze had the -manners of a cobbler. -</p> - -<p> -There are also hints that Greuze was sometimes -jealous. In <i>Un Homme d'Autrefois</i>, by -the Marquis Costa de Beauregard, it has been -narrated that Henry Costa, one of the author's -ancestors, wishing to be an artist, went at the -age of fourteen years to Paris. He was -received with great kindness by Greuze, and -the enthusiastic boy said "<i>il parle comme un -ange</i>," but in an article contributed by Augustus -Mansion to <i>Temple Bay</i> we have read, "Another -chagrin followed. Greuze became jealous of -his prodigy, tried to shake him off, ignored -letters, and declined to permit himself to be -seen at work. It was an unkindness keenly -felt by the boy, who was learning every day a -little more of the world: '<i>Quelle froideur et quelle -mystère!</i>' he says. 'Greuze told me he could -not communicate certain processes he was -employing, that what was useful for him might -not be the same for me. I cannot understand -how a fine genius can be capable of such -meanness.'" -</p> - -<p> -Yet one cannot estimate the whole character -of Greuze by these isolated incidents. Like -other people, he said and did different things -when he was in different moods, and we know -that when the artists of Paris held aloof from -Prudhon, whose poverty had compelled him to -"draw vignettes on letter sheets for the -<span class="pagenum">{<a id="P29"></a>29}</span> -government offices, business cards for tradesmen, and -even little pictures for bon-bonnières... -Greuze alone treated him amicably." -</p> - -<p> -Greuze's industry was abnormal. As a -worker he seemed indefatigable. He was -absorbed in his art, putting all his soul and -brains into his pictures, and seeming to live -for his work, and for no other thing. -</p> - -<p><br><br><br></p> - -<p><a id="chap06"></a></p> - -<p><span class="pagenum">{<a id="P30"></a>30}</span></p> - -<h3> -CHARACTERISTICS OF HIS WORK -</h3> - -<p> -There is so little variety in the works of -Greuze that if one divides them into two -main classes, nearly all his pictures, with the -exception of the portraits, may be placed in one -or other of these two divisions. In one class there -are his <i>genre</i> pictures, containing as a rule many -figures; and then, better known than these, -and of greater merit, are his single heads of -girls and boys, which constitute the other -principal category. -</p> - -<p> -His first great success was achieved with his -picture of the <i>genre</i> class, <i>Un Père de Famille qui -lit la Bible à ses Enfants</i>, and this book contains -an illustration from another popular work of -this sort called <i>L'Accordée de Village</i>. A section -of this volume explains the relative position of -Greuze in the history of art, and reasons are -given which account for the great acclamation -with which this and similar works were received -in Paris when first they were exhibited. -Meanwhile we will consider the intrinsic merits of -these pictures without reference to the novelty -of their appearance—an appearance in which -a number of adventitious circumstances are -involved. -</p> - -<p class="capcenter"> -<a id="img-030"></a> -<br> -<img class="imgcenter" src="images/img-030.jpg" alt="THE VILLAGE BRIDE. (L'Accordée de Village.)"> -<br> -THE VILLAGE BRIDE.<br>(L'Accordée de Village.) -</p> - -<p> -<span class="pagenum">{<a id="P31"></a>31}</span> -</p> - -<p> -In painting pictures of scenes in the life of -humble people, Greuze had an aim other than -the representation of some beauty of nature by -which his own emotions had been profoundly -stirred. He wished to play the schoolmaster, -and the history of painting has demonstrated -that, whatever may be the immediate effect of -pictures that have been wrought in this mood, -they have never been the pictures that have -endured for all time the test of a comparison -with the severest standards of excellence in -art, and they have invariably sunk into their -own place—amongst pictures not in the first -class. -</p> - -<p> -Again and again it has been shown that a -man cannot be a preacher or a story-writer on -canvas and at the same time an artist of the -first rank. The reason for this is that it is not -the function of pictorial art to tell tales, nor to -preach sermons, though artists can do both, -and yet be very popular. -</p> - -<p> -"Sir," said Dr. Johnson, "a woman's preaching -is like a dog's walking on his hind legs: it -is not done well; but you are surprised to find -it done at all." And one may apply the same -remark to the pulpiteering of the painter with -much less risk of evoking a protest. -</p> - -<p> -During recent years this truth has begun to -receive recognition. Théophile Gautier has -written strenuously against story-telling -pictures, and Whistler has argued that Art "is, -withal, selfishly occupied with her own -perfection only—having no desire to teach—seeking -<span class="pagenum">{<a id="P32"></a>32}</span> -and finding the beautiful in all conditions and -in all times." -</p> - -<p> -While these opinions of modern critics upon -anecdotal art are in our minds, it will be -appropriate to mention Greuze's own views -as revealed in what he called "<i>une note -historique</i>" upon his painting of <i>La Belle-Mère</i>. -"For a long time I had wished," he says, "to -paint that character, but in each sketch the -expression of the stepmother always appeared -to me to be feeble and unsatisfactory. One -day, however, when I was crossing the -Pont-Neuf, I saw two women, who spoke to one -another with much vehemence. One of them -began to shed tears, and she exclaimed, 'Such -a stepmother too! Yes, she gave me bread, -but in giving it to me she broke my teeth.' That -was a <i>coup de lumière</i> for me; I returned -to the house, and I made the sketch for my -picture, which contains five figures: the -step-mother, the daughter of the dead mother, the -grandmother of the orphan, the daughter of -the stepmother, and a child of three years. I -have supposed in my picture that it is the -dinner-hour, and that the poor little girl goes -to take a seat at the table with the other -children. Then the stepmother takes a piece -of bread from the table, and, holding the -orphan back by her apron, thrusts the bread -roughly into her mouth. I have set myself -the task of showing in that action the deliberate -hate of the woman. The child seeks to evade -her stepmother's violence, and seems as one -<span class="pagenum">{<a id="P33"></a>33}</span> -who would say, 'Why would you ill-use me? -I have done you no harm.' The child's expression -is a mixture of shyness and of fear. Her -grandmother is at the other end of the table. -Harrowed by grief, she lifts her eyes to heaven, -and, with hands trembling, seems to say, 'Ah! my -daughter, where are you? What misfortunes! what -bitterness!' The daughter of -the stepmother, not at all sympathetic concerning -the lot of her sister, laughs to witness the -despair of the poor old woman, and, in ridicule, -draws her mother's attention to her gestures. -The infant of the family, whose heart has not -yet been corrupted, gratefully stretches out her -arms towards the sister who has bestowed so -much kindness upon her. I have wished to -paint a woman who maltreats a child that -does not belong to her, and who, by a double -crime, has also corrupted the heart of her own -daughter." -</p> - -<p> -Here, then, we see an anecdotal painting in -the making. Although this rehearsal is very -touching, as a revelation of the kind heart of -the man, it yet seems to-day a particularly -naïve exposition of the motive for a work of -art. Nothing could show with greater clearness -the wide gulf that, in the art world, lies between -the end of the eighteenth century and the end -of a century which closed with discussions of -the theories of impressionists, vibrists, -symbolists and pointillists, and with the theories of -those who, denying that art is primarily moral, -or even intellectual, have contended that it is -<span class="pagenum">{<a id="P34"></a>34}</span> -simply a means by which we are made to -respond to an artist's emotion. -</p> - -<p> -If Whistler, to mention an artist representative -of some newer movements than those of -the eighteenth century, had been on the Pont-Neuf, -from what a different source would have -come any <i>coup de lumière</i> which might have -flashed into his brain! Not during high noon, -nor in the gossip of the people, would he have -found the motive for his paintings. His <i>coup de -lumière</i> would have come "when the evening -mist clothes the riverside with poetry, as with -a veil, and the buildings lose themselves in -the dim sky, and the tall chimneys become -campanili, and the warehouses are palaces in the -night, and the whole city hangs in the heavens, -and fairyland is before us—then the wayfarer -hastens home; and the working man and the -cultured one, the wise man and the one of -pleasure, cease to understand, as they have -ceased to see, and Nature, who, for once, has -sung in tune, sings her exquisite song to the -artist alone, her son and her master—her son -in that he loves her, her master in that he -knows her." -</p> - -<p> -Whistler's eyes would have been directed -towards the beauties of colour and of tone that -he might find on the river or on its banks; and -the Isle de France, as it is seen by the tired -journalist as he makes his way to the Latin -Quarter at dawn of day, with its tender grays, -and its evasive charms of exquisite light and -colour, would be of more account to him than -<span class="pagenum">{<a id="P35"></a>35}</span> -all the conversations in the world, however -vehement they might be. The idea of preaching -or moralizing on canvas would never have -entered his head for a moment. -</p> - -<p> -When Greuze, in harmony with the raw -notions of Diderot upon art, did preach, his -homilies were singularly unimpressive. The -pictures which he painted when in this -sermonizing vein have all the elements that go -to the making of what is now called melodrama. -The scenes are not the result of a -discriminating observation of real life; are not, -to use Zola's phrase, "Nature seen through a -temperament." They are founded upon -conventions, upon the artificial and sentimental -ideas of life that have by some curious freak -of the human mind established themselves in -books and plays and pictures. -</p> - -<p> -The figures in Greuze's <i>genre</i> pictures pose -before the spectators; they gesticulate and -overdo their parts like barn-stormers. Pity -becomes maudlin, morality degenerates into -sanctimoniousness, and humility is degraded -into utter abasement. The sentimentality in -<i>Un Paralytique Soigné par sa Famille</i>, <i>ou le Fruit de -la Bonne Education</i>, and in <i>La Mère Paralytique</i> is -particularly nauseating, and in <i>La Mère bien -Aimée</i> the exaggeration of what is in actual -life a very tender sentiment makes of that -picture a very significant example of Greuze's -stilted manner. The six children—all of them -about the same age—who have flung themselves -upon their mother, seem so numerous, -<span class="pagenum">{<a id="P36"></a>36}</span> -and are so involved in a confused heap of -humanity that Madame Geoffrin spoke of the -picture as a "fricassee of children," and -incurred thereby the fulminations of the artist. -In his <i>genre</i> pictures, too, as is usual in -melodrama elsewhere, the humble cottage is the -headquarters of all the virtues. -</p> - -<p> -Greuze, it is true, made sketches for his -pictures in the streets and in the market-places; -but there is none of the freshness of -the sketch when the figure appears on the -canvas, and De Goncourt has complained -that little tatterdemalions with their split -breeches have become on their way to Greuze's -canvases the Cupids of Boucher dressed as -Savoyards; and further, he has put in a mild -demurrer that the artist's washerwomen do not -wash! -</p> - -<p> -In strong contrast to Greuze's melodramatic, -affected, domestic scenes are those by Chardin, -another French artist of the eighteenth century. -No ethical teaching is obtruded in his pictures; -there is no pose, and the spectator can enjoy -the real poetry of life, the sweetness and -simplicity of well-ordered homes, undisturbed by -the poseurs who clamour for our regard in many -of the pictures by Greuze. -</p> - -<p class="capcenter"> -<a id="img-036"></a> -<br> -<img class="imgcenter" src="images/img-036.jpg" alt="THE PRETTY LAUNDRESS. (La Belle Blanchisseuse.)"> -<br> -THE PRETTY LAUNDRESS.<br>(La Belle Blanchisseuse.) -</p> - -<p> -Another fault of Greuze's <i>genre</i> pictures is -their poverty and feebleness of colour. There -is a general deadness, and in parts an abuse of -purple and violet. Some of the tints have a -dirty muddled look, and the shadows are heavy -and brown. Still the chief fault is that art in -<span class="pagenum">{<a id="P37"></a>37}</span> -these pictures is relegated to a second place; -the pictures are a means, and not an end. -</p> - -<p> -To see many of his <i>genre</i> pictures together is -to receive an impression of monotony. It is -clear that the range of the artist is narrow, -that he is making a few ideas cover a great -area of canvas, and that he ceased to grow -intellectually at an early stage of his career. -</p> - -<p> -Greuze and Hogarth have often been compared, -but there are many essential differences -between the two men. There was dissimilarity -in their temperaments, and while Greuze has -adopted the attitude of a mild-mannered -Sabbath-school superintendent, towards those -whose immorality he would correct, Hogarth, -as Professor Muther has written, has "swung -over this human animal the stout cudgel of -morality in the manner of a sturdy policeman -and Puritan <i>bourgeois</i>." Charles Normand -explains the difference with some disregard for -international amenity. Greuze, he says, "did -not paint for the English, at once drunkards -and theologians, maundering on through life, -with a pot of gin in one hand and a Bible in -the other." -</p> - -<p> -And yet Greuze is no Puritan, even when -he preaches most. There is often an air of -coquetry and voluptuousness in his most serious -pictures. Charles Blanc has written that Greuze -is a moralist who is passionately fond of beautiful -shoulders, a preacher who loves to see and to -reveal to us the bosoms of young girls; and -Lady Dilke has pointed out that "even in <i>Un -<span class="pagenum">{<a id="P38"></a>38}</span> -Père de Famille qui lit la Bible à ses Enfants</i> -... the instinct which bade him associate with his -lessons of grace and morality the stimulus of -voluptuous charm has tempted him to give -prominence to the girl whose thoughts are far -away, and whose kerchief is torn just where it -should hide the budding breast." -</p> - -<p> -But when criticism has said all it can say in -dispraise of Greuze's pictures, even of his <i>genre</i> -pictures, it may be seen that Greuze was by -temperament an artist. The melodramatic -moralist was only part of the man and not the -whole. Even Robert Louis Stevenson had -"something of the Shorter-Catechist" in his -constitution, and yet remains the most romantic -and interesting figure of the latter-day world of -letters. -</p> - -<p> -It need not be forgotten that in the most -theatrical works of Greuze there are many -beauties. There is often a figure in these -otherwise imperfect pictures which indicates his -love for the beautiful, and in some of his paintings, -for instance in <i>Un Père de Famille qui lit -la Bible à ses Enfants</i>, the melodramatic element, -though present, is not obtrusive, and is more -than compensated by the other qualities of -tenderness and graceful composition. -</p> - -<p> -We may now consider the other class of -Greuze's paintings, the heads of children, and -it is in these that Greuze is seen at his best; -it is in these that he redeems himself, and reveals -more of the artist. To-day, though his other -works are scarcely ever mentioned, his heads -<span class="pagenum">{<a id="P39"></a>39}</span> -of girls and boys are treasured in the most -costly collections, and are known far and wide -by means of photographs and other reproductions. -</p> - -<p> -In many an art gallery the beautiful eyes of -these pretty, rosy-cheeked children meet our -own, and we stay yet again to admire their -fresh lips and their brown hair, in which the -piece of blue ribbon nestles with such harmony -of colouring. Often a light gauze has been -thrown round their necks or upon their shoulders, -and often, too, a posy of flowers tucked into the -tops of their bodices emulates the carnation -and white of their complexions. There are few -pictures that are more sweet and alluring than -these heads of children. -</p> - -<p> -In London it is an easy matter to study -Greuze's child portraits, because there are a -few examples at the National Gallery, and -more at Hertford House. Standing before -these canvases the general effect is one of -sweetness and delicacy, one colour melting into -another in almost imperceptible gradations, and -giving an impression very unlike the one we -receive from the hard edges of a painting by -Maclise for example. The colours are not -positive, but have been softened and harmonized. -For instance, if a piece of white paper is held -against what may seem to be a piece of white -drapery, it will be found that the white has -been modified into a beautiful delicate pearly -gray. The same test may be applied to the -other colours. Hold a piece of positive blue -<span class="pagenum">{<a id="P40"></a>40}</span> -near to one of Greuze's seemingly blue ribbons, -and it will be noticed that a similar modification -has been effected. -</p> - -<p> -The forms, too, have been rounded, and have -been freed from all angularities. Indeed, -Greuze has carried this process as far as it is -possible. Too much of this smoothing and the -picture would lose in character, and would -become but a vapid piece of work. -</p> - -<p class="capcenter"> -<a id="img-040"></a> -<br> -<img class="imgcenter" src="images/img-040.jpg" alt="THE LISTENING GIRL."> -<br> -THE LISTENING GIRL. -</p> - -<p> -In the long series of heads of girls and boys -that Greuze painted, some of the pictures are -conspicuously better than the rest. Of these -may be mentioned the <i>Head of a Young Girl -Veiled in Black</i>, which belongs to M. Leopold -Goldschmidt, and two more which are in the -Museum at Besançon, <i>Paul Strogonoff</i>, <i>Infant</i>, -and the <i>Head of a Young Girl</i>. Also characteristic -of Greuze at his best, and more available -to the people of this country, is <i>A Girl with -Doves</i>. In the year 1800 he exhibited at the -Salon <i>L'Innocence tenant Deux Pigeons</i>. It has -not been definitely ascertained, but it is possible -that this is the beautiful picture that hangs now -in the Wallace Gallery. Few paintings by -Greuze are more pleasing than this one. The -picture is well painted, and it is quite free from -Greuze's besetting sins. Where in other pictures -one finds posturing and affectation, one -finds here the simplicity and sweetness of -nature. The painting was a commission from -a Mr. Wilkinson, and Greuze received 4,500 -francs for it. When Mr. Wilkinson's pictures -were sold in 1828, Mr. Nieuwenhuys became -<span class="pagenum">{<a id="P41"></a>41}</span> -the purchaser, and he paid 245 guineas for the -painting. Later the work became the property -of Mr. W. Wells, of Redleaf, and when, in -1848, his pictures were dispersed, the Marquis -of Hertford gave £787 10s. for this one, and -thus it has become part of the splendid -collection at Hertford House, now belonging to the -nation. During the Manchester Exhibition of -1857 the public had a chance to see it there, -and it was exhibited again at Bethnal Green in -1874. Another picture in which Greuze's style -may be studied is <i>A Girl's Head, draped with a -Scarf</i>. In England this is one of the -best-known of the artist's works. Thirty and more -years ago it was reproduced in popular -publications, and it has been reproduced many times -since by various processes. By the bequest of -Mr. R. Simmons, the original picture has -become the property of the nation, and it is now -the most characteristic example of Greuze -amongst those that hang in the National -Gallery. Upon this canvas one may see many -of the qualities to which we have already -referred. There is more than a suspicion of -mannerism in the way that the hands are held, -and one feels, concerning the shoulder, that, -beautiful as it is, it has been obtruded upon the -notice of the spectator with a somewhat free -anatomical license. The half-open mouth also -gives an impression of affectation; and yet, -when criticism has pronounced its last word, -the picture still remains graceful and seductive. -</p> - -<p> -Some of the faults of Greuze's manner which -<span class="pagenum">{<a id="P42"></a>42}</span> -have been noted in his <i>genre</i> pictures appear -also in his heads of children. The girls in a -number of the pictures are too self-conscious -and affected, imperfections that one may see -prominently illustrated in <i>Fidelity</i> and in <i>Ariadne</i>, -in the Wallace Collection. -</p> - -<p> -A few, indeed, of Greuze's heads can scarcely -be called paintings of children at all, so many -of the elements of womanhood has he mingled -with what is otherwise typical of childhood. -As representations of the charm and the -insouciance of childhood, a painting by Greuze -would ill bear comparison, for example, with -a work by Chardin amongst his own -compatriots, with works by Reynolds and -Gainsborough; or, to come to our time, with -some of the children of Millais, with Watts' -<i>Agathoniké Hélène Ionides</i>, Whistler's <i>Miss -Alexander</i>, Mouat Loudan's <i>Isa</i>, John Lavery's -<i>A Girl in White</i>, or with Edward Arthur -Walton's <i>The Girl in Brown</i>. -</p> - -<p> -Most of the French critics who have written -of Greuze have drawn attention to this imperfection -in the artist's paintings of children. De -Goncourt in some passages of searching criticism -has written regarding a number of these -heads that they represent "the innocence of -Paris and of the eighteenth century, an easy -innocence which is near its fall." And De -Goncourt, Diderot, and other writers have pointed -out that in many the head is the head of a girl -on the body of a woman; that Greuze has, in -fact, put "young heads on old shoulders." -<span class="pagenum">{<a id="P43"></a>43}</span> -Charles Blanc has written of <i>Une Jeune Fille -qui pleure la Mort de son Oiseau</i>, that the head is -the head of a child, but the grief is the grief of -a woman; and he has added to this criticism -that it is rare to find in Greuze's pictures of -this class the head in harmony with the body. -</p> - -<p> -Despite all these shortcomings, however, the -pictures are charming, but the appeal of Greuze -will be specially to the young, who mark the -beauty only, and are unconscious of any pose -or any incongruity. -</p> - -<p> -In addition to the kinds of paintings we have -mentioned, Greuze showed that he was not -quite free from the conventions of the period -by painting a few mythological, religious, and -allegorical works, but these are pictures which -are not of any importance. -</p> - -<p> -"Keep yourself free from formulas," he said -to Count Henry Costa, but therein he did not -follow his own bidding. A writer in the <i>Nouvelle -Biographie Générale</i> has recorded that during this -era it was accepted and taught that a sphere -should be represented as though it had many -sides. Greuze at one time accepted this absurd -dogma, and in some of his pictures the chubby -cheeks of children have been painted as though -they had facets. His most finished works, -however, are free from this blemish. Greuze's -desire to be an historical painter is more -evidence that he was not without the conventional -ideas which have strangled art with such -persistency. -</p> - -<p> -<span class="pagenum">{<a id="P44"></a>44}</span> -</p> - -<p> -Although Greuze sometimes sketched rapidly, -yet his works are usually the result of slow and -laborious effort renewed again and again. His -plan was to return to his picture when he was -at his best, and to paint and repaint, no matter -how often, until he felt that the work was as -free from faults as he could make it. -</p> - -<p><br><br><br></p> - -<p><a id="chap07"></a></p> - -<p><span class="pagenum">{<a id="P45"></a>45}</span></p> - -<h3> -HIS POSITION IN FRENCH ART -</h3> - -<p> -During the seventeenth century France -had not an art of her own. The native -painters derived their pictures from Roman or -Grecian traditions. They shut their eyes upon -the beauties of Nature, painted tedious repetitions -of other people's notions, and could not -so much as paint their own King, Louis XIV., -except as Cyrus or as Alexander! -</p> - -<p> -This period of dulness, pomposity, and -general boredom was succeeded by one of light -and gaiety, when the joy and the colour of life -received recognition. To this consummation -the supreme genius of Watteau contributed -some of the most exquisite and poetical pictures -of all time, and delivered France "from the -oppressive yoke of the Italian tradition." Watteau -had many imitators, and his style -dominated art for many years, but eventually -freedom degenerated into license, and even into -sheer obscenity. Count Henry Costa, visiting -Paris during this period, wrote in a letter to his -parents in Savoy: "Greuze, I think, is not -partial to Boucher; and rightly loathes the -filthiness in fashion now, which desecrates art -and ruins morality." Boucher he described as -<span class="pagenum">{<a id="P46"></a>46}</span> -"an old worldling, more dissipated and done -up than you can imagine." -</p> - -<p> -It is in the writings of Diderot that one can -see, as well as in any other place, an indication -that towards the end of the eighteenth century -influential people in France were growing more -and more studious and serious. The ideas of -Rousseau were taking possession of the minds -of other people. The nation must study Nature, -and discover her laws. Prejudices, authority, -tradition, must all be examined in the light of -this new idea. Vice must be subdued, artificiality, -insincerity, luxury, false refinements, must -be swept away, and the people must return to -a life of greater simplicity. Man, by nature -moral, had been corrupted by civilization, and -it was therefore the least civilized who were the -least corrupt. -</p> - -<p> -Ideas like these, set forth with the power and -the burning zeal of Rousseau, and with the -deftness of Diderot, had prepared the minds of -the Parisians to receive the <i>genre</i> pictures of -Greuze, for to some extent he is an advocate -of these ideas in his pictures, seeing that virtues -are attributed in a generous measure to the -poor and downtrodden of the people. -</p> - -<p> -It is thus that, breaking away from the style -of the painters who did little more than pander -to the French Court, the pictures of Greuze -mark with perfect clearness the beginning of a -new tendency which was making itself felt in -Paris at the end of the eighteenth century. -Instead of adding to the great store of <i>fêtes -<span class="pagenum">{<a id="P47"></a>47}</span> -galantes</i>, and the triumphs of love of the time, -Greuze looked for his subjects upon the quays, -and boulevards, and market-places, and in the -cottages of humble people. -</p> - -<p> -"Courage, my good Greuze," said Diderot -of one of Greuze's pictures of domestic drama; -"introduce morality into painting. What! has -not the palette been long enough, and too long, -consecrated to debauchery and vice? Ought -we not to be delighted at seeing it at last, united -with dramatic poetry, in instructing, correcting -us, and inviting us to virtue?" -</p> - -<p> -Living amidst such ideas as these, Greuze -founded in France, in the words of De Goncourt, -"the deplorable school of the literary -painter, and the moralizing artist," or of "that -barbaric, story-telling art," as Muther, writing -in a similar strain, has described it. -</p> - -<p> -It was this manner of painting that brought -out what similarity there is between Hogarth -and Greuze, who has been called "a sentimental -Hogarth." Like the painter of <i>The -Rake's Progress</i>, Greuze told moral tales in a -series of pictures in which virtue is exalted and -vice abashed, a kind of painting quite different -from the pictures which had hitherto been -exhibited in Paris. Truly, as Charles Normand -has written, "the hour of the reaction against -the pastorals and the mythological insipidities -of Boucher had sounded. It was Greuze who -was the pioneer in the new departure, and he -reaped the reward. His fault is that he -replaced one convention by another." Hitherto -<span class="pagenum">{<a id="P48"></a>48}</span> -the Court had been all in all, but now had -arrived, in the phrase of Charles Blanc, -"l'usurpation bourgeoise." -</p> - -<p><br></p> - -<p> -Yet though Greuze thus parted from his -predecessors, and, at his best, went along the -line of progress towards a study of Nature at -first hand, he brought about no violent change -such as was seen in England when Madox -Brown and the Pre-Raphaelites broke in upon -the complacent mediocrities who represented -art in England during early Victorian times. -</p> - -<p> -Though he preached against the ardent -sensuality of his era, his own pictures were not -wholly free from it, and in the collection at -Hertford House his <i>L'Offrande a l'Amour</i>, and -particularly <i>La Bacchante</i>, strike no new note -amongst the other paintings of the same period. -There is not the great difference that would be -noticed if an early Millais were to be hung -amidst a collection of the works of Maclise, -Landseer, Collins, Newton, Leslie, Mulready, -and Webster. Greuze did not free France in -the same way that the Pre-Raphaelites loosed -the bonds of convention and tradition in our -own country. -</p> - -<p> -Greuze founded no school, and indeed outlived -his own movement; for he and Fragonard -were left in hopeless isolation when the -Revolution overwhelmed France. There are few -more pathetic passages in the lives of painters -than those which relate how, for the sake of -their daily bread, these poor old men made -<span class="pagenum">{<a id="P49"></a>49}</span> -ineffectual attempts, Fragonard with his <i>Le -Grand Prêtre Corésus se sacrifie pour sauver -Callirrhoé</i>, and Greuze with his <i>Ariadne at Naxos</i>, to -adapt themselves to the new situation. -</p> - -<p> -The Revolution, so far from freeing art in -France, brought about, under David—excellent -as he was as a painter of portraits—a reaction -to a "barren, wearisome classicism," represented -by pictures which are now absolutely -without attraction. Instead of studying Nature, -the painters studied the statues and the friezes -of the ancients. They became antiquaries and -geometricians, and left the open air to weary -themselves in musty libraries, in the pursuit -of archæological accuracy. Formulas and -conventions, traditions and self-constituted -authority were once more exalted upon pedestals, -and the century which opened with the -"pipes and timbrels" of Watteau closed with -the prosing of the most tedious bores. -</p> - -<p> -So successfully did David put back the clock, -that it was not until the nineteenth century was -nearly thirty years of age that the artists of -France, inspired, as we love to think, by our -own John Constable, issued from the house -of bondage to study Nature in the forest of -Fontainebleau. -</p> - -<p><br><br><br></p> - -<p><a id="chap08"></a></p> - -<p><span class="pagenum">{<a id="P50"></a>50}</span></p> - -<h3> -OUR ILLUSTRATIONS -</h3> - -<p> -<i>The Kiss</i> (<i>Le Baiser Jeté</i>).—Although this -work has not been reproduced so many -times as <i>La Cruche Cassée</i>, it yet ranks with that -painting as one of the most fascinating of the -works of Greuze. A young woman looks from -the window of her room. She has received a -letter from the hands of her lover, to whom -she throws a kiss as he departs. In his -treatment of this subject Greuze has shown that -it was not a lack of capacity that caused him -sometimes to lapse into melodrama. His acute -feeling for what is beautiful has been expressed -on this canvas with remarkable skill. Writing -of the painting in 1765, Diderot called it "a -charming picture," and Charles Normand, in -giving a description of the work, has written: -"The eighteenth century, amorous and -unrestrained, has been made to live again in that -woman, who, her eyes full of longing, her -mouth partly opened, her throat scarcely veiled -by a light gauze, throws from her window a -kiss to her lover. The seductive shapeliness -of her neck, the expression of love, the hand -carried tenderly to her lips, the whole effect of -her beautiful figure, which palpitates at the -sight of her lover, justifies the title of <i>La -<span class="pagenum">{<a id="P51"></a>51}</span> -Voluptueuse</i> which the painter has also given to -the picture." A copy of this painting, by -C. Turner, was sold in London in 1902 for £136. -</p> - -<p class="capcenter"> -<a id="img-050"></a> -<br> -<img class="imgcenter" src="images/img-050.jpg" alt="THE KISS. (Le Baiser Jeté.)"> -<br> -THE KISS.<br>(Le Baiser Jeté.) -</p> - -<p><br></p> - -<p> -<i>The Village Bride</i> (<i>L'Accordée de Village</i>).—This -is the short title of the work "Un Mariage -à l'instant où le père de l'accordée délivre la dot -à son gendre." The first title was <i>Un Père qui -vient de payer la dot de sa Fille</i>. The scene is a -great country kitchen, which has a freedom from -furniture that is refreshing in these days of -senseless overcrowding. Stone steps lead from the -kitchen to an upper chamber. A shelf, a gun, -a lantern, a great cupboard, and a few chairs -and a table, would almost complete an inventory -of the movables. Twelve people, arranged -as though they were on the stage of a theatre, -or for a <i>tableau vivant</i>, take part in the scene. -The parish official, sitting at a small table, has -registered the marriage, and one of the children -toys with the document. The father of the -bride, a venerable old man with white hair, -has just handed to his son-in-law a small -leather bag, containing his daughter's marriage -portion, and he is now holding forth in true -melodramatic style, his face to the gallery, -and, as one may fancy, the limelight streaming -on his head. The bridegroom, a tall, handsome -fellow, listens in a respectful attitude; -and the pretty bride, whose eyes are downcast, -has her arm linked in his, and the fingers of -one hand are laid lovingly upon one of his -hands. Her other arm is held by her mother, -<span class="pagenum">{<a id="P52"></a>52}</span> -a comely matron, dressed in simple and -picturesque attire. The bride's sisters and -brother watch with intense interest, except -one little girl of five or six years, who feeds -a hen and chickens on the kitchen floor. -Another sister has her head upon the bride's -shoulder, and a third is weeping. In the -incident of one of the chickens, balanced on -the edge of the dish of water, trying its wings, -some writers have seen an allegorical reference -to the marriage. It is said that the head of -the bride is a portrait of Mademoiselle Ducreux -when she was fifteen years of age. In this -painting Greuze's tendency to cause his figures -to assume self-conscious poses is apparent; -but there is not so much of theatricality here -as to spoil the picture, and thus one may still -derive some pleasure from a contemplation of -the scene. It is interesting to remember that -this is the picture which caused such a sensation -during the last few days of the Salon of -1761. It was bought by Monsieur de Marigny -for 3,000 livres, and at the sale of his pictures, -twenty years later, the price paid for it was -16,650 livres. The picture is now in the -Louvre in Paris. It has often been reproduced. -During the life of the artist it was -engraved by Flipart, and then was reproduced -in colours by Alix. Greuze also painted a -replica of the picture. -</p> - -<p><br></p> - -<p class="capcenter"> -<a id="img-052"></a> -<br> -<img class="imgcenter" src="images/img-052.jpg" alt="ROBESPIERRE."> -<br> -ROBESPIERRE. -</p> - -<p> -<i>Portrait of Maximilien Marie Isidore Robespierre</i>.—In -John Morley's "Critical Miscellanies" -<span class="pagenum">{<a id="P53"></a>53}</span> -we are told that "In the Salon of 1791 an -artist exhibited Robespierre's portrait, simply -inscribing it <i>The Incorruptible</i>. Throngs passed -before it every day, and ratified the honourable -designation by eager murmurs of approval. -The democratic journals were loud in panegyric -on the unsleeping sentinel of liberty. -They loved to speak of him as the modern -Fabricius, and delighted to recall the words of -Pyrrhus, that it is easier to turn the sun from -its course than to turn Fabricius from the path -of honour." Mr. A. G. Temple, F.S.A., has -written recently that efforts have been made to -identify the Salon portrait with this one, but -unsuccessfully. Robespierre's ancestors were -Irish people, but he was born at Arras. After -a successful career as a lawyer he became a -member of the States-General, and Mirabeau -prophesied, "That young man believes what -he says; he will go far." Carlyle has -described him as "That anxious, slight, -ineffectual-looking man, under thirty, in -spectacles; his eyes (were the glasses off) troubled, -careful; with upturned face, snuffing dimly the -uncertain future times; complexion of a multiplex, -atrabiliar colour, the final shade of which -may be pale sea-green." He was small and -weakly, fond of solitude, and sober in most -things except in speech. Fluent and rhetorical, -he soon won fame with the populace; but an -analysis of his speeches reveals them "full of -sound and fury, signifying nothing." The latest -criticism has dubbed him "a phrase-making -<span class="pagenum">{<a id="P54"></a>54}</span> -charlatan." On July 28, 1794, still clad in -the inevitable blue coat, white waistcoat, short -yellow breeches, white stockings, and shoes -with silver buckles, he himself perished on the -guillotine that had removed so many of his -enemies. -</p> - -<p><br></p> - -<p> -<i>The Listening Girl</i>.—Another of Greuze's -exceedingly pretty heads. This picture, like the -<i>Girl's Head draped with a Scarf</i> in the National -Gallery, is an excellent representative of that -numerous class of the artist's work that consists -of the heads of girls. The face is exceedingly -dainty, and the workmanship excellent. -The picture forms one of the Wallace Collection, -and is, therefore, easily accessible to -the public. Although it is now called <i>The -Listening Girl</i>, it is not certain that this title -expresses the intention of the artist. -</p> - -<p><br></p> - -<p class="capcenter"> -<a id="img-054"></a> -<br> -<img class="imgcenter" src="images/img-054.jpg" alt="THE BROKEN PITCHER. (La Cruche Cassée)"> -<br> -THE BROKEN PITCHER.<br>(La Cruche Cassée) -</p> - -<p> -<i>The Broken Pitcher</i> (<i>La Cruche Cassée</i>).—No -picture by Greuze is more widely known -than this one. In one of Madame Roland's -letters we are able to gain an idea of what was -thought of the work at the time that it was -painted. She has written: "It is a girl, naïve, -rosy, charming, who has broken her pitcher. -She holds it on her arm, near to the fountain -where the accident has happened. Her -eyes are not too wide open; her mouth is -still partly open. She wonders what account -to give of the misfortune, and does not know -whether she is to blame or not. It would -<span class="pagenum">{<a id="P55"></a>55}</span> -not be possible to find anything more piquant -or more pretty, and the only matter upon -which one would be right to reproach Monsieur -Greuze is that he has not made the little -girl so sorry but what she would be ready -to go to the fountain again." The derangement -of the draperies, the incongruity of the -lapful of flowers, the impossible way in which -the pitcher is being carried, are not less -characteristic of Greuze than the sweet face and the -general charm and beauty of the painting. It -is, indeed, one of Greuze's most winsome -works, and its fascination will continue to -captivate all but the most hypercritical. The -original is in the Louvre, but Greuze painted -the subject again with modifications, and there -are a number of sketches and studies in -existence. For instance, in the National Gallery -of Scotland there is the preliminary sketch in -oils for this work, and many prefer this sketch -to some of Greuze's more finished pictures. -</p> - -<p><br></p> - -<p> -<i>The Milkmaid</i> (<i>La Laitière</i>).—Pretty as is -this picture, it embodies a city man's -sentimentality concerning the work of a farm. -The hard labour of an actual milkmaid, and -the peculiar conditions of her employment, are -especially fatal to dainty hands, for instance. -Thus, as the presentment of a milkmaid, the -picture is far from any truth to Nature; but as -an engaging girl-picture it is one of Greuze's -most graceful and successful works. In 1821 -it was sold for 7,210 francs, but in 1899, when -<span class="pagenum">{<a id="P56"></a>56}</span> -it was bequeathed to the Louvre by Baroness -de Rothschild, its value was estimated at -600,000 francs. -</p> - -<p class="capcenter"> -<a id="img-056"></a> -<br> -<img class="imgcenter" src="images/img-056.jpg" alt="THE MILKMAID. (La Laitière.)"> -<br> -THE MILKMAID.<br>(La Laitière.) -</p> - -<p><br></p> - -<p> -<i>Innocence</i>.—Many of the excellent qualities -of Greuze's work appear in this attractive -picture. It is true that the lamb is -unfortunate, and, as Greuze's lambs usually are, -is more reminiscent of the Lowther Arcade -than of the meadow. Here also we see the -head of a girl on the body of a woman; -but the general effect of the picture is one of -sweetness and tenderness, and the girl's expression -is free from the affectations which have -marred so many of the artist's paintings. This -picture is one of the Wallace Collection. -</p> - -<p><br></p> - -<p> -<i>The Pretty Laundress</i> (<i>La Belle Blanchisseuse</i>).—De -Goncourt, in a criticism of Greuze's -pictures, has written that the work that goes -on in his paintings is but a simulation of -work—that his washerwomen do not wash. -It may be that this is the picture which -inspired the criticism. A charming girl, -elegantly dressed, sits in an impossible -position, as far as any effective washing is -concerned, before a ridiculously little bowl. The -whole picture is most attractive, but it is not -washing day; and, perhaps, after all, washing -day is not precisely the best subject that an -artist could have selected for sublimation. The -picture is now in the collection of Count Axel -Wachtmeister, at Wanas, in Germany. -</p> - -<p><br><br><br></p> - -<p><a id="chap09"></a></p> - -<p><span class="pagenum">{<a id="P57"></a>57}</span></p> - -<h3> -THE CHIEF WORKS OF GREUZE -</h3> - -<p> -The largest collection of Greuze's pictures is -not in his own country, but is here in England, -at Hertford House. The paintings forming -that collection were included in the Wallace -bequest, and thus they have become the property of -the nation. Most other European countries have -secured examples of Greuze's work, and several -of his paintings may also be seen in America. -</p> - -<p><br><br></p> - -<p class="t3b"> -GREAT BRITAIN. -</p> - -<p class="noindent"> -<i>WALLACE COLLECTION,</i> -</p> - -<p> -In this collection alone there are twenty-one examples -of the work of Greuze. Some of these are of the best, -and a few illustrate the artist's imperfections. For -instance, before <i>Fidelity</i> and <i>Ariadne</i> one has the same -unpleasant sensation as when a girl spoils the effect of -her beauty by stagey poses and by sentimental -attitudinizing. <i>A Bacchante</i> is gross and voluptuous. The most -important pictures in the collection are: -</p> - -<p class="noindent"> - A Girl with Doves. (See <a href="#P40">p. 40.</a>)<br> - The Listening Girl. (See <a href="#P54">p. 54.</a>)<br> - Portrait of Mdlle. Sophie Arnould.<br> - The Votive Offering To Cupid.<br> - The Broken Mirror.<br> - Innocence. (See <a href="#P56">p. 56.</a>)<br> - Espièglerie,<br> - Girl With A Gauze Scarf.<br> -</p> - -<p><br></p> - -<p> -<span class="pagenum">{<a id="P58"></a>58}</span> -</p> - -<p class="noindent"> -<i>NATIONAL GALLERY.</i> -</p> - -<p class="noindent"> - Girl's Head Draped with a Scarf (See <a href="#P41">p. 41.</a>)<br> - The Head of a Girl.<br> - Girl with an Apple.<br> - Girl with a Lamb.<br> -</p> - -<p><br></p> - -<p class="noindent"> -<i>BUCKINGHAM PALACE.</i> -</p> - -<p class="noindent"> -A Mother and Three Children. -</p> - -<p> -The mother indicates, by a look, that she does -not wish the oldest boy to disturb the youngest by -playing his flute. -</p> - -<p class="noindent"> - Girl in Cap seated on a Chair.<br> - A Girl's Head.<br> -</p> - -<p> -There are also pictures by Greuze in many of the -galleries of private collectors. For instance, examples -may be seen in the collections of the Duke of Wellington, -the Earl of Rosebery, the Earl of Dudley, the Earl of -Northbrook, Lord Yarborough, the Marquis of -Lansdowne, Sir Frederic Cook, Bart., Mr. Alfred de -Rothschild, Mr. Reginald Vaile, Mr. H. L. Bischoffsheim, -Mr. Pierpont Morgan, Mr. Lesser Lesser, Mr. George -Donaldson, Mr. Martin Colnaghi, Mr. Charles -Morrison, Mr. Beit, and others. -</p> - -<p><br></p> - -<p class="noindent"> -<i>NATIONAL GALLERY OF SCOTLAND.</i> -</p> - -<p class="noindent"> - Girl with Dead Canary.<br> - Girl with Broken Jar.<br> -</p> - -<p> -This is a sketch in oils of the idea which Greuze -afterwards painted as <i>The Broken Pitcher</i>, the famous -picture that now hangs in the Louvre. -</p> - -<p class="noindent"> - Boy with Lesson-Book.<br> - Interior of a Cottage.<br> - Girl with Folded Hands.<br> -</p> - -<p> -Other examples of the works of Greuze in Scotland -are those in the collection of Lord Murray. -</p> - -<p><br></p> - -<p> -<span class="pagenum">{<a id="P59"></a>59}</span> -</p> - -<p class="t3b"> -FRANCE. -</p> - -<p class="noindent"> -<i>PARIS, LOUVRE.</i> -</p> - -<p> -During the period of unrest that accompanied and -followed the Revolution, many notable pictures were -sold from France, and thus the largest collection of -pictures by Greuze is not to be found in Greuze's own -country. In the Louvre, however, all Greuze's -characteristics may be studied in one or other of the works -that hang there. -</p> - -<p class="noindent"> - L'accordée de Village. (See <a href="#P51">p. 51.</a>)<br> - La Laitière. (See <a href="#P55">p. 55.</a>)<br> - La Cruche Cassée. (See <a href="#P54">p. 54.</a>)<br> - La Malédiction Paternelle.<br> - Le Fils Puni.<br> - Le Portrait de l'Artiste.<br> - Le Portrait du Peintre Jeaurat.<br> - Several Heads Of Girls.<br> -</p> - -<p><br> -</p> - -<p class="noindent"> -<i>MUSEÉ FABRE À MONTPELLIER.</i> -</p> - -<p class="noindent"> - La Prière du Matin.<br> - Le Gâteau des Rois.<br> - Le Petit Mathématicien.<br> - Jeune Fille, les Mains Jointes.<br> - La Jeune Fille au Panier.<br> - Tête de Jeune Fille.<br> - Etude d'un Enfant de Quatre à Cinque Ans.<br> -</p> - -<p><br></p> - -<p class="noindent"> -BESANÇON. -</p> - -<p> -Here are two particularly good examples of Greuze at -his best: -</p> - -<p class="noindent"> - Paul Strogonoff, Enfant.<br> - Tête De Jeune Fille.<br> -</p> - -<p><br></p> - -<p> -<span class="pagenum">{<a id="P60"></a>60}</span> -</p> - -<p class="noindent"> -MUSÉE CONDÉ. -</p> - -<p class="noindent"> -Tendre Désir. -</p> - -<p> -Versailles has examples, and the traveller to any of -the following, and to a few other towns, will find works -by Greuze: Aix, Angers, Cherbourg, Dijon, Compiègne, -Douai, Lille, Lyons, Marseille, Nantes, Nîmes, Rouen, -Tournus, Troyes; and the members of the Rothschild -family have many examples at their various places of -residence. -</p> - -<p><br><br></p> - -<p class="t3b"> -GERMANY. -</p> - -<p> -In Germany Greuze is represented by <i>La Belle -Blanchisseuse</i>, in the collection of Count Axel Wachtmeister, -at Wanas, and by pictures in the Art Galleries -of Berlin, Leipzig, Karlsruhe, Munich, and Metz. -</p> - -<p><br><br></p> - -<p class="t3b"> -RUSSIA. -</p> - -<p class="noindent"> -<i>ST. PETERSBURG, L'HERMITAGE.</i> -</p> - -<p class="noindent"> -La Paralytique Servi par ses Enfants -</p> - -<p><br><br></p> - -<p class="t3b"> -UNITED STATES. -</p> - -<p> -Pictures by Greuze may be seen at Boston and at -Philadelphia. -</p> - -<p><br><br><br></p> - -<p><a id="chap10"></a></p> - -<p><span class="pagenum">{<a id="P61"></a>61}</span></p> - -<h3> -RECENT CHIEF BOOKS ON GREUZE -</h3> - -<p><br></p> - -<p class="noindent"> -L'Art du XVIIIme. Siècle. Edmond and -Jules de Goncourt, Paris. 1854. -</p> - -<p class="noindent"> -Histoire De l'Art Pendant la Revolution. -Jules Renouvier, Paris. 1863. -</p> - -<p class="noindent"> -Les Artistes Célèbres: Greuze. Charles -Normand, Paris. 1885. -</p> - -<p class="noindent"> -Histoire des Peintres de toutes les -Écoles. Charles Blanc, Paris. 1862. -</p> - -<p class="noindent"> -French Painters of the Eighteenth -Century. Lady Dilke, London. 1899. -</p> - -<p class="noindent"> -The History of Modern Painting, Vol. I. -Richard Muther, London. 1895. -</p> - -<p><br><br></p> - -<p class="t4"> - PRINTED BY<br> - BILLING AND SONS, LIMITED,<br> - GUILDFORD<br> -</p> - -<p><br><br><br><br></p> - -<div style='display:block; margin-top:4em'>*** END OF THE PROJECT GUTENBERG EBOOK GREUZE ***</div> -<div style='text-align:left'> - -<div style='display:block; margin:1em 0'> -Updated editions will replace the previous one—the old editions will -be renamed. -</div> - -<div style='display:block; margin:1em 0'> -Creating the works from print editions not protected by U.S. copyright -law 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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