When you think of the important place held by Greuze before the Revolution in the art of the eighteenth century, above all, when you reflect on how, being long dead, he still speaks in accents of such beauty, his pictures, valued at vast sums, finding honoured places in the art treasure-houses of the world, it comes almost as a shock to consider how far from being a really great artist he was. Absence of sincerity is his chief fault. We read he used to talk much and very eloquently about studying Nature, and had at one time a habit of wandering about the streets in search of subjects, that he used even to make sketches and studies on the He took liberties with Nature, too, when he supposedly copied his homely, familiar Except when he touches flesh his colour is rarely good, the scheme too grey, with undecided reds, dull violets, dirty blues, and Then there is his monotony. No painter ever copied himself with more constancy and indefatigability. He has but three or four types, and these he copies and recopies till you never want to see them again. The father is always the same venerable man, much too old to be the father of such young children; the mother does not vary; it is always the same child a size or two smaller or larger, as the case may be. Although he nominally gives to his girls and women a profession by labelling them washerwomen, knitters, philosophers, chesnut-sellers, kitchen wenches, and so forth, they all have the air of being members of one family, and striking likenesses at that. And one and all have the appearance of posing in light opera rather than of playing a part in life. The peasant It has been urged by Greuze’s admirers that if he had been properly trained, or had at least been spared those early years in Grandon’s picture-manufactory, had been less inclined to listen to flatteries and the advice of Diderot, who praised him for “not making his peasants coarse,” he might have overcome his faults and developed the qualities of a Chardin. The reply to this is that anything touching on genius cannot be held in check or turned from its own full expansion, that it is more than likely that Greuze expressed all he had to say, and himself summed up his own limitations when he said, “Be piquant, if you cannot be true.” To turn to the much pleasanter theme of his good qualities, Greuze was an innovator. He was the first to go to humble life for Valuable, too, is his quality of being documentary. He admirably interpreted his age with its superficiality running into theatricalness, its affectations of a morality which worshipped languor and voluptuousness under the name of “Innocence.” Last and best of all, there are the heads by which we know him. Merely clever in all else, Greuze rises above himself when he approaches these. Nothing could be fresher In short, mediocre in all other branches of painting, and affected and faulty at his best, in this exquisite series Greuze not only The plates are printed by Bemrose & Sons, Ltd., Derby and London ******* This and all associated files of various formats will be found in: Updated editions will replace the previous one--the old editions will be renamed. 1.F. 1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. 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