Dreams Jean Baptiste. Greuze Jean-Baptiste Painting of a paralytic or the fruits of a good upbringing

Greuze, Jean-Baptiste Self-Portrait of Greuze

Born August 21, 1725 in Tournus, Burgundy. Between 1745 and 1750 he studied in Lyon with C. Grandon, then at the Royal Academy of Painting and Sculpture in Paris. In 1755–1756 he visited Italy. The head of the sentimental-moralizing trend in French painting second half of the XVIII century, Grez shared the opinion of the enlighteners about art as an active means of educating morals.

In their genre paintings(“The Paralytic, or the Fruits of Good Education”, 1763, State Hermitage Museum, St. Petersburg) Greuze glorified the virtues of the third estate, which initially attracted the energetic support of the philosopher Diderot.

Country engagement

The works of the artist Jean Baptiste Greuze are characterized by a combination of sensitivity with exaggerated pathos, idealization of nature, and sometimes quite a well-known sweetness (especially in the numerous images of children's and women's heads).
Although the portrait of Greuze portrays the philosopher Denis Diderot as inspired and emotional, his real characteristic was thoughtfulness and seriousness. IN mid-18th century century, Denis Diderot preferred the sentimental moral teachings of Jean Baptiste Greuze to the moral looseness of Boucher. "Isn't it too long? French artists put your brush at the service of vice and debauchery?" asked the philosopher Diderot.

Pledge of Allegiance to Eros 1767, Wallace Collection, London

Questions like these accelerated changes in the subject matter of French painting. Diderot introduced the fashion for compassionate sensitivity and he also paved the way for the revival of neoclassicism. The realization of his artistic aspirations was the work of Jacques Louis David, first presented at the Salon of 1781 - the last Salon about which Diderot wrote. But direct imitation of classical art disgusted Diderot. He pointed out that the ancients did not have that model, that antiquity, which they could imitate. Their art was inspired by a sublime idea. And Diderot’s own taste gravitated towards the exact opposite of the clarity achieved by training. He appreciated extremes, he liked fantasy, he considered extravagance a more attractive quality in art than coldness.

Spoiled child 1760s, Hermitage, St. Petersburg

„art, Diderot wrote, “needs an element untamed and primitive, something exciting and exaggerated.” His articles, which were never published, but included in the “Literary Correspondence” of Baron Melchior von Grimm, were copied by hand and sent to subscribers at the courts of all Europe, the idea of ​​the antithesis of romantic and classical traditions, which will inspire art after 1800. Greuze, encouraged by Diderot's praise, continued to waste himself in the sentimental genre, no longer noticing the inconsistency of his instructive stories with the new spirit of the time and, apparently, not realizing that he responded to Diderot's tastes no more than Boucher. His initial attitudes were commendable, but he increasingly wasted himself on trifles, became calculating, slipping into inevitable eccentricity. In 1769, Diderot announced that he was no longer interested in his work; The critic was even pleased by the failure of another ambitious and pompous film by Greuze, submitted for an Academy diploma.

Guitarist, 1757 National Museum, Warsaw

A painting from the mature period of creativity by the painter Jean Baptiste Greuze, “The Guitarist.”
A young man dressed in a theatrical costume tunes his guitar, listening carefully to the sounds. His tired, wide eyes and dull gaze hint at a chaotic lifestyle. The lusciously painted picture is replete with details characteristic of the Flemish genre painters of the 17th century, whose style Greuze sought to surpass. Scenes created by Dreams Everyday life often contain a moralizing meaning.

Portrait of a girl

His paintings were very popular in 18th-century France and earned high praise from moral philosophers such as Diderot. However, when the style of the era changed in favor of neoclassicism, represented by such masters as Jacques Louis David, Greuze fell out of fashion. Unfortunately, the artist's desire to maintain popularity led him to an insincerely sentimental manner. Therefore, until recently, many of his paintings, which had important for the history of art, were not appreciated. Jean Baptiste Greuze died on March 4, 1805 in Paris.

White hat, 1780 Art Museum, Boston

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Jean-Baptiste Greuze(1725, Tournus - 1805, Paris) - French artist, representative of sentimentalism in painting, formed under the influence of the ideas of J.-J. Rousseau. He gained wide popularity with the painting “A Father Reading the Bible to His Children” (Louvre, Paris), exhibited at the Salon of 1755.

Having become an academician in 1769, he decided to devote himself historical painting and for this purpose he went to Rome. Upon returning to Paris, he exhibited the painting “North and Caracalla”, which had no success. Returning to everyday genre, Grez soon won one of the first places.

And in the future, his melodramatic, moralizing scenes from everyday life attracted the attention of viewers and critics. Denis Diderot valued him extremely highly, believing that Greuze realized in painting the greatest ideal of highly moral art that would contribute to the improvement of society. The artist’s attempts to prove himself, in addition to genre painting, also in history, were not particularly successful. But it is now obvious that he achieved his most significant and undeniable achievements in portraiture, a genre that remained in the shadow of his moralistic paintings, almost unnoticed by his contemporaries.

Greuze's enormous popularity quickly ended with the changing artistic taste of the era and the advent of neoclassicism in art.

During french revolution Greuze lived in seclusion and did not interfere in politics. By the end of his life he had quite a significant fortune, but lost it in risky ventures. When the convention decided to provide gratuitous apartments to honored writers and artists, Greuze received premises in the Louvre; at the end of his life he receives an order for a portrait of Napoleon, which is now in Versailles (1804-805). But soon after its completion, the artist dies in poverty and almost forgotten by his contemporaries, whose taste David had mastered at that time.

Greuze was also a Freemason, and was a member of the greatest Masonic lodge, the Nine Sisters.

Greuze's paintings were engraved the best masters, including Leba, Flipar and Massar the Father.

Among his famous students is Jean Prudhomme.

In 1868, a monument to him was erected in Greuze's homeland of Turnu. At the beginning of the 20th century, the library of the St. Petersburg Academy of Arts contained a rich collection of Greuze’s own drawings.

In the portrait genre, Grez's talent manifested itself in all its fullness. His self-portrait is written in a light sketchy manner; the artist, without stopping to model the details, captures and conveys general impression, a general expressive characteristic of a personality. Example portrait art works of his favorite artist Rembrandt served for him.

Ungrateful son. 1777

In 1777-1778 Greuze created a series of two paintings, united under common name"Father's Curse" The first of them is called “The Ungrateful Son”, and the second is called “The Punished Son” (in the preview). Contemporaries, including the encyclopedist philosopher and art critic Denis Diderot, considered these works “masterpieces of sublime pathos”, raising genre painting to the level of “ high art" and "noble taste."

Jean Baptiste Greuze in his work reflects a peculiar, but very consonant with the ideas of the Enlightenment and the views of J.-J. Rousseau, a direction that can be defined as didactic sentimentalism.

Sentimentalism manifested itself much more fully and deeply in literature, and in painting Greuze was its most significant follower. “The Father's Curse” is a typical example of preaching the patriarchal idyll and family virtues. The purpose of the plan is to teach a lesson in morality, immutable as the law of nature. These paintings, like all similar works by Greuze, enjoyed extraordinary popularity among the public. Contemporaries note that the audience in front of his canvases cried and worried as if they were becoming genuine participants in real events.

However, it should be noted that this desire for edification turns the paintings into some kind of illustrations moral standards, and painting loses its intrinsic value. However, for Greuze himself it was most important to be a preacher of virtue, so he supplied his works with long textual comments in which he explained the meaning of everything that was happening, the poses and gestures of each character.

Of course, the general concept of "The Father's Curse" goes back to biblical theme The Prodigal Son, but the forgiveness and generosity of the father, who accepted the repentant son into his arms, is here replaced by edification and a reminder that there are irreparable mistakes and you can be hopelessly late in your repentance. The artist deliberately reduces the religious idea to the level of everyday life and fills it with a different meaning, since he sets himself the task of turning it into effective remedy affirmation of social virtue and morality.

J.-B. Dreams. Dead bird. OK. 1800

Jean-Baptiste Greuze was extolled as a moralist artist. “I already like the genre itself: it is moralizing painting,” wrote Diderot. - And there have already been plenty of scenes of debauchery and vice in painting for too long! Should we not now rejoice to see that painting at last competes with dramatic poetry, touching, enlightening, and thereby correcting us and calling us to virtue? Dreams, my friend, boldly glorify morality in painting and do not change this forever! When the time comes to give up your life, there will not be a single one of your compositions that you cannot remember without satisfaction! What a pity that you were not in the Salon next to that girl who, examining the head of your Paralytic, cried out with charming liveliness: “Oh, my God, how he touches me!” But if I continue to look at him, I won’t be able to stop myself from crying...”, etc.

The pathos of these words is clear. But didn’t Diderot know about Greuze’s other works? Here he is having an imaginary conversation with "A Girl Mourning a Dead Bird" , assessing the painting as “truly one of the most pleasant and, undoubtedly, the most interesting in the entire Salon” (1765). “Dear child, how deep and inconsolable is your grief! What does your sadness and thoughtfulness hide? How, and all this because of a bird?<…>I am not your father, I am neither immodest nor strict, but let me tell you how it was. Your admirer loved and assured you of his love, he suffered so much, and how could you bear the torment of the one you love?<…>Your mother was not at home that morning; he came and found you alone. How ardent, how handsome, how charming and gentle he was! How much love burned in his eyes, how much genuine passion showed through in his speeches! He was at your feet - how could it be otherwise? - and spoke words that went straight to the soul.<…>Your mother didn’t come back and didn’t come back, what is your fault here? Now you’re already crying, but that’s not why I’m saying all this. And what's the use of tears? He gave you his word and will never go back on it. If a person were lucky enough to meet a child like you, get close to him, fall in love with him... Believe me, this will last forever.” Acting out the dialogue with the girl, Diderot takes on a sympathetic and playful tone, quite consistent with the frivolous ambiguity of the image, and, it seems, not without pleasure, shares his guesses with the audience.

Moral painting? And how far has this moralist gone from the “vicious” Boucher? Erotic subtext

J.-B. Dreams. Broken jug. OK. 1772

easy to read in "Broken Jug" Dreaming (Paris, Louvre). There is something artificial, cloying in the sentimental cuteness of his numerous “heads”; taste often betrays the artist.

It is not surprising that the same Benoit, paying tribute to Greuze’s skill, is indignant at his acting: “What do these smiling, horrified, touching faces mean, if not the most frank acting - flirting with feelings of grief and love. The actor came out onto the stage and “let’s make faces,” and the audience rejoiced at how deftly he did it. But there is also a great depth of depravity under all this game of purity. In the setting and costumes of the characters, Dreams is close to Chardin, but his troupe itself is borrowed from the “Parc aux cerfs” (Deer Park) or from those harems that surrounded Santerre and Boucher. He dreams and is touched by the girl’s purity in order to feel her fall even more poignantly.” The Goncourts wrote about the same thing in their time, whom Benoit quotes sympathetically.

Jean-Baptiste Greuze (Greuze Jean-Baptiste) (1725–1805), French painter.

Born August 21, 1725 in Tournus, Burgundy. Between 1745 and 1750 he studied in Lyon with C. Grandon, then at the Royal Academy of Painting and Sculpture in Paris. In 1755–1756 he visited Italy.

His first work was the painting “A Father of a Family Explaining the Bible to His Children.” Having become an academician in 1769, he decided to devote himself to historical painting and for this purpose went to Rome. Upon returning to Paris, he exhibited the painting “North and Caracalla,” which had no success. Returning to the everyday genre, Grez soon won one of the first places.

The head of the sentimental-moralizing trend in French painting in the second half of the 18th century, Greuze shared the opinion of the enlighteners about art as an active means of educating morals. In his genre paintings (“The Paralytic, or the Fruits of a Good Education,” 1763, State Hermitage Museum, St. Petersburg), Greuze glorified the virtues of the third estate, which initially aroused the energetic support of the philosopher Diderot.

The works of the artist Jean Baptiste Greuze are characterized by a combination of sensitivity with exaggerated pathos, idealization of nature, and sometimes a rather well-known sweetness. especially in the numerous images of children's and women's heads.

Although the portrait of Greuze presents the philosopher Denis Diderot as inspired and emotional, his real characteristic was thoughtfulness and seriousness. In the middle of the 18th century, Denis Diderot preferred the sentimental moral teachings of Jean Baptiste Greuze to the moral looseness of Boucher. “Have French artists been putting their brushes at the service of vice and debauchery for too long?” asked the philosopher Diderot.

Painting of the mature period of creativity by the painter Jean Baptiste Greuze “The Guitarist” 1757.
A young man dressed in a theatrical costume tunes his guitar, listening carefully to the sounds. His tired, wide eyes and dull gaze hint at a chaotic lifestyle. The lusciously painted picture is replete with details characteristic of the Flemish genre painters of the 17th century, whose style Greuze sought to surpass.

"Guitar Player" 1757, National Museum, Warsaw

"Spoiled Child" 1760s, Hermitage, St. Petersburg

"Vow of Fidelity to Eros" 1767, Wallace Collection, London

"White Hat" 1780, Museum of Art, Boston

"Portrait of Wolfgang Amadeus Mozart" 1763-64

Questions like these accelerated changes in the subject matter of French painting. Diderot introduced the fashion for compassionate sensitivity and he also paved the way for the revival of neoclassicism. The realization of his artistic aspirations was the work of Jacques Louis David, first presented at the Salon of 1781 - the last Salon about which Diderot wrote. But direct imitation of classical art disgusted Diderot. He pointed out that the ancients did not have that model, that antiquity, which they could imitate. Their art was inspired by a sublime idea. And Diderot’s own taste gravitated towards the exact opposite of the clarity achieved by training. He appreciated extremes, he liked fantasy, he considered extravagance a more attractive quality in art than coldness. “Fine art,” wrote Diderot, “needs an element untamed and primitive, something exciting and exaggerated.” His articles, which were never published, but included in the “Literary Correspondence” of Baron Melchior von Grimm, were copied by hand and sent to subscribers in the courts throughout Europe, the idea of ​​the antithesis of the romantic and classical traditions that would animate art after 1800 was theoretically tested for the first time. Greuze, encouraged by Diderot's praise, continued to waste himself in the sentimental genre, no longer noticing the inconsistency of his instructive stories with the new spirit of the time and, apparently, not realizing that he responded to Diderot's tastes no more than Boucher.
In 1769, Diderot announced that he was no longer interested in his work; The critic was even pleased by the failure of another ambitious and pompous film by Greuze, submitted for an Academy diploma.

The scenes of everyday life created by Greuze often contain a moralizing meaning. His paintings were very popular in 18th-century France and earned high praise from moral philosophers such as Diderot. However, when the style of the era changed in favor of neoclassicism, represented by such masters as Jacques Louis David, Greuze fell out of fashion. Unfortunately, the artist's desire to maintain popularity led him to an insincerely sentimental manner. Therefore, until recently, many of his paintings, which were important for the history of art, were not appreciated. Jean Baptiste Greuze died on March 4, 1805 in Paris.

During the French Revolution, Greuze lived in seclusion and did not interfere in politics. By the end of his life he had quite a significant fortune, but lost it in risky ventures. When the convention decided to provide gratuitous apartments to honored writers and artists, Greuze received premises in the Louvre; there he died almost in poverty, forgotten by his contemporaries, whose taste David had mastered at that time. Greuze was also a Freemason, and was a member of the greatest Masonic lodge, the Nine Sisters.

"September Severe et Caracalla"

"Gine visite par Jupiter"

"Charles-Claude de Flahaut de la Billarderie, comte d'Angiviller"

"Sophie Arnould"

"Benjamin Franklin"

"A Boy with a Lesson-book exhibited" 1757

"A Young Child Holding A Spaniel" - "Friends"

. "Ange-Laurent de Lalive de Jully"

"A Lady in Turkish Fancy Dress" 1790

"Amur"

"L'innocence tenant deux pigeons"

"Portrait of Chevalier de Damery"

"Girl with a Dog"

"Portrait de Franois Babuti"

"Portrait of a Boy"

"Portrait of a Girl"

"The Dead Bird" 1800

"Louis-François Robin"

"Boy's Head"

"A Visit from a Priest" 1784

"The Broken Pitcher"

"The Artist's Daughter" 1750s

"Broken Mirror" 1763

"La Simplicite" 1759

"Le petit paresseux"

"Ariadne"

"Psyche"

Genre compositions of Dreams are paintings-stories, paintings-performances, in which there is always an edification or an instructive example. Singing the virtues of the third estate (hard work, frugality, moderation, maternal care, marital fidelity, family harmony), Greuze developed partly the thematic repertoire of J. S. Chardin. However, Chardin did this unobtrusively, delicately, while Grez did it with exaggerated pathos and importunately (theatrical mise-en-scène, pathetic poses, accentuated facial expressions). When comparing Jean-Baptiste Greuze with Chardin, the deliberate artificiality of the first and the extraordinary sincerity and simplicity of the second are especially obvious. In general, Grez's paintings are of a literary and descriptive nature. It is no coincidence that art critics argued that novels could be written based on his paintings. Depicting various life collisions, Grez talked about them in detail and in detail. His paintings are characterized by an entertaining narrative and anecdotal entertainment. At the same time, they are not devoid of subtle realistic observation. A contemporary of the Enlightenment, who shared the ideas of the encyclopedists, Jean-Baptiste Greuze created over the course of creative path a whole series of works devoted to the problems of education and relationships between parents and children. One of the most famous paintings Dream - “Village Engagement” (1761, Paris, Louvre), painted by order of Madame de Pompadour’s brother, Marquis de Marigny, the artist’s main patron during the 1750-1760s. A fragment of “Village Engagement” is reproduced in “Portrait of A. F. Poisson, Marquise de Marigny” by A. Roslin (1762, private collection). After the death of de Marigny (1781), the painting, on the advice of academician S. N. Cochin and the first painter of Louis XV, J. B. M. Pierre, was acquired by Louis XVI. “The Country Engagement” created a real sensation at the Salon of 1761 and, according to the Mercure de France, “brought all of Paris to the Louvre.” Depicting the event from privacy rural family, Grez embodied in this work educational ideal social world order (family as the basis of the unity and moral health of society). The attractiveness of “Village Engagement” was explained not only by the public clarity of its content (the signing of marriage documents and the presentation of the dowry), but also by its picturesque qualities (a clear, rationally ordered composition, emphasized statuesque figures, expressive facial expressions of the characters). The convincing verisimilitude of the depicted situation and its naturalistic interpretation forced the audience to empathize with the characters, as if they were their relatives or friends. At the same time, the colossal success of “The Village Engagement” was also due to its didactics in the spirit of the new sentimentalist novel and the new ideology of the encyclopedists (the secular concept of marriage, considered mainly as a civil act, and not a sacred religious sacrament, “a contract with God”).

"L"Accordée de Village" - "Village Engagement" 1761

"Head of a Girl in a Cap"

"School Teacher"

"Young Girl In A Lilac Tunic"

"Portrait of Count Pavel Stroganov as a child"

"Portrait of Countess E. P. Shuvalova"

"Portrait young man in Hat"

"The Paralytic or Filial Piety" 1763

"The Father's Curse - The Ungrateful Son" - "Father's Curse"
The painting shows a scene family drama when the son announces to his father that he is leaving for the army, and the father curses him. “The Father’s Curse” is paired with another painting by Greuze, “The Punished Son.”

"The Father's Curse - The Son Punished" - "The Punished Son" 1778

"Portrait de Charles-Etienne de Bourgevin de Vialart"

"Portrait de Ren-Louis de Girardin-Chaalis"

"Claude Watelet" 1765

"Portrait of Joseph" Model at Art Academy

"The Roman Lady's Mercy"

"Baptism"

"Self-Portrait"

Grave of Jean Baptiste Greuze

Greuze Jean Baptiste Art of France Spoiled child 1760s, Hermitage, St. Petersburg White Hat, 1780 Art Museum, Boston Greuze Jean-Baptiste (1725–1805), French painter. Born August 21, 1725 in Tournus, Burgundy. Between 1745 and 1750 he studied in Lyon with C. Grandon, then at the Royal Academy of Painting and Sculpture in Paris. In 1755–17 he visited Italy. The head of the sentimental-moralizing trend in French painting in the second half of the 18th century, Greuze shared the opinion of the enlighteners about art as an active means of educating morals.

In his genre paintings ("The Paralytic, or the Fruits of a Good Education", 1763, State Hermitage Museum, St. Petersburg), Greuze glorified the virtues of the third estate, which initially aroused the energetic support of the philosopher Diderot. The works of the artist Jean Baptiste Greuze are characterized by a combination of sensitivity with exaggerated pathos, idealization of nature, and sometimes quite a well-known sweetness (especially in the numerous images of children's and women's heads). Although the portrait of Greuze presents the philosopher Denis Diderot as inspired and emotional, his real characteristic was thoughtfulness and seriousness. In the middle of the 18th century, Denis Diderot preferred the sentimental moral teachings of Jean Baptiste Greuze over the moral looseness of Boucher. “Have French artists been putting their brushes at the service of vice and debauchery for too long?” asked the philosopher Diderot.

Pledge of Allegiance to Eros 1767, Wallace Collection, London Guitarist, 1757 National Museum, Warsaw Questions like these accelerated changes in the subject matter of French painting. Diderot introduced the fashion for compassionate sensitivity and he also paved the way for the revival of neoclassicism.

The realization of his artistic aspirations was the work of Jacques Louis David, first presented at the Salon of 1781 - the last Salon about which Diderot wrote. But direct imitation of classical art disgusted Diderot.

He pointed out that the ancients did not have that model, that antiquity, which they could imitate. Their art was inspired by a sublime idea. And Diderot’s own taste gravitated towards the exact opposite of the clarity achieved by training. He appreciated extremes, he liked fantasy, he considered extravagance a more attractive quality in art than coldness. “Fine art,” wrote Diderot, “needs an element untamed and primitive, something exciting and exaggerated.”

In his articles, which were never published, but were included in the Literary Correspondence of Baron Melchior von Grimm, copied by hand and sent to subscribers in the courts throughout Europe, the idea of ​​​​the antithesis of the romantic and classical traditions that would inspire art after 1800 was theoretically tested for the first time Greuze, encouraged by Diderot's praise, continued to waste himself in the sentimental genre, no longer noticing the inconsistency of his instructive stories with the new spirit of the times and, apparently, not realizing that he corresponded to Diderot's tastes no more than Boucher. His initial attitudes were commendable, but he. he wasted himself more and more on trifles, became calculating, slipping into inevitable eccentricity.

In 1769, Diderot announced that he was no longer interested in his work; The critic was even pleased by the failure of another ambitious and pompous film by Greuze, submitted for an Academy diploma. A painting from the mature period of creativity by the painter Jean Baptiste Greuze, “The Guitarist.”

A young man dressed in a theatrical costume tunes his guitar, listening carefully to the sounds. His tired, wide eyes and dull gaze hint at a chaotic lifestyle. The lusciously painted picture is replete with details characteristic of the Flemish genre painters of the 17th century, whose style Greuze sought to surpass. The scenes of everyday life created by Greuze often contain a moralizing meaning. His paintings were very popular in 18th-century France and earned high praise from moral philosophers such as Diderot. However, when the style of the era changed in favor of neoclassicism, represented by such masters as Jacques Louis David, Greuze fell out of fashion.

Unfortunately, the artist's desire to maintain popularity led him to an insincerely sentimental manner. Therefore, until recently, many of his paintings, which were important for the history of art, were not appreciated. Jean Baptiste Greuze died on March 4, 1805 in Paris. The works of Jean Baptiste Greuze

Jean-Baptiste Greuze. Cubism in "The Guitarist"?
Take a look and have your opinion, not mine.

I hope no one will be offended. There's nothing to be offended about. I'm just not going to explain what I'm going to say. Therefore my words are for those
who wants to figure it out for themselves.
This Frenchman was a truly famous portrait and genre painter for a couple of decades. In combination with genre painting, the word genre has another meaning,
second meaning. Then, in the 18th century, the Academy so designated far from the most respected, subject-based, everyday (more or less) painting. Today this concept and topic
style of genre painting, somewhat broader.
Jean-Baptiste Greuze was bad famous artist, before the fucking rococo died yet. During the times of neoclassicism, he died almost a beggar.
His male portraits in the Rococo style there were pompous, frozen faces, without any psychology or sense of life, his portraits of ladies were overflowing with touchingness and syrup.
His genre works were scenes performed by actors of a cheap theater on the outskirts with exaggerated false feelings. Etc.
He tried to work in historical genre(highest qualification on the Academy grid), but completely failed.

Let's take a better look at that. what the gods sent us. Or are they still beautiful goddesses? We'll see in a minute.
Just before this “Guitar Player”, Greuze returned from Italy, where he had traveled with an abbot. Or maybe he managed to write “The Guitarist” in Italy?
I didn't want to check. In any case, it is rightly said that this work has a direct influence Venetian school 16th century. This school began with Bellini, then Giorgione and his
student of Titian, Veronese, Tintoretto and Bassano.
Giorgione, Titian and Bassano - not a lot - but they are on my blogs. You can click on the marks if you need to take a look.

Baumgartner was an Austrian artist. who successfully worked in Bavaria during the Rococo style. Baroque laid the foundations. Style and lifestyle of the monarchical courts
Europe in the 17th century was heading toward complete and total depravity in the 18th century. Katerina wrote that at Elizabeth’s court there was only one lady who did not have a lover.

The debauchery used to be cold-blooded,
Science was famous for its love...
This is Pushkin - about the Rococo era.

In France, Pompadourche herself approved of the real rococo whoreness that Boucher created. It was Madame Pompadour who made him the First Royal Artist.
Of course there were various artists And different talents and in those days. I'm talking about the general, most important direction. Pomposity, arrogance and hypocrisy of the courts of Europe
they didn’t want a portrait from the Baroque era in the style of the greatest portrait painter Velazquez. It cannot be said that portraiture or group figure work in France took over the art of Rembrandt.

Rubens and van Dyck! They were talented, but they did not paint an honest portrait. Velazquez or then Goya didn’t approach anyone. And Goya’s queen put up with the way he painted her.
Compare the work of Rembrandt known to you on the same topic about prodigal son, with sellable nonsense, which was written by the Austrian Baumgartner and you will forever learn
distinguish creativity from sweet half-porn made for success at the box office.

Looks like this busty girl has already washed the fool’s wallet, huh? What is she showing in the left hand of the one who is excitedly moving her fingers on the sofa?

Toilet of Venus, 1751_Boucher, François (1703–1770)François Boucher

This is--- SOFT work by Boucher. I don't show other samples. But even in this soft work The first artist of France (later became the First) of the Rococo era, there is no art, but only whoreness.

=========================

Let's return to Dreams to finish. Tired. The Venetian influence is certainly noticeable in this work. These weaves are from there. Take a look if you have time and desire for a wonderful
"last supper"Jacopo Bassano.

Look at the dynamic intertwining of hands, and bodies, and whatever you want, in different planes and at the apostles practically moving before our eyes.
This work by Bassano is interesting and original, although everyone was then influenced by Leonardo da Vinci.

It’s the same in this picture, in the picture of Dreams, but even more intense and dynamic.
All these interlacing of the planes of the instrument, hands, planes of the body at different points, clothes and this spread of the legs, almost in perpendicular planes - all this is pure CUBISM.
YES! Cubism, but still without the technique of cubism. This is exactly what I wanted to say.

I always see cubism here and nothing else when I look at this “Guitar Player” Greuze. You can't help but see it.

Just like that --- intertwining planes of animal bodies, a picador impaled on a horn, several matadors, a fallen horse, a killer bull, another picador, liters of blood and a pulsating, straight
hitting your temples when you look --- THE DYNAMICS of the entire scene, Goya's truly all-time great work "The Death of a Picador", had a direct influence on Picasso when he created Cubism.
(This was not the only influence.)
Now there are already two carriages of words in the language. I would like to tell and show with examples. There are enough of them. I knew this would happen. But I won’t write and I won’t give examples either.
If you don’t grab it yourself, then you just don’t need it. But in fact, everything is on the surface.
Just click on the search through the pictures, for example: guitarist cubism. I think this will be enough. Now look and compare. Maybe you will have a different opinion.
This happens in art. The not overly talented and conservative Dreams suddenly created such a thing. Interesting.