206. THE HEAD OF A GIRL.
Jean Baptiste Greuze (French: 1725-1805).
To understand the great reputation which Greuze enjoyed in his day one should remember, besides the prettiness of his pictures in themselves, the contrast which they afforded in their subject-matter to the art around them. Look, for instance, at 1090 and 101-104. Those pictures are nearly contemporary with Greuze's, and are typical, the first of the mythology, the latter of the courtliness, and all of the sensuality, of the current art of the time. The return to nature, the return to simpler life and sounder morals, which inspired Rousseau, found expression in Greuze's domestic scenes and sweet girl faces. "Courage, my good Greuze," said Diderot of one of Greuze's pictures of domestic drama; "introduce morality into painting. What, has not the pencil been long enough and too long consecrated to debauchery and vice? Ought we not to be delighted at seeing it at last unite with dramatic poetry in instructing us, correcting us, inviting us to virtue?"[112] Greuze's art, in comparison with what was around it, was thus simple, natural, moral. Yet one sees now that something of the artificiality, against which his pictures were a protest, nevertheless affected them. For instance there is an obvious posing in this picture, just as there is a touch of affectation in 1154. Decidedly, too, Greuze "invests his lessons of bourgeois morality with sensuous attractions." There is neither the innocence nor the unconsciousness in the girls of Greuze that there is in those of Reynolds or Millais.
The life of Greuze is interesting for the curious instance it affords of the inability, which so many eminent men have shown, to know in what direction their best powers lay. Greuze's reputation rested on his genre painting—on his rendering of domestic scenes or faces; but his ambition was to figure as an historical painter. His one picture in this style—"Severus and Caracalla" (in the Louvre)—was painted in 1769 as his diploma work for the French Academy. They praised him for "his former productions, which were excellent," and not for "this one, which was unworthy alike of them and of him," and admitted him as a painter in the class of genre only. Greuze, who was vain and overbearing in the days of his vogue, was greatly incensed and ceased to exhibit at the Academy until after the Revolution. But his power had then begun to fail; the classic school reigned supreme; and Greuze, who had been unhappily married, and whose large earnings were squandered by extravagance and bad management, died in great poverty. He was born in Burgundy, of humble middle-class parents, in the little town of Tournus, where his modest birthplace may still be seen. His happiest productions were taken from the daily life of the middle-classes, and his sweet girl faces are unique in French art (Lady Dilke's article in the Encyclopædia Britannica, and Morley's Diderot, vol. ii. chap. iii.).
Campbell's "Lines on a picture of a girl by Greuze" may be quoted of this picture:—
What wert thou, maid?—thy life—thy name
Oblivion hides in mystery;
Though from thy face my heart could frame
A long romantic history.
Transported to thy time I seem,
Though dust thy coffin covers—
And hear the songs, in fancy's dream,
Of thy devoted lovers.
How witching must have been thy breath—
How sweet the living charmer—
Whose every semblance after death
Can make the heart grow warmer!