“To render virtue charming and vice odious ought to be the object of every honest man who wields a pen, a paint-brush, or the sculptor’s chisel,” he declared.
The vivid intelligence of Greuze seized the position, and sure of at least attracting attention if nothing else, he set to work to paint some scene which would fall in with the prevalent “debauch of morals,” as some one called it. Thus, “Le Père qui lit la Bible à ses Enfants” appeared at that psychological moment which does so much to ensure success. Further, it came as a refreshing change to a public weary of the pleasant insipidities of Boucher, of a long-continued series of pale pastorals showing the doubtful pleasures of light love. It was, moreover, a novelty, for no one had painted such subjects before in France.
PLATE III.—LA MALÉDICTION PATERNELLE
“La Malédiction paternelle,” or “The Father’s Curse,” is in the Louvre, and is one of the best known of Greuze’s moral pictures. It is one of his worst productions. Observe the theatrical attitudes and gestures, the too carefully arranged draperies, etc., of the actors in this exaggerated scene, which in real life would pass in formless disorder and rough confusion.
And so more than the expected happened. From the day of its exhibition till the Salon was closed, it was surrounded by admiring crowds, and every one said, “Who is this wonderful Greuze?” Those there were who replied that Greuze had not painted the picture himself, was incapable of such work, for the overweening personal vanity that marred Greuze’s character had already made for him many enemies; but the happy preacher-painter proved his position, and but gained additional interest from the discussions that raged round him.
From this moment Greuze’s position was assured. He was made agréé of the Academy, which among other privileges gave him the right to exhibit what he liked there in future. He sold the celebrated picture for a comparatively large sum to a Monsieur de la Live de Jully. He made hosts of friends, many of them influential. One of his new acquaintances offered to provide him with a studio. Another, l’Abbé Gougenot, invited him to accompany him to Italy to study art, an offer which was accepted.
Greuze stayed two years in Italy, but except that some of his pictures have Italian names and show Italian costumes, this visit exercised no perceptible influence on his work, and in 1757 he returned to steady work in the Paris which was to be for him the scene of so many triumphs—and later, of so much despair.