Incomparable cartoonist detached from the French rock taste that he considers too frivolous, Jean-Baptiste Greuze emphasizes the glorification of the sensitivity of his subjects who must raise the soul of the viewer. Recognized for his genre scenes, he is also a talented portraitist who multiplies the orders and pleases himself in the representation of children. Among these figures, the artist makes some confidential portraits, his own self-portraits. “Greuze,” said Mr. Lecarpentier, who knew him, was of medium size; he had a strong head, a very large forehead, bright and well-split eyes, a spiritual figure. His approach announced frankness and the man of genius; it was even difficult not to say: Voila Greuze, without almost having seen him. “(1). In essence, the self-portrait does not require a command. These are personal and intimate works free of any artifice, appreciated for the psychological exercise they provide. From this production, history has retained more than a dozen portraits of Greuze”by himself“made throughout his career. In comparison to the version preserved at the Louvre Museum (inv. 5034) our work, unpublished, could be dated around the year 1785. Greuze would then be about 60 years old, he appears more fragile and diminished but his soothed look reflects a certain confidence. This last part of the artist’s career gives way to a more sketchy treatment of his subjects, the artist abandons the precision of the features and contours while giving a special place in the use of color as an element of expression of passions on the canvas. Our self-portrait allows us to appreciate the meticulous work carried out on the faithful representation of the complexions by thick touches of roses sometimes brushed sometimes flexible and wrapped. Particular attention is paid to the treatment of the face and even more so to the psychological intensity of his serene look. (1) Charles Blanc”Study on Greuze" in The Greuze Artist his life and work His statue The Greuze Museum, 1868, p. 119. This work is accompanied by a letter from Mr. Edgar Munhall dated August 1, 2007 confirming the authenticity of our work.
