Jean-Baptiste Greuze (1725 – 1805)

The painting by J. B. Greuze is watercolor on paper, it measures 2.75×3.25 inches. The painting is in the Farhat Art Museum Collection.

An 18th-century painter of melodramatic genre, morality lessons, female figures and portraits whose subjects included Mozart and Benjamin Franklin, Jean-Baptiste Greuze was born in the Burgundy region of France. He spent most of his career in Paris, where he was mentored by a portrait artist from Lyon named Grandon (Grondom). This artist was an advocate for the young Greuze, whose father had discouraged him from following his art talents. In Paris, Greuze worked from the live model at the Royal Academy. Gradually his work attracted the attention of members of the nobility such as the family of Madame d’Epinay, a French writer whose love affairs included Jean-Jacques Rousseau and Denis Diderot. In 1755, Greuze’s painting, Father Reading the Bible, was judged accomplished enough to merit much encouragement from Academicians. That same year, he went to Italy with Abbé Louis Gougenot, who had influence among fine art professionals, which led to Greuze being elected him an honorary member of the Royal Academy in Italy because of his accomplishments in allegory and mythology. However, he was not encouraged by the exposure he got in Italy, and returned to Paris in search of better training for portraiture, genre and figure work. Beginning in the late 1850s, he received increasing accolades for his painting, which influenced by Rousseau, was getting increasingly naturalistic. By 1765, he had reached a great high point with the exhibition of thirteen paintings at the Academy’s Salon. However, members gave him a tough time because they demanded that he show them a diploma from an accredited art institution, something he did not have. The Academy finally received him as a new member with all honours but as a genre painter, meaning he was not officially recognized for his portraits or history canvases. In 1769, Salon organizers rejected his painting, Septimius Severus Reproaching Caracalla, and Greuze was so angered that he did not exhibit again until 1804, when the Academy was much less rigid because of the Revolution breaking down aristocratic barriers. However, by that time his subjects and Neo-Classical style had waned in popularity. The next year, 1805, Jean-Baptiste Greuze died in the Louvre. He was impoverished, having been wealthy but having squandered his fortune and also losing money to an embezelling wife. During his last years, he was desperate for commissions but diminished in talent, which meant that much of his late work was lacking in the quality for which he had been known. One of his last paintings was an 1804 portrait of Napolean Bonaparte. Greuze left many paintings, many which are in the Louvre as well as the Wallace Collection in London, the Musée Fabre in Montpellier and a museum dedicated to him in his hometown of Tournus. Sources include: Normand, J. B. Greuze (1892); Emma Barker, Greuze and the Painting of Sentiment (Cambridge: Cambridge University Press, 2005). Encyclopædia Britannica Eleventh Edition, a publication now in the public domain.

Jaune Quick-To-See Smith


Artist: Jaune Quick-To-See Smith 
Title: ”Career Advancement,” 1995 
Acrylic and mixed media/Canvas 
Size: 72″ x 72″ (182.88cm x 182.88cm) 
The painting is in the Farhat Art Museum collection.

Born in 1940 on the Confederated Salish and Kootenai Indian Reservation, Montana, Jaune Quick-To-See Smith is an internationally renowned painter, printmaker and artist.[2]

She earned a BA in Art Education from Framingham State College, Massachusetts, and an MA in Art from the University of New Mexico.[3] Smith has been awarded four Honorary Doctorates, from Minneapolis College of Art and Design, Pennsylvania Academy of the Arts and Massachusetts College of Art. and the University of New Mexico

Smith has been creating complicated abstract paintings and lithographs since the 1970s. She employs a wide variety of media, working in painting, printmaking and richly textured mixed media pieces. Such images and collage elements as commercial slogans, sign-like petroglyphs, rough drawing, and the inclusion and layering of text are unusually intersected into a complex vision created out of the artist’s personal experience. Her works contain strong, insistent socio-political commentary that speaks to past and present cultural appropriation and abuse, while identifying the continued significance of the Native American peoples.

A guest lecturer at over 185 universities, museums and conferences around the world, Smith has also shown her work in over 90 solo exhibitions. Her work has been reviewed by The New York Times, ArtNews, Art In America, Art Forum, The New Art Examiner and many other notable publications. She has curated numerous Native American exhibitions and serves as an activist and spokesperson for contemporary Native art. She is in many private and public international collections, including The Whitney Museum of American Art, NY; The Museum of Mankind, Vienna, Austria; The Museum of Modern Art, Quito, Ecuador; and The Museum of Modern Art, NY.

Among other honors, she has received the Joan Mitchell Foundation Painters Grant, a Lifetime Achievement Award from the Women’s Caucus for the Arts, the College Art Association’s Committee on Women in the Arts Award, the 2005 New Mexico Governor’s Outstanding New Mexico Woman’s Award, and the 2005 New Mexico Governor’s Award for Excellence in the Arts (Allan Houser Award). Smith also has been admitted to the New Mexico Women’s Hall of Fame. In 2011, she received a Visionary Woman Award from Moore College of Art & Design.

Edouard (Jean-Édouard) Vuillard (1868 – 1940)

Edouard (Jean-Édouard) Vuillard, Farhat Art Museum Collection

This biography from the Archives of AskART: A post-impressionist French painter who was one of the revolutionaries of the Nabis movement that paved the way for abstraction, Edouard Vuillard had a long career spanning the late 19th and nearly half of the 20th Century. His work, often with luminosity, became increasingly abstract and colorful, which some art historians link to Henri Matisse and the Fauves. Among his subjects were figures in interiors, landscapes, portraiture and large-scale decorations, and methods included drawings, graphics, folding screen painting, theatre-program designs, ceramics and photographs as well as oil painting. Of his five panel screen, Place Vintimille, he completed in 1911 and that is an elaborate depiction of city life around a park, he wrote: “Voilà: Place Vintimille, so green with spring and full of life! I love this view from my apartment window. Do you see the narrow brown buildings across the park and the double-decker cart in the street below? Look, there is a boy checking his bicycle tire, and nearby, a man sleeping against the fence. Of course, you can always find all sorts of vendors and nannies walking with their little ones. For me, the sidewalk winds around the park like a creamy ribbon, wrapping everything in a package of sparkling color.” (National Gallery of Art)The availability of Kodak cameras and their portability to get lasting images from which to model was a big enhancement to Vuillard and other painters of his era, especially the Nabis that included Pierre Bonnard, Maurice Denis and Felix Vallotton. When Vuillard began using the camera frequently at the turn of the century, his output of landscape paintings increased, one of the reasons being that he loved staying in the countryside to take photos.Born in Cuiseaux in Saone-et-Loire with the full name of Jean-Edouard Vuillard, he spent his childhood in Paris and attended the Lycée Condorcet where Maurice Denis was a fellow student. In 1885, when he was seventeen, he joined the studio of Diogene Maillart (1840-1926) and received the basics in art training. At that time he began a pattern of frequently visiting the Louvre and filling his journals with sketches, particularly of the Dutch and Italian Old Master. Unlike most of his male peers who joined the army, he determined to become an artist. He remained unmarried and lived with his mother, a dressmaker, until he was age sixty.He died in La Baule, France in 1940.In January to May, 2003, an exhibition of work by Vuillard opened at the National Gallery in Washington DC and then traveled to collaborating museums: Montreal Museum of Fine Arts, the Réunion des musées nationaux/Musée d’Orsay, Paris, and the Royal Academy of Arts, London.