(France 22 Aug 1740–16 Mar 1822)
54.3 x 66.0cm sheet (trimmed within platemark)
This rare print has particular value to the Gallery: it is closely connected with the Gallery's Greuze drawing 'The well-beloved mother' c.1770 which was presented by James Fairfax in 1999. This drawing is the model for the engraving. We know from archival documents that in 1772 Greuze signed an agreement with the engraver Massard to produce the print, although it was not published until 1775. Greuze insisted that the engraver not 'interpret' his drawing but copy it precisely and to size. This explains why the engraving and the drawing look nearly identical. As required by Massard's agreement, surviving impressions of the print bear on the verso the signatures of both the engaver and the painter.
Elizabeth Foyster (Editor), James Marten (Editor), A cultural history of childhood and family in the age of enlightenment, 2010, 162, 163 (illus.). fig.8.3
Irena Zdanowicz (Australia, b.1946) (Author), Masters of emotion, Mornington, 2007, 49. cat.no. 20
'Year in review' pg.14-35, Art Gallery of New South Wales Annual Report 2003 2003, 2003, 18, 19 (illus.).
Richard Beresford (England; Australia) (Author), Peter Raissis (Australia) (Author), The James Fairfax collection of old master paintings, drawings and prints, Domain, 2003, 93 (illus.). under cat.no. 24, fig. 24.2
Edgar Munhall (Author), Greuze the Draftsman, London, 2002, 200 (illus.). figs. 170, 171
Greuze the Draftsman, The Frick Collection, 14 May 2002–04 Aug 2002.
Greuze the Draftsman, J. Paul Getty Museum, 10 Sep 2002–01 Dec 2002.
Old Europe: Prints & drawings from the collection 1500-1800, Art Gallery of New South Wales, 03 Jun 2006–06 Aug 2006.
Masters of emotion: exploring the emotions from the old masters to the present, Mornington Peninsula Regional Gallery, 20 Apr 2007–24 Jun 2007.