was a Swiss painter integrant of the style Academic Classicism, born in 1822 at Le Locle in Switzerland and died November 23, 1896. At sixteen years old he moved to Paris, France where found his first teacher Louis Grosclaude. Later he studied at the École des Beaux-Arts and then refined his technical skills with François-Édouard Picot, who followed the same lineage of contemporaneous artists such as Leon Perrault, Bouguereau, Alexandre Cabanel and many others. Afterwards he spent some time in Italy searching for inspiration and raise the quality of his art. Then, returning to Paris, he made his debut at the Salon in 1850 exhibiting alongside oil paintings, drawings, pastels and watercolors. His painting Innocence shows his romantic view of the peasant childhood and their environments, expressing nature, softness and intense details. Also his works were drawn by popular themes at that period like mythology, religion and requested portraits. Zuber-Buhler produced exhibitions in the United States, comprising at the Pennsylvania Academy of the Fine Arts and achieved great admiration as a classic academic painter.   Related Paintings of Fritz Zuber-Buhler :. | Girl with wreath | The First Cherries | La Mi-Careme | Young Beauty with Bouquet | Maternity |
Related Artists:
Karl Pavlovic Brullow
1799-1852
Anita Ree
painted Young Chinese man in 1919
Jean Baptiste Greuze
1725-1805 French Jean Baptiste Greuze Galleries French painter and draughtsman. He was named an associate member of the Academie Royale de Peinture et de Sculpture, Paris, in 1755 on the strength of a group of paintings that included genre scenes, portraits and studies of expressive heads (t?tes d'expression). These remained the essential subjects of his art for the next 50 years, except for a brief, concentrated and unsuccessful experiment with history painting in the late 1760s, which was to affect his later genre painting deeply. Though his art has often been compared with that of Jean-Simeon Chardin in particular and interpreted within the context of NEO-CLASSICISM in general, it stands so strikingly apart from the currents of its time that Greuze's accomplishments are best described, as they often were by the artist's contemporaries, as unique. He was greatly admired by connoisseurs, critics and the general public throughout most of his life. His pictures were in the collections of such noted connoisseurs as Ange-Laurent de La Live de Jully, Claude-Henri Watelet and Etienne-Francois, Duc de Choiseul. For a long period he was in particular favour with the critic Denis Diderot, who wrote about him in the Salon reviews that he published in Melchior Grimm's privately circulated Correspondance litteraire. His reputation declined towards the end of his life and through the early part of the 19th century, to be revived after 1850, when 18th-century painting returned to favour, by such critics as Th?ophile Thore, Arsene Houssaye and, most notably, Edmond and Jules de Goncourt in their book L'Art du dix-huiti?me siecle. By the end of the century Greuze's work, especially his many variations on the Head of a Girl, fetched record prices, and his Broken Pitcher (Paris, Louvre) was one of the most popular paintings in the Louvre. The advent of modernism in the early decades of the 20th century totally obliterated Greuze's reputation. It was only in the 1970s, with Brookner's monograph, Munhall's first comprehensive exhibition of the artist's work, increased sale prices, important museum acquisitions and fresh analyses of his art by young historians, that Greuze began to regain the important place that he merits in the history of French art of the 18th century.