Discover all 14 City of Paris museums

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 Anonymous - Sedan chair
François Boucher - The little dog’s dance
Jean-Baptiste Greuze - Young Shepherd Holding a Flower
Hubert Robert - The Laundry
 Jean Moisy (clockmaker) and Jean-Claude Chambellan known as Duplessis (goldsmith) - Organ pipe clock with a monkey orchestra
Hubert Robert - Washerwomen in a garden
 Adrien Delorme and Pierre Roussel - Chest of drawers
Giambattista  Tiepolo - Alexander and Bucephalus
Nicolas Sageot - « Mazarin » table desk
Claude Joseph Vernet - The Tivoli Cascades
Jean-Honoré Fragonard - Jérôme de La Lande
 Manufacture de Beauvais - Tapestry : Psyche Led by the West Wind into the Palace of Love and Psyche Showing Her Wealth to Her Sisters
Roger Van der Cruse known as La Croix or RVLC (Attributed to) - Combination furniture : commode with doors, secretaire in drawer, wardrobe
Jacques Louis David - The death of Seneca
Giovanni Antonio (dit Gianantonio) Pellegrini - Esquisse pour le plafond de la Banque Royale : Le Déchargement en bord de Seine de marchandises en provenance de la Louisiane

Young Shepherd Holding a Flower

Tournus, 1725 - Paris, 1805
Oil on oval canvas
72,5 x 59,5 cm

Painting commissioned from Greuze in 1756 by the Marquis de Marigny, Director General of the King's Buildings, for his sister, the Marquise de Pompadour.

With its counterpart, Simplicity (Fort Worth, Kimbell Art Museum), which shows a girl pulling the petal off a daisy to find out whether her love is reciprocated, saying, “He loves me, he loves me not…” it hung in the apartment of King Louis XV’s favourite.

In these two paintings from the start of his career, Greuze showed great similarity to Boucher, La Pompadour’s favourite painter. Diderot himself would later try to promote himself against the latter, recognising this similarity: “This Shepherd pulling the petals off a daisy to find out whether his shepherdess loves him is rather insignificant. With the elegance of the clothing and radiant colours, it could easily be mistaken for the work of Boucher. And if one did not know what the subject was, one would never guess”.

The exceptionally light colour scheme with its harmony of pinks, blues and mauves complemented by the golden tone of the curly hair, and the combination of transparent glazes and vigorous impastos is indeed reminiscent of the art of Boucher, from whom Greuze later had to distance himself.

Inventory number: 
Inventory number : PDUT01192
Acquisition details : Purchased using interest from the Dutuit bequest, 1975
Room 11
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