Jean-Baptiste Greuze in the context of "Biblical authority"

In psychology, meaning-making is the process of how people (and other living beings) construe, understand, or make sense of life events, relationships, and the self.

The term is widely used in constructivist approaches to counseling psychology and psychotherapy, especially during bereavement in which people attribute some sort of meaning to an experienced death or loss. The term is also used in educational psychology.

The Salon of 1761 was an art exhibition held at the Louvre in Paris. Staged during the reign of Louis XV and at a time when the Seven Years' War against Britain and Prussia was at its height, it reflected the taste of the Ancien régime during the mid-eighteenth century. The biannual Salon was organised by the Académie Royale. Jean Siméon Chardin was in charge of choosing hanging locations for the two hundred or so works on display. A number of submissions were Rococo in style. The art critic Denis Diderot wrote extensively about the Salon.

The exhibition was notable for the paintings of Jean-Baptiste Greuze who displayed fourteen works including The Laundress and The Village Bride. François Boucher submitted a pastoral work Shepherd and Shepherdess Reposing. The Swedish artist Alexander Roslin produced portraits both of Boucher and his wife Marie-Jeanne. Louis-Michel van Loo exhibited his Portrait of Louis XV, now a lost work but with several contemporary copies surviving. Joseph Vernet displayed two versions of View of Bayonne, part of his Views of the Ports of France series. Charles-André van Looexhibited Mary Magdalene in the Desert and Jean-Baptiste-Henri Deshays's The Martyrdom of Saint Andrew, which were praised by Diderot.

Family worship, sometimes simply family prayer, is prayer, bible reading, and singing of psalms and hymns conducted in private homes of Christian families.

During the Protestant Reformation, daily Mass was simplified in order to allow wider participation by laypeople. In the Reformed tradition, it became more common especially in England and Scotland in the 17th century to emphasize daily morning and evening services in the home led by fathers to replace the morning and evening prayer services. Puritan minister Richard Baxter gave lengthy instructions in his Christian Directory for family worship. The General Assembly of the Church of Scotland added a chapter to the 1647 Westminster Directory for Worship on family prayer shortly after adoption. Matthew Henry also wrote on family worship in his A Method for Prayer, as well as a collection of psalms and canticles for family use called Family Hymns. James W. Alexander, son of Princeton theologian Archibald Alexander wrote Thoughts on Family Worship in the nineteenth century. The rise of pietism saw a decline in the importance placed on the unity of the family, and family devotions were by and large replaced with private devotions, which were significantly shorter than traditional family worship. Small group activities are also sometimes considered a replacement for family worship.

The Village Bride (French: L'Accordée de Village) is a painting by the French artist Jean-Baptiste Greuze, created in 1761. It is now in the Louvre, in Paris. The work was first exhibited at the Salon of 1761, where it was unanimously praised by the critics, notably by Diderot. It was the first example of the 'moral painting' genre, to which Greuze often returned.

It was part of a series of 6 paintings. Caroline de Valory, a former pupil of Greuze, collaborated with the writer Alexandre Louis Bertrand Robineau to produce L'Accordée de Village, a one-act comedy based on the paintings.

The Laundress (French: La Blanchisseuse) is a 1761 genre painting by French artist Jean-Baptiste Greuze (1725–1805), existing in two versions. The subject of laundresses, also known as washerwomen, was a popular one in art, especially in France.

The prime version of The Laundress was one of fourteen works exhibited by Greuze at the Salon of 1761 and was part of the collection of Greuze's patron, Ange Laurent Lalive de Jully. The painting was mostly unknown for more than two centuries as it was purchased in 1770 by Gustaf Adolf Sparre and privately held in that Swedish art collection and rarely seen until it was acquired by the Getty Museum in 1983.