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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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Pierre Puvis de Chavannes 1824-1898
French
Pierre Puvis de Chavannes Art Galleries
Born in Lyons on Dec. 14, 1824, Pierre Puvis de Chavannes belonged to the generation of Gustave Courbet and ??douard Manet, and he was fully aware of their revolutionary achievements. Nevertheless, he was drawn to a more traditional and conservative style. From his first involvement with art, which began after a trip to Italy and which interrupted his intention to follow the engineering profession that his father practiced, Puvis pursued his career within the scope of academic classicism and the Salon. Even in this chosen arena, however, he was rejected, particularly during the 1850s. But he gradually won acceptance. By the 1880s he was an established figure in the Salons, and by the 1890s he was their acknowledged master.
In both personal and artistic ways Puvis career was closely linked with the avant-grade. In the years of his growing public recognition, when he began to serve on Salon juries, he was consistently sympathetic to the work of younger, more radical artists. Later, as president of the Societe Nationale des Beaux-Arts - the new Salon, as it was called - he was able to exert even more of a liberalizing influence on the important annual exhibitions.
Puvis sympathy to new and radical artistic directions was reflected in his own painting. Superficially he was a classicist, but his personal interpretation of that style was unconventional. His subject matter - religious themes, allegories, mythologies, and historical events - was clearly in keeping with the academic tradition. But his style eclipsed his outdated subjects: he characteristically worked with broad, simple compositions, and he resisted the dry photographic realism which had begun to typify academic painting about the end of the century. In addition, the space and figures in his paintings inclined toward flatness, calling attention to the surface on which the images were depicted. These qualities gave his work a modern, abstract look and distinguished it from the sterile tradition to which it might otherwise have been linked.
Along with their modern, formal properties, Puvis paintings exhibited a serene and poetic range of feeling. His figures frequently seem to be wrapped in an aura of ritualistic mystery, as though they belong in a private world of dreams or visions. Yet these feelings invariably seem fresh and sincere. This combination of form and feeling deeply appealed to certain avant-garde artists of the 1880s and 1890s. Although Puvis claimed he was neither radical nor revolutionary, he was admired by the symbolist poets, writers, and painters - including Paul Gauguin and Maurice Denis - and he influenced the neoimpressionist painter Georges Seurat.
During his mature career Puvis executed many mural paintings. In Paris he did the Life of St. Genevieve (1874-1878) in the Panth??on and Science, Art, and Letters (1880s) in the Sorbonne. In Lyons he executed the Sacred Grove, the Antique Vision, and Christian Inspiration (1880s) in the Mus??e des Beaux-Arts. He painted Pastoral Poetry (1895-1898) in the Boston Public Library. These commissions reflect the high esteem with which Puvis was regarded during his own lifetime. Among his most celebrated oil paintings are Hope (1872) and the Poor Fisherman (1881). He died in Paris on Oct. 10, 1898. |
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Pierre Puvis de Chavannes Woman on the Beach mk156
1887
Oil on paper pasted on canvas
75.3x74.5cm
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Pierre Puvis de Chavannes Pastoral MK169
1882
Cloth
25.7x39.7cm Yale University Art Gallery
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Pierre Puvis de Chavannes Summer mk170
before 1873
Oil on canvas
43.2x62.2cm
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Pierre Puvis de Chavannes The Beheading of Saint John the Baptist mk170
circa 1869
Oil on canvas
240x316.2cm
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Pierre Puvis de Chavannes Poor fisherman mk213
Oil on canvas
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Pierre Puvis de Chavannes Young Women on the Seashore mk235
1879
Oil on canvas
20.5x154cm
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Pierre Puvis de Chavannes the poor fisherman mk248 denna stafflimalning lamnades in till 1881 ars parissalong ocb ledde till kontroverser. en del bedomare ansag att den dampade fargsattnigen bjorde den dekorativ snarare an konstnarlig sedan dess bar kompositonen, som paminner om den beliga familjen, blivit ett av puvis mest kanda verk.
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Pierre Puvis de Chavannes unga flicko vid havet mk248 puvis frammanar bar en bistorisk atmosfar i vilken flickorna verkar vara insvepta i evig frid. skonbet ocb vackert vader.
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Pierre Puvis de Chavannes The Poor Fisherman The Poor Fisherman
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Pierre Puvis de Chavannes Musee de Picardie. cliche H.Maertens Musee de Picardie. clich?? H.Maertens (1863)
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Pierre Puvis de Chavannes Magdalena Magdalena (1897)
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Pierre Puvis de Chavannes The White Rocks The White Rocks (1869-1872)
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Pierre Puvis de Chavannes den fattige fiskaren 1881
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Pierre Puvis de Chavannes Die Hoffnung Medium Oil on canvas
Dimensions Expression error: Missing operand for *102.5 ?? 129.5 cm
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Pierre Puvis de Chavannes Toilette Oil painting created by Pierre Puvis De Chavannes on 1883.freeparking
Description The Toilette
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Pierre Puvis de Chavannes Young Girls on the Edge of the Sea 61 x 46 cm (24 x 18.1 in), Oil on canvas
Date 1879
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Pierre Puvis de Chavannes Hl. Maria Magdalena in der Wuste 1869(1869)
Medium oil on canvas
Dimensions Deutsch: 48 x 36,8 cm
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Pierre Puvis de Chavannes Maria Magdalena in der Wuste 1869(1869)
Medium oil on canvas
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Pierre Puvis de Chavannes Christian Inspiration between 1887(1887) and 1888(1888)
Medium Oil on paper, mounted on canvas
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Pierre Puvis de Chavannes Poor Fisherman oil on canvas
Dimensions 105.8 X 68.6 cm (41.7 X 27 in)
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Pierre Puvis de Chavannes
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1824-1898
French
Pierre Puvis de Chavannes Art Galleries
Born in Lyons on Dec. 14, 1824, Pierre Puvis de Chavannes belonged to the generation of Gustave Courbet and ??douard Manet, and he was fully aware of their revolutionary achievements. Nevertheless, he was drawn to a more traditional and conservative style. From his first involvement with art, which began after a trip to Italy and which interrupted his intention to follow the engineering profession that his father practiced, Puvis pursued his career within the scope of academic classicism and the Salon. Even in this chosen arena, however, he was rejected, particularly during the 1850s. But he gradually won acceptance. By the 1880s he was an established figure in the Salons, and by the 1890s he was their acknowledged master.
In both personal and artistic ways Puvis career was closely linked with the avant-grade. In the years of his growing public recognition, when he began to serve on Salon juries, he was consistently sympathetic to the work of younger, more radical artists. Later, as president of the Societe Nationale des Beaux-Arts - the new Salon, as it was called - he was able to exert even more of a liberalizing influence on the important annual exhibitions.
Puvis sympathy to new and radical artistic directions was reflected in his own painting. Superficially he was a classicist, but his personal interpretation of that style was unconventional. His subject matter - religious themes, allegories, mythologies, and historical events - was clearly in keeping with the academic tradition. But his style eclipsed his outdated subjects: he characteristically worked with broad, simple compositions, and he resisted the dry photographic realism which had begun to typify academic painting about the end of the century. In addition, the space and figures in his paintings inclined toward flatness, calling attention to the surface on which the images were depicted. These qualities gave his work a modern, abstract look and distinguished it from the sterile tradition to which it might otherwise have been linked.
Along with their modern, formal properties, Puvis paintings exhibited a serene and poetic range of feeling. His figures frequently seem to be wrapped in an aura of ritualistic mystery, as though they belong in a private world of dreams or visions. Yet these feelings invariably seem fresh and sincere. This combination of form and feeling deeply appealed to certain avant-garde artists of the 1880s and 1890s. Although Puvis claimed he was neither radical nor revolutionary, he was admired by the symbolist poets, writers, and painters - including Paul Gauguin and Maurice Denis - and he influenced the neoimpressionist painter Georges Seurat.
During his mature career Puvis executed many mural paintings. In Paris he did the Life of St. Genevieve (1874-1878) in the Panth??on and Science, Art, and Letters (1880s) in the Sorbonne. In Lyons he executed the Sacred Grove, the Antique Vision, and Christian Inspiration (1880s) in the Mus??e des Beaux-Arts. He painted Pastoral Poetry (1895-1898) in the Boston Public Library. These commissions reflect the high esteem with which Puvis was regarded during his own lifetime. Among his most celebrated oil paintings are Hope (1872) and the Poor Fisherman (1881). He died in Paris on Oct. 10, 1898.
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