All the oil paintings of Pierre Puvis de Chavannes

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ID	Image	Painting(From A to Z)	Details
91501		Christian Inspiration	between 1887(1887) and 1888(1888) Medium Oil on paper, mounted on canvas cyf
68015		den fattige fiskaren	1881 se
70686		Die Hoffnung	Medium Oil on canvas Dimensions Expression error: Missing operand for *102.5 ?? 129.5 cm
89573		Hl. Maria Magdalena in der Wuste	1869(1869) Medium oil on canvas Dimensions Deutsch: 48 x 36,8 cm cjr
22280		Hope (mk19)	1872 Oil on canvas, 70.7 x 82 cm Musee d'Orsay,Paris
29089		Mad Woman at the Edge of the Sea	mk65 1857 Oil on canvas 29x29"
58390		Magdalena	Magdalena (1897)
91115		Maria Magdalena in der Wuste	1869(1869) Medium oil on canvas cyf
39910		Marseilles,Gateway to the Orient	mk155 1869 Canvas mounted on a wall 425x565cm
58389		Musee de Picardie. cliche H.Maertens	Musee de Picardie. clich?? H.Maertens (1863)
42797		Pastoral	MK169 1882 Cloth 25.7x39.7cm Yale University Art Gallery
50622		Poor fisherman	mk213 Oil on canvas
92266		Poor Fisherman	oil on canvas Dimensions 105.8 X 68.6 cm (41.7 X 27 in) cyf
38971		Portrait of Mme M.C	mk142 1883 Oil on canvas 78x45.7cm
10940		Summer	Salon of 1873. 11' 5 3/4" x 16 7 1/2" ( 350 x 507 cm ).
43339		Summer	mk170 before 1873 Oil on canvas 43.2x62.2cm
11370		THe Balloon	1871 4'6'' x 2' 9''(136.5 x 84 cm)Gift of Mr.Acquavella,1987
93178		The beheading of John the Baptist.	1856 Medium oil on panel Dimensions 140 X 89.5 cm (55.1 X 35.2 in) cjr
43340		The Beheading of Saint John the Baptist	mk170 circa 1869 Oil on canvas 240x316.2cm
92370		The Beheading of St John the Baptist	Date c. 1869(1869) Medium oil on canvas Dimensions Height: 240 cm (94.5 in). Width: 316 cm (124.4 in). ttd
10942		The Dream	Salon of 1883. 2' 8 1/4" x 3' 4 1/4" ( 82 x 102 cm ). Gift of Etienne Moreau - Nelaton, 1906.
22278		The Dream (mk19)	1883 Oil on canvas,82 x 102 cm Musee du Louvre,Paris
11369		The Pigeon	1871 4' 6'' x 2' 9''(136.5 x 84 cm) Gift of Mr.Acquavella,1987.
40778		The Poor Fisheman	mk156 1881 Oil on canvas 155.5x192.5cm
10944		The Poor Fisherman	1881. Salon of 1881. 5' 1" x 6' 3 3/4" ( 155 x 192.5 cm ).
33979		The Poor Fisherman	mk87 1881 Oil on canvas 155x192.5cm Paris,Musee d'Orsay
38941		The Poor Fisherman	mk142 1881 Oil on canvas 155.5x192cm Paris
56657		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.
58388		The Poor Fisherman	The Poor Fisherman
21500		The Poor Fisherman (mk09)	1881 Oil on canvas,155 x 192.5 cm Paris,Musee d'Orsay
58391		The White Rocks	The White Rocks (1869-1872)
10933		Thommas - Alfred Jones, Member of Stockbrokerage House	1851. 2' 4 1/4" x 1' 11 1/2" ( 73 x 59.5 cm ). Gift of Georges Viau, 1930.
74163		Toilette	Oil painting created by Pierre Puvis De Chavannes on 1883.freeparking Description The Toilette cyf
56658		unga flicko vid havet	mk248 puvis frammanar bar en bistorisk atmosfar i vilken flickorna verkar vara insvepta i evig frid. skonbet ocb vackert vader.
28384		Village Firemen	mk60 1857 Oil on canvas 70 1/2x90"
40792		Woman on the Beach	mk156 1887 Oil on paper pasted on canvas 75.3x74.5cm
40793		Woman on the Beach	mk156 1887 Oil on paper pasted on canvas 75.3x74.5cm
97744		Woman on the Beach	1887(1887) Medium Oil on paper pasted on canvas cyf
22281		Young Girls at the Seaside (mk19)	1879 Oil on canvas,61 x 47 cm Musee d'Orsay Paris
39024		Young Girls by the Sea	mk142 ca.1879 Oil on panel 205x154cm
10941		Young Girls on the Edge of the Sea	Salon of 1879. 6' 8 1/4" x 5' 3/4" ( 205 x 154 cm ). Gift of Robert Gerard, 1970.
84336		Young Girls on the Edge of the Sea	61 x 46 cm (24 x 18.1 in), Oil on canvas Date 1879 cyf
54030		Young Women on the Seashore	mk235 1879 Oil on canvas 20.5x154cm

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.