Las óleos de todo Pierre Puvis de Chavannes

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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.

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