Pastoral
Swiss-born Australian Painter
1814-1888
was a Swiss-born landscape painter who emigrated to Australia in 1865 and influenced the Heidelberg School of painters. Buvelot was born in Morges, Vaud, Switzerland, second son of Francois Simeon Buvelot, postal official, and his wife Jeanne-Louise nee Heizer, a school teacher. Louis Buvelot worked under Marc-Louis Arland at Lausanne, and from around 1834 continued his studies at Paris with Camille Flers, a well-known landscape painter of the day. After a few months there he migrated to Bahia, Brazil where he worked on his uncle's coffee plantation. In October 1840 Buvelot moved to Rio de Janeiro and attracted the notice of the emperor Dom Pedro II, who bought some of his pictures and decorated him with the Order of the Rose. In November 1843 Buvelot married Marie-Felicite, nee Lalouette (born 1816). Buvelot returned to Switzerland in 1852 and in 1856 was awarded a silver medal for a picture exhibited at Berne. mk167
1881
Oil
Painting ID:: 42135
Pastoral
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. MK169
1882
Cloth
25.7x39.7cm Yale University Art Gallery
Painting ID:: 42797
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. Pastoral MK169
1882
Cloth
25.7x39.7cm Yale University Art Gallery
