See also:

• PIERRE

PIERRE CECILE PUVIS DE CHAVANNES (1824-1898)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• LYONS
• LYONS (Fr. Lyon)
• LYONS, COUNCILS OF
• LYONS, EDMUND LYONS, BARON (1790-1858)
• LYONS, RICHARD BICKERTON PEMELL LYONS, 1ST EARL (1817–1887)

Lyons on the 14th of See also:

• DECEMBER (Lat. decent, ten)

December 1824 . His See also:

• FATHER

father was a See also:

• MINING

mining engineer, the descendant of an old See also:

• FAMILY

family of See also:

• BURGUNDY

Burgundy . See also:

• PIERRE

Pierre Puvis was educated at the Lyons See also:

• COLLEGE (Collegium)

College and at the Lycee See also:

• HENRI

Henri IV. in See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, and was intended to follow his father's profession when a serious illness interrupted his studies . A See also:

• JOURNEY (through O. Fr. jornee or journee, mod. Fr. journee, from med. Lat. diurnata, Lat. diurnus, of or belonging to dies, day)

journey to See also:

• ITALY
• ITALY (Italia)

Italy opened his mind to fresh ideas, and on his return to See also:

• FRANCE
• FRANCE, ANATOLE (1844– )

France he announced his intention of becoming a painter, and went to study first under Henri See also:

• SCHEFFER, ARY (1795-1858)

Scheffer, and then under See also:

• COUTURE, THOMAS (1815-1879)

Couture . On leaving this See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master in 1852 he established himself in a studio in the See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

Place See also:

• PIGALLE, JEAN BAPTISTE (1714-1785)

Pigalle (which he did not give up till 1897), and there organized a sort of See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy for a See also:

• GROUP

group of See also:

• FELLOW

fellow students who wished to See also:

• WORK

work from the living mode] . Puvis first exhibited in the See also:

• SALON

Salon of . 185o a " Pieta," and in the same See also:

• YEAR

year he painted " Mademoiselle de Sombreuil Drinking a See also:

• GLASS
• GLASS (O.E. glees, cf. Ger. Glas, perhaps derived from an old Teutonic root gla-, a variant of glo-, having the general sense of shining, cf. " glare," " glow ")
• GLASS, STAINED

Glass of See also:

• BLOOD

Blood to See also:

• SAVE, or SAVA (Ger. Sau; Hungarian Szdva; Lat. Savus)

Save her Father," and " See also:

• JEAN

Jean See also:

• CAVALIER
• CAVALIER, JEAN (1681-1740)

Cavalier .by his See also:

• MOTHER

Mother's Deathbed," besides an " Ecce Homo," now in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of Champagnat (See also:

• SAONE

Saone-et-See also:

• LOIRE

Loire) . In 1852 and in the two follow- See also:

• ING

ing years Puvis's pictures were rejected by the Salon, and were sent to a private See also:

• EXHIBITION

exhibition in the Galeries Bonne Nouvelle . The public laughed at his work as loudly as at that of See also:

• COURBET, GUSTAVE (1819-1877)

Courbet, but the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young painter was none the less warmly defended by See also:

• THEOPHILE

Theophile See also:

• GAUTIER
• GAUTIER, EMILE THEODORE LEON (1832-1897)
• GAUTIER, THEOPHILE (1811-1872)

Gautier and See also:

• THEODORE
• THEODORE (602-690)
• THEODORE (Fedor) GRIGORIEVICH ORLOV, COUNT (1741–1796)
• THEODORE (Rus. Fedor, or Feodor)

Theodore de See also:

• BANVILLE, THEODORE FAULLAIN DE (1823-1891)

Banville . For nine years Puvis was excluded from the Salons . In 1857 he had painted " Martyrdom of St See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian," " Meditation," " See also:

• VILLAGE

Village Firemen," " Julie," " Herodias," and " See also:

• SAINT (lat. sanctus, " holy ")

Saint Camilla " See also:

• COLOSSAL

colossal monolith, See also:

• PART

part of some See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument, to add it to other architectural pieces; then the busy See also:

• SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene of a pottery; and finally artists See also:

• PAINTING

painting in the open See also:

• AIR (from an Indo-European root meaning " breathe," " blow ")
• AIR, or ASBEN

air . Puvis, as a See also:

• RULE

rule, adhered to the presentment of the nude or of the lightest drapery; here, however, in response to some See also:

• CRITICAL (in alphabetical order of authors)

critical remarks, he has clad his figures exclusively in See also:

• MODERN

modern See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress .

After prolonged negotiations, begun so See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early as in 1891, with the trustees of the See also:

• BOSTON
• BOSTON, THOMAS (1676-1732)

Boston Library, U.S.A., Puvis de Chavannes accepted a See also:

• COMMISSION (from Lat. commissio, committere)

commission to paint nine large panels for that See also:

• BUILDING

building, to he inserted in See also:

• SEPARATE

separate compartments, three facing the See also:

• DOOR (corresponding to the Gr. Bbpa,. Lat. fores or valvae; the English word, with other forms common in allied languages, comes from the same Indo-European stem as the Gr. Obpa and Lat. fares)

door, three to the right and three to the See also:

• LEFT

left . These pictures, begun in 1895, were finished in 1898 . In these See also:

• WORKS

works of his latest See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

period Puvis de Chavannes soars boldly above realistic See also:

• VISION (from Lat. videre, to see), or SIGHT

vision . In the figures which See also:

• PEOPLE

people the walls with poetic images he endeavours to achieve originality of the embodying forms, and at the same See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time a plastic expression of ideas born of a mind whose conceptions See also:

• GREW, NEHEMIAH (1641-1712)

grew ever loftier, while yet the artist would not abandon the severe study of nature . Such works as the See also:

• GREAT

great paintings at See also:

• AMIENS

Amiens, See also:

• ROUEN

Rouen, See also:

• MARSEILLES

Marseilles, the See also:

• PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon, the See also:

• SORBONNE

Sorbonne, and the Hotel de Ville are among the most important productions of French See also:

• ART

art in the 19th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century . Puvis de Chavannes was See also:

• PRESIDENT (Fr. president, from Lat. praesidens, post-Augustan Lat. for praeses, director, ruler, from praesidere, to sit in front of, preside)

president of the See also:

• NATIONAL

National Society of See also:

• FINE

Fine Arts (the New Salon) . His See also:

• PRINCIPAL

principal pupils and followers are Ary See also:

• RENAN, ERNEST (1823-1892)

Renan (d . 1900), Baudouin, J . F . Auburtin and See also:

• COTTET, CHARLES (1863– )

Cottet . See A . See also:

• MICHEL
• MICHEL, CLAUDE
• MICHEL, FRANCISQUE XAVIER (1809-1887)

Michel, " Exposition de M .

Puvis de Chavannes," See also:

• GAZETTE

Gazette See also:

• DES

des See also:

• BEAUX, CECILIA (1863– )

beaux-arts (i888); See also:

• MARIUS, GAIUS (r55–86 B.c.)

Marius Vachon, Puvis de Chavannes (1900); See also:

• BUISSON, FERDINAND (1841– )

Buisson, " Puvis de Chavannes, Souvenirs Intimes," Gazette des eaux-arts (1899) . (H .