Toward Modern Art: From Puvis de Chavannes to Matisse and Picasso
from Rizzoli International Publications
This volume features detailed scholarly contributions analyzing Puvis de Chavannes's work and all his affiliations, as well as offering rich critical and documentary data on his numerous and notable disciples. Accompanied by over five hundred illustrations, this volume is a superb evocation of a period of great artistic ferment and outstanding creativity.
A landmark study, Toward Modern Art makes the bold argument that modern art does not descend, as is commonly described, from Manet and Impressionism, but rather from the unlikely figure of French painter Pierre Puvis de Chavannes (1824-1898). This gorgeously illustrated volume with over 500 full color illustrations, was organized by Serge Lemoine, director of Musée d'Orsay in Paris, and includes over 15 essays by distinguished writers. Lemoine's side-by-side comparisons and expert commentary bear witness to his groundbreaking thesis.
Pierre Puvis De Chavannes: A Critical Study of His Life and Art
by Aimee Brown Price
from Yale University Press
Dream States: Puvis de Chavannes, Modernism, and the Fantasy of France
by Jennifer L. Shaw
from Yale University Press
Pierre Puvis de Chavannes (1824-1898) was a towering figure in late nineteenth-century France. The country's greatest public painter, he created murals that decorated museums in Amiens, Rouen, and Lyons as well as major buildings in Paris-most notably the Pantheon, the Sorbonne, and the city hall. Critics from the political right, left, and center, the avant-garde, the Academy, and the state all agreed on the importance of Puvis's murals. Avant-garde artists greatly admired and drew from his work. There was much controversy, however, over the meaning of these murals. This handsomely illustrated book is the first full-length examination of Puvis's murals and their critical reception during the artist's lifetime. Jennifer L. Shaw explains that Puvis's paintings were imagined to embody a vision of France. Although his regional images, allegories of the French heritage, and evocations of the nation as an embracing motherland were all part of a grand tradition of public art, Puvis's painting style was more closely aligned with the avant-garde. Rather than providing a specific narrative or allegory of France, Puvis's murals provoked viewers to experience their own fantasies of Frenchness; rather than using the close brushwork favored by most of his contemporaries, Puvis used large flat areas of color to render his subjects. Shaw persuasively argues that Puvis was the only painter of the period to unite the traditions of public art and modernist form. Her original analysis of Puvis's art underlines his importance to the history of modernism; her examination of the public response to his art illuminates debates about art, subjectivity, and national identity in fin de siècle France.
Berthe Morisot, the Correspondence With Her Family and Friends: Manet, Puvis De Chavannes, Degas, Monet, Renoir, and Mallarme
by Berthe Morisot
from Moyer Bell
Puvis De Chavannes
Correspondence of Berthe Morisot with Her Family and Her Friends Manet, Puvis De Chavannes, De
Puvis de Chavannes (French artists of our day)
Ingres & Delacroix Through Degas & Puvis De Chavannes The Figure in French Art 1800-1870
Puvis De Chavannes and the Modern Tradition - Art Gallery of Ontario, Toronto - October 24 - November 30, 1975
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