For more information on Pierre Puget, visit Britannica.com.
| Britannica Concise Encyclopedia: Pierre Puget |
For more information on Pierre Puget, visit Britannica.com.
| Art Encyclopedia: Pierre Puget |
(b Marseille, 16 Oct 1620; d Marseille, 2 Dec 1694). French sculptor, painter, draughtsman and architect. Puget was one of the outstanding artists of his century, but his style, formed by the Italian Baroque, did not however always find favour in the classicizing atmosphere of the French court, where Jean-Baptiste Colbert would describe him in 1670 as 'a man who goes a little too fast, and whose imagination is a little too heated'. Although the son of a master mason, Simon Puget (d 1623), Puget was largely self-taught, as were his brother Gaspard Puget (1615-after 1683), an architect, and his son Fran?ois Puget (1651-1707), a painter. Apprenticed in 1634 to a wood-carver, Jean Roman, in Marseille, he left in 1638 for Italy, spending some years in Florence and Rome close to Pietro da Cortona, presumably as a stuccoist and painter, although his part in the decoration of the Palazzo Pitti, Florence, Cortona's main project of these years, is not clear. From 1643 he practised sculpture and painting at the Toulon Arsenal, France's largest naval shipyard, where he was appointed to the wood-carving workshop: around 1645, for instance, he designed and supervised the decoration of the ship Le Magnifique (in 1646 renamed La Reine; destr.). According to some sources, in 1646 he made a second journey to Italy, in the company of a Brother Joseph of the Feuillants Orders who was supposed to copy antiquities in Rome. By the following year he was back in Toulon, where he married Paule Boulet.
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| Columbia Encyclopedia: Pierre Puget |
| Wikipedia: Pierre Paul Puget |
Pierre Paul Puget (October 31, 1622 – December 2, 1694) was a French painter, sculptor, architect and engineer.
He was born in Marseille.
At the age of fourteen he carved the ornaments of the galleys built in the shipyards of his native city, and at sixteen the decoration and construction of a ship were entrusted to him. Soon after he went to Italy on foot, and was well received at Rome by Pietro da Cortona, who employed him on the ceilings of the Palazzo Barberini and on those of Palazzo Pitti at Florence.
In 1643 he returned to Marseille, where he painted portraits and carved the colossal figure-heads of men-of-war. After a second journey to Italy in 1646 he painted a great number of pictures for Aix-en-Provence, Toulon, Cuers and La Ciotat, and sculpted a large marble group of the Virgin and Child for the church of Lorgues. His caryatids for the balcony of the Hôtel de Ville of Toulon were executed between 1655 and 1657. He also created a monumental wooden retable for Toulon Cathedral.
Nicolas Fouquet employed Puget to sculpt a Hercules for his château, Vaux-le-Vicomte. After the fall of Fouquet in 1660, Puget moved to Genoa. Here he crafted for François Sublet des Noyers his Hercule Gaulois (Musée du Louvre), the statues of St Sebastian and of Alexandre Sauli in the church of Santa Maria di Carignano (c. 1664), and many other works. The Doria family gave him a church to build. The Genoese senate proposed that he should paint their council chamber. The artist's desire to paint gradually subsided before his passion for sculpture, and a serious illness in 1665 brought Puget a prohibition from the doctors which caused him wholly to put aside the brush.
But Jean-Baptiste Colbert bade Puget return to France, and in 1669 he again took up his old work in the dockyards of Toulon. The arsenal which he had undertaken to construct there under the orders of the duke of Beaufort was destroyed by fire. Disheartened, Puget took leave of Toulon, and in 1685 went back to Marseille, where he continued the long series of works of sculpture on which he had been employed by Colbert. His statue of Milo of Croton (Louvre) had been completed in 1682, Perseus and Andromeda (Louvre) in 1684; and Alexander and Diogenes (bas-relief, Louvre) in 1685, but, in spite of the personal favour which he enjoyed, Puget, on coming to Paris in 1688 to push forward the execution of an equestrian statue of Louis XIV, found court intrigues too much for him. He was forced to abandon his project and retire to Marseille, where he remained till his death. His last work, a bas-relief of the "Plague of Milan", which remained unfinished, was placed in the council chamber of the town hall of his native city.
In spite of Puget's visits to Paris and Rome his work never lost its local character: his Hercules is fresh from the galleys of Toulon; his saints and virgins are men and women who speak Provençal. His best work, the St Sebastian at Genoa, though a little heavy in parts, shows admirable energy and life, as well as great skill in contrasting the decorative accessories with the simple surface of the nude. There is in the museum of Aix-en-Provence the bust of a long-haired young man in pseudoclassical costume which is believed to be a portrait of Louis XIV made by Puget at the time of the king's visit in 1660.
Pierre Puget was and still is quite famous in Marseille. The Mont Puget, one of the mountain ranges bordering Marseille, is named after him.
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