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682:, pointed out that it would be more attractive and efficient to build a square, rather than an oval, and a more modest project. Mansart himself had designed both Place Vendome and Place des Victoires, and his views were accepted by the King, much to the distress and anger of Puget. Work went ahead on the project, following the new plan. The marble was delivered for the statue, and Puget's friends in Genoa sent a magnificent horse to serve as a model. Puget remained adamant and declared he would not make the statue until the city square, in an oval shape, was constructed for it. The
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587:(1685, now in the Louvre). Colbert disliked Puget's personality but admired his skill; on 13 May 1672, he offered Puget a commission to make the two statues. Puget was occupied with his tasks for the city of Marseille, and did not begin work until 1672. The impatient Colbert wrote to Puget, demanding a report on the statue, and observing that the marble belonged not to Puget, but to the royal government. Puget worked furiously on Milon. However, in 1681, six years after sending the designs, the statue was still not finished; it was finally completed in August, 1682.
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686:, or city council, decided they preferred the simpler and less expensive square design, but Puget was adamant. Puget made another trip to Versailles to try to persuade the King to accept his project, but the King declined to see him. The Echevins of Marseille abandoned Puget and selected a different and little-known sculptor, Clérion, and Puget was excluded from the project. In the end, neither the square nor the statue was made; the outbreak of a war with Holland in 1688 ended for a time any new architectural projects.
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598:, it depicts the moment when Milon de Croton, a celebrated warrior but now elderly and weak, is attacked by a lion. His expression at the moment the lion claws Milon's is distorted by pain, and is full of pathos. This work was satisfactory to Colbert, was purchased by the royal government, and given a prominent place in the Gardens of Versailles. Puget, in the meantime, had begun on another monumental statue for Versailles, of
325:, including a statue of Hercules, the personal symbol of Fouquet. These statues were to be made of marble, which was very expensive and rarely used in Paris at the time. Fouquet sent Puget to Genoa, in Italy, to personally select and bring back the blocks of the best marble While he was preparing his voyage, he received several proposals for sculptural projects from
237:, still in existence on a new municipal building facing the port. He used as his models two of the muscular workers who unloaded ships along the quay in front of the building. Their faces and postures in the sculpture vividly expressed their struggle with the weight on their shoulders. The work was finished in 1657. He was paid fifteen hundred
609:. A month after Colbert's death, Louvois wrote to Puget for a report on other works that Puget was making, and asking how old he was. Puget responded that he was sixty years old and that he was working with great enthusiasm on his monumental statue of Perseus Andromeda (completed 1684, now in the Louvre) and the
460:
When he returned to the dockyards in June 1670, he found they were commanded by a new officer, and that the decoration of ships he had begun had been given to others. He also learned that, upon the instructions of
Colbert, any work he did had to be approved at higher levels by Le Brun and the senior
452:
Puget's view of naval architecture soon clashed with the views of the new
Commissioner of Fortifications, the Chevalier de Clairville. Clairville changed all of the Puget's plans, removed decoration he considered unnecessary, and rejected his elegant new headquarters building. Puget appealed to
421:
He returned to France in 1669 and divided his time between Toulon and
Marseille. He was offered the position chief of decoration for French warships, but before accepting he sent a list of his demands to Colbert; among others, he insisted on being considered an officer, not a worker; and to have
573:
Puget had still not broken into the exclusive group of sculptors who were receiving royal commissions for the statuary of the new gardens of
Versailles. He still possessed several blocks of fine marble from Genoa, In 1671 he sent to Colbert designs for two large-scale statues,
154:
and then to
Florence in search of an atelier which would employ him as a carver or painter. He carved some decorative panels in Florence, and then, with a good recommendation from his employer, and samples of his paintings, he went to Rome and presented himself to the painter
232:
In 1650, he was living in Toulon, and was married there. He turned his attention entirely to sculpture. In 1655, he received his first important commission for the sculptural decoration of the entrance of the town hall of Toulon; he produced a porch supported by muscular
501:
In 1672, having no further work at the Naval
Arsenal, Puget returned to his birthplace, Marseille. His first project was a new urban square and street, the Cours Saint-Louis, and rue Canabière. It took much of its inspiration from the urban planning and architecture of
674:. He designed both the statue and the architecture of the square, which was actually an oval, surrounded by a majestic marble colonnade, to complement the statue. The only question was money; the royal government expected the city of Marseille to finance the project.
461:
sculptors in Paris. He was to design only what he was told to design. Furthermore, Colbert presented a new argument; British ships had little or no sculptural decoration, and they usually won battles. Therefore French ships should also be without sculpture.
738:
Puget died in
Marseille on 2 December 1694, at the age of seventy-four. He was buried in the cemetery of the church of the Convent of the Observance. The church and the cemetery have disappeared, and there is no marker to show where his remains are buried.
142:. As his two older brothers were trained as stone masons, he was trained as a woodcarver. He began his career at the age of fourteen, carving the elaborate wooden ornament of the galleys built in the Marseille shipyards. He also showed talent as a painter.
665:
In 1665, he proposed an even more ambitious commission, to design a new city square next to the port of
Marseille, with, as the centerpiece, a monumental equestrian statue of Louis XIV, facing the harbor. Similar monuments had been constructed in Paris, in
351:
Puget decided to stay for a time in Italy, making long visits to Rome and Genoa. His principal patron in Italy was an
Italian nobleman, Francesco Maria Sauli. His major works during this period were two monumental statues for the pillars of the church of
616:(completed 1685, the Louvre). "I was raised making great works..." Puget wrote to Louvois, "The marble trembles before me, no matter how large it is." The two works were completed, loaded on ships in Toulon, and were placed in the gardens of Versailles.
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Puget made one of his rare trips to
Versailles to promote the project in person to the King, on 29 November 1687. The King expressed his admiration of the project, as did his consort, Madame de Maintenon; but the soon-to-be chief royal architect,
229:, in December 1655. Altogether he is recorded as having painted fifty-six paintings, of which nineteen were documented in 1868 as still existing. A serious illness in 1665 and advice of doctors caused him to abandon painting entirely.
344:. However, on 5 September 1661, Fouquet was arrested and imprisoned, on the accusations of Colbert, for taking government funds for his own use. The statue commissioned for Fouquet's garden was later sent instead to the
434:, the major new warship of the French fleet. The French fleet needed new ships, and Puget was charged with decorating, ten new men-of-war, as well as designing elegant new building for the headquarters of the fleet.
514:
in Paris. He also created an ornate sculptural plaque with the coast of arms of the King to decorate the facade of the Hotel de Ville. He designed a new fish market, completed in 1672, which is still in use, and
266:
1159:
519:, begun in 1679, originally a home for beggars and the indigent, now a cultural center. In addition, he designed town houses in Aix-en-Provence, including the Hotel d'Aiguilles (1675), a baroque mansion.
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Colbert, but Colbert sided with Clairville. At the end of 1669, Puget took a leave of absence and departed the dockyards for his traditional sanctuary, Genoa, where he made a series of works, including
697:. The last work, depicting a tragic but heroic moment in the city's history, was left unfinished. After his death, it was placed in the Council Chamber of the city of Marseille, where he died in 1694.
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187:, he had made drawings of the highly-ornamented baroque decoration of Tuscan galleys and warships, as well as designs of imaginary ships painted by Cortona for his ceilings. He showed these to
313:
His reputation spread beyond Provence; he was invited to Paris and received a commission from a nobleman named Girardin for two statues, one representing Hercules and the other the Earth and
525:
750:
865:, No. 177, juin 1966, p. 77. Earlier sources, such as Lagrange, gave his birthdate as 31 October 1620 and his birthplace as the small village called SĂ©on near
210:. In 1652 he was commissioned to make baptismal fonts for the Marseille cathedral. From 1662 to 1665, he made a series of paintings for the Cathedral of Marseille.
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245:. His work was widely praised, and terra-cotta copies were made and circulated. Puget was converted from a modestly-talented painter to a celebrated sculptor.
445:. In addition, he designed town houses in Aix-en-Provence and several municipal buildings in Marseille, including the fish market (still in place) and the
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Puget continued to work on other sculptural and artistic projects in Toulon, He sculpted a large marble group of the Virgin and Child for the church of
191:, Grand Admiral of the French fleet, and was given a commission to design a carved medallion for the stern of a new French warship, named for the Queen,
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He was recognized as a painter but still poorly paid; In 1653, he was commissioned by the Brotherhood of Corpus Domini to make two large paintings,
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The death of the Grand Admiral in 1646 ended his first work in naval decoration. He began painting, mostly religious works, in the style of
1240:
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After three years with da Cortona in Rome, he returned to Marseille, bringing with him the decorative tastes of the Italian Baroque. In
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in Genoa. The Genoese senate proposed that he paint their council chamber, but he declined, to devote all his attention to sculpture.
340:, where he selected the marble he wanted, chose a Genoese sailor as the model, and in Genoa made the statue that became known as the
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594:(1682) is a monumental work, nearly three meters high, is one of his most dramatic and expressive works. Illustrating a story by
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317:, for a chateau in Normandy. He completed them in Paris in July 1660. He then received an even more important commission from
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and Bishop Alexander Paoli. They were completed in 1663, and showed the influence of Bernini. He also made a notable statue,
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126:. His sculpture expressed emotion, pathos and drama, setting it apart from the more classical and academic sculpture of the
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333:, the prime minister, but he refused them, due to his obligations to Fouquet. Colbert did not forget this slight.
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430:. This was entirely unacceptable to Colbert. Colbert gave Girardon, not Puget, the commission to decorate the
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138:
Puget was born at the home of his father, a stone mason, in the working-class neighborhood of Panier, in
396:
225:, a very small amount for the time and amount of the work. He completed another religious painting,
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1064:
G. Walton, "Les Dessins d'architecture de Puget pour la reconstruction de l'arsenal de Toulon",
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Colbert died the following year and was replaced by as superintendent of royal buildings by
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206:. He also received a commission in 1649 to make several public fountains for new squares in
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Head of Christ by Puget, Marseilles. Brooklyn Museum Archives, Goodyear Archival Collection
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241:, to which the city authorities, pleased with the work, added a supplement of two hundred
8:
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See Georges Reynaud, « Origine et jeunesse marseillaise de Pierre Puget », in
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275:(1653), (Commissioned for Marseille Cathedreal, now in Museum of Fine Arts, Marseille)
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final authority for designs, over that of the King's official artists, the painter
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708:. He sculpted a large marble group of the Virgin and Child for the church of
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In 1640, taking his tools with him, he departed Marseille by sea to Livorno,
96:
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449:, originally a home for beggars and the indigent, now a cultural center.
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style. He assisted Da Cortona in painting of the lavish ceilings of the
1244:. Vol. 22 (11th ed.). Cambridge University Press. p. 637.
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in American public collections, on the French Sculpture Census website
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221:(now in the Marseille Museum of Art), for a total of one hundred forty
107:(16 October 1620 (or 31 October 1622) – 2 December 1694) was a French
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sculpted plaque of Diogenes and Alexander the Great, the Louvre (1692)
1154:
French Regional & American Museum Exchange (FRAME) (2010-06-19).
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457:(1670), now in the oratory of the Church of Saint Philippe de NĂ©ri.
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This article incorporates text from a publication now in the
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The plague of Milan, (bas-relief) his last and uncompleted work
364:, for the French patron Emmanuel Brignole, for the chapel of an
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Atlantes on the portal of the City Hall, Port of Toulon (1657)
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was originally in the castle of Vaudreuil, and is now at the
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Pierre Puget - Peintre - Sculpteur - DĂ©corateur de Vaisseaux
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and created a monumental wooden retable still in place, for
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and created a monumental wooden retable still in place, for
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348:, Colbert's more modest residence. It is now in the Louvre.
16:
French painter, sculptor, architect and engineer (1620–1694)
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discovered a lost statue by Puget on a castle grounds at
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830:, late 17th century (Museum of Fine Arts, Marseille)
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54:
16 October 1620 (or 31 October 1622; varying sources)
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872:
1201:
L'Art Baroque - Architecture - Sculpture - Peinture
1199:Geese, Uwe (2015). "Section on Baroque sculpture".
896:
848:Geese Uwa, article on baroque sculpture in Tolman,
689:The last two works of Puget were the bas-reliefs
1320:
1156:"Hercule terrassant l'hydre de Lerne, 1659-1660"
479:, showing his sculptural decoration on the stern
568:
850:Art Baroque: Architecture, Sculpture, Painting
607:François-Michel le Tellier, Marquis de Louvois
336:In 1660 Fouquet travelled to the quarries of
768:Assumption of the Virgin, Bode Museum, Berlin
303:on the City Hall on the Port of Toulon (1657)
1301:The life of Pierre Puget on NotreProvence.fr
563:The Hall Puget, or fish market, in Marseille
535:, home for indigent and beggars (begun 1671)
308:
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417:Toulon and Marseille - naval architecture
383:, originally made for Fouquet the Louvre
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497:Marseille, architecture and urban design
260:(1651), (Museum of Fine Arts, Marseille)
178:
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730:, near Marseille, is named after him.
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1016:
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1272:. New York: Robert Appleton Company.
1254:Pierre Puget ... biographie critique
1203:(in French). Cologne: H.F. Ulmann.
13:
1193:(in French). Paris: Didier et Cie.
661:Marseille and the Louis XIV statue
491:Design for decoration of a warship
159:, one of the early masters of the
14:
1375:
1294:
1260:Herbermann, Charles, ed. (1913).
1252:(Paris, 1894); Philippe Auquier,
1195:- includes a catalog of his works
88:Sculpture, painting, architecture
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1066:Information d'histoire de l'Art
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1344:17th-century French architects
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808:Louis XIV, medallion in marble
35:Pierre Paul Puget, by his son
1:
1359:17th-century French sculptors
1250:Annales de la vie de P. Puget
722:Musée des Beaux-Arts de Rouen
1349:17th-century French painters
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742:
580:(now in the Louvre) and the
569:Versailles - Milon of Croton
411:Saint Alexander Sauli (1668)
133:
7:
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628:Milo of Croton (the Louvre)
189:Jean Armand de Maillé-Brézé
10:
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397:Santa Maria Assunta, Genoa
219:the Baptism of Constantine
1339:Architects from Marseille
1248:See also Charles Ginoux,
828:Sleep of the infant Jesus
362:The Immaculate Conception
309:Vaux-le-Vicomte and Genoa
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354:Santa Maria di Carignano
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1241:Encyclopædia Britannica
1189:Lagrange, LĂ©on (1868).
695:The Plague of Marseille
426:and the royal sculptor
691:Alexander and Diogenes
680:Jules Hardouin-Mansart
614:Alexander and Diogenes
585:Alexander and Diogenes
273:Baptism of Constantine
1364:French male sculptors
1269:Catholic Encyclopedia
641:Perseus and Andromeda
327:Jean-Baptiste Colbert
215:The Baptism of Clovis
1354:French male painters
1263:"Pierre Puget"
1108:, pp. 182, 194.
381:The Hercules of Gaul
179:Marseille and Toulon
836:Notes and citations
702:Adolphe-André Porée
672:Place des Victoires
395:Saint Sebastian at
329:, the secretary to
1144:, p. 267-269.
547:Vielle Charité in
531:Vielle Charité in
517:La Vieille Charité
447:La Vieille Charité
1289:Baroque sculpture
1210:978-3-8480-0856-8
1072:(1965), pp.162 ff
983:, pp. 59–60.
947:, pp. 24–30.
932:, pp. 24–25.
920:, pp. 16–17.
706:Biéville-Beuville
428:François Girardon
346:Château de Sceaux
200:Annibale Carracci
165:Palazzo Barberini
157:Pietro da Cortona
105:Pierre Paul Puget
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1242:
1237:
1236:Puget, Pierre
1233:
1228:
1227:public domain
1216:
1212:
1206:
1202:
1197:
1192:
1187:
1186:
1174:
1173:Lagrange 1868
1169:
1161:
1157:
1150:
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1142:Lagrange 1868
1138:
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1130:Lagrange 1868
1126:
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1118:Lagrange 1868
1114:
1107:
1106:Lagrange 1868
1102:
1095:
1094:Lagrange 1868
1090:
1083:
1082:Lagrange 1868
1078:
1071:
1067:
1061:
1054:
1053:Lagrange 1868
1049:
1042:
1041:Lagrange 1868
1037:
1030:
1029:Lagrange 1868
1025:
1018:
1013:
1011:
1009:
1007:
1000:, p. 61.
999:
998:Lagrange 1868
994:
992:
990:
982:
981:Lagrange 1868
977:
971:, p. 59.
970:
969:Lagrange 1868
965:
958:
957:Lagrange 1868
953:
946:
945:Lagrange 1868
941:
939:
931:
930:Lagrange 1868
926:
919:
918:Lagrange 1868
914:
907:
902:
900:
893:, p. 12.
892:
891:Lagrange 1868
887:
880:
879:Lagrange 1868
875:
868:
864:
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845:
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669:
668:Place VendĂ´me
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299:Detail of an
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169:Palazzo Pitti
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97:Baroque style
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46:
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27:
20:
1329:1620s births
1308:Pierre Puget
1267:
1253:
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1190:
1183:Bibliography
1168:
1160:the original
1149:
1137:
1125:
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1060:
1048:
1036:
1024:
976:
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913:
886:
881:, p. 2.
874:
862:
857:
849:
844:
827:
737:
726:
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699:
694:
690:
688:
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664:
643:, the Louvre
640:
613:
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589:
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551:(begun 1671)
512:Napoleon III
500:
475:
459:
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451:
436:
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420:
380:
361:
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335:
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258:Saint Cecile
257:
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197:
182:
149:
137:
104:
103:
23:Pierre Puget
1334:1694 deaths
476:Royal Louis
432:Royal Louis
77:Nationality
1323:Categories
1017:Geese 2015
906:Geese 2015
728:Mont Puget
611:bas-relief
582:bas-relief
455:The Virgin
50:1620-10-16
867:Marseille
814:Paintings
743:Sculpture
700:In 1882,
600:Andromeda
549:Marseille
533:Marseille
140:Marseille
134:Biography
120:architect
71:Marseille
58:Marseille
1278:See also
684:Echevins
590:Puget's
235:atlantes
173:Florence
124:engineer
116:sculptor
93:Movement
1229::
781:Retable
710:Lorgues
439:Lorgues
366:Albergo
185:Livorno
161:Baroque
112:painter
109:Baroque
1223:
1207:
399:(1668)
243:livres
239:livres
223:livres
208:Toulon
204:Rubens
80:French
734:Death
504:Genoa
315:Janus
301:atlas
152:Italy
146:Italy
1205:ISBN
693:and
670:and
596:Ovid
510:and
217:and
202:and
122:and
65:Died
44:Born
1238:".
171:at
1325::
1266:.
1070:10
1068:,
1005:^
988:^
937:^
898:^
724:.
716:.
602:.
195:.
175:.
130:.
118:,
114:,
1213:.
869:.
52:)
48:(
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