生活。

普维斯·德查万内斯出生于法国里昂郊区的皮埃尔·塞西尔·普维斯。他是一个采矿工程师的儿子。他是一个古老的贵族家庭的后裔，后来在他的名字中加上了“查凡尼的祖先”。然而，在他的一生中，他拒绝了自己在里昂的出身，更愿意认同他父亲出生地勃艮第人的“强大”血统。普维斯·德·查万内斯在亚眠学院和巴黎的莱基·亨利四世接受教育。他打算追随父亲的职业，直到1844年和1845年一场大病迫使他与兄妹在马斯科疗养，中断了学业。一次去意大利的旅行使他有了新的想法，1846年回到巴黎时，他宣布打算成为一名画家。他先是在尤金·德拉克洛瓦手下学习，但只学习了很短的时间，因为德拉克洛瓦不久就因为身体不好而关闭了工作室。随后，他在舍弗和托马斯的指导下学习。他的训练并不古典，因为他发现他更喜欢独自工作。他在里昂美术馆附近开了一间大画室，在巴黎美术学院（Aca de mie des beux Arts）上了解剖学课，直到几年后，法国政府获得了他的一部作品，他才获得了广泛的认可。

普维斯·德查万内斯于1850年首次在沙龙亮相，与死去的基督，黑人男孩，阅读课，和一个男人的肖像。

在蒙马特，他和他的模特苏珊娜·瓦拉顿有过一段恋情，她将成为当今最杰出的艺术家之一，同时也是莫里斯·乌特利略的母亲、老师和导师。

工作

普维斯·德查万内斯的作品被视为自然界的象征，尽管他曾与一些浪漫主义者一起学习，他被认为影响了整整一代的画家和雕塑家，尤其是现代主义者的作品。他的蛋白质之一是乔治·德·费尔。

壁画

普维斯·德·查万内斯最出名的是他的壁画，后来被称为“法国画家”。他的第一个任务是为他哥哥的城堡勒布劳希（Le Brouchy）工作，这是一座中世纪风格的建筑，位于萨奥卢瓦尔（Sao et Loire）的Cuiux seaux附近。主要的装饰以四季为主题。[7]他的第一次公开委托是在19世纪60年代初，在亚眠的皮卡迪博物馆工作。前四部作品分别是《康科迪亚》（1861）、《贝勒姆》（1861）、《劳动》（1863）和《回购》（1863）。

地区

在他的职业生涯中，普维斯获得了大量的佣金，用于在法国各地的公共和私人机构开展工作。他早期在皮卡迪博物馆的作品帮助他发展了他的古典风格和壁画的装饰美学。

他的公共作品包括后来在亚眠（Ave Picardie Nutrix，1865）、马赛、里昂和普瓦捷完成的周期。尤其重要的是在里昂的艺术宫的循环，其中包括三个重要的作品，填补了主楼梯的墙壁空间。从左到右，作品分别是古董视觉（1884年）、艺术与缪斯珍爱的木材（1884年）和基督教灵感（1884年）。

巴黎。

普维斯的职业生涯与一场复杂的争论紧密相连，这场争论从第三共和国（1870年）开始一直持续到巴黎公社暴力事件结束。关键问题是法国的身份和“法国”的含义。保皇党人认为1789年的革命是一场巨大的灾难，法国被赶出了正轨，而共和党人则认为革命让法国回到了正轨。因此，在公共场所展示的作品，如壁画，具有实现委托方意识形态的重要任务。许多研究普维斯作品的学者注意到，他作为法国画家的成功很大程度上是因为他能够创作出符合当时许多意识形态的作品。

他在巴黎的第一个任务是在圣吉纳维耶夫教堂（church of Saint Genevieve）进行一个周期，现在是世俗的万神殿，开始于1874年。他的两个科目是圣哲涅维夫教育和圣哲涅维夫牧歌。这项任务之后，在索邦的作品，即巨大的半周期，神圣的树林或L'Ancienne索邦之间的缪斯在索邦的大圆形剧场。

他在这个三位一体的共和党委员会的最后一个委员会是普维斯的职业生涯的最高荣誉，夏季和冬季的作品，在酒店德维尔（市政厅）在巴黎。

其中许多作品的特点是对古典艺术的推崇，在精心平衡的构图中可以看到，题材往往直接指向希腊化时期的景象，特别是在古代的景象中。

Life

Puvis de Chavannes was born Pierre-Cécile Puvis in a suburb of Lyon, France. He was the son of a mining engineer. Being descended from of an old noble family ofBurgundy, he later added the ancestral 'de Chavannes' to his name. Throughout his life, however, he spurned his Lyon origins, preferring to identify himself with the 'strong' blood of the Burgundians, where his father originated.^[3] Puvis de Chavannes was educated at the Amiens College and at the Lycée Henri IV in Paris. He intended to follow his father's profession until a serious illness compelled him to convalesce at Mâcon with his brother and sister-in-law in 1844 and 1845, interrupting his studies. A journey to Italy opened his mind to fresh ideas, and on his return to Paris in 1846 he announced his intention to become a painter. He studied first under Eugène Delacroix, but only very briefly, as Delacroix closed his studio shortly afterwards due to ill health. He studied subsequently under Henri Scheffer and then Thomas Couture.^[4][5] His training was not classical as he found that he preferred to work alone. He took a large studio near the Gare de Lyon and attended anatomy classes at the Académie des Beaux Arts.^[6] It was not until a number of years later, when the government of France acquired one of his works, that he gained wide recognition.

Puvis de Chavannes made his Salon debut in 1850 with Dead Christ, Negro Boy, The Reading Lesson, and Portrait of a Man.

In Montmartre, he had an affair with one of his models, Suzanne Valadon, who would become one of the leading artists of the day as well as the mother, teacher, and mentor of Maurice Utrillo.

Work

Puvis de Chavannes' work is seen as symbolist in nature, even though he studied with some of the romanticists, and he is credited with influencing an entire generation of painters and sculptors, particularly the works of the Modernists. One of his protégés was Georges de Feure.

Mural work

Puvis de Chavannes is best known for his muralpainting, and came to be known as 'the painter for France.' His first commission was for his brother's chateau, Le Brouchy, a medieval-style structure near Cuiseaux in Saône-et-Loire. The principal decorations take the four seasons as their theme.^[7] His first public commissions came early in the 1860s, with work at the Musée de Picardie at Amiens. The first four works were Concordia (1861), Bellum (1861), Le Travail (Work; 1863) and Le Repos (Rest; 1863).

The regions

Over the course of his career, Puvis received a substantial number of commissions for works to be carried out in public and private institutions throughout France. His early work at the Musée de Picardie had helped him to develop his classicizing style, and the decorative aesthetic of his mural works.

Among his public works are the later cycles completed at Amiens (Ave Picardia Nutrix, 1865), at Marseille, at Lyon and at Poitiers. Of particular importance is the cycle at the Palais de Beaux Arts in Lyon, which includes three significant works, filling the wall space in the main staircase. From left to right, the works are Antique Vision (1884), The Wood Dear to the Arts and the Muses (1884), and Christian Inspiration (1884).

Paris

Puvis' career was tied up with a complicated debate that had been ongoing since the beginning of the Third Republic (1870), and at the end of the violence of the Paris Commune. The question at stake was the identity of France and the meaning of 'Frenchness'. Royalists felt that the revolution of 1789 had been an immense disaster and that France had been thrown off course, while the Republicans felt that the Revolution had allowed France to revert to its true course. Consequently, works that were to be displayed in public spaces, such as murals, had the important task of fulfilling the ideology of the commissioning party. Many scholars of Puvis's works have noted that his success as a 'painter for France' was largely due to his ability to create works which were agreeable to the many ideologies in existence at this time.

His first Parisian commission was for a cycle at the church of Saint Genevieve, which is now the secular Pantheon, begun in 1874. His two subjects were L'Education de Sainte Geneviève and La Vie Pastoral de Sainte Geneviève. This commission was followed by works at the Sorbonne, namely the enormous hemicycle, The Sacred Grove or L'Ancienne Sorbonneamongst the muses in the Grand Amphitheater of the Sorbonne.

His final commission in this trinity of Republican commissions was the crowning glory of Puvis's career, the works Summer and Winter, at the Hôtel de Ville (City Hall) in Paris.

Many of these works are characterized by their nod to classical art, visible in the careful balanced compositions, and the subject matter is frequently a direct reference to visions of Hellenistic Greece, particularly in the case of Antique Vision.

Works on Canvas

Puvis de Chavannes was president and co-founder in 1890 of the Société Nationale des Beaux-Arts (National Society of Fine Arts) founded in Paris. It became the dominant salon of art at the time and held exhibitions of contemporary art that was selected only by a jury composed of the officers of the Société.

Those who translated best the spirit of the work of Pierre-Cécile Puvis de Chavannes' in their own creations were, in Germany, the painter Ludwig von Hofmann^[8] and in France,Auguste Rodin.^{[9][full citation needed]}