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Puvis de Chavannes and America : his artistic and critical reception 1875-1920

This dissertation engages the work of French artist Pierre Puvis de Chavannes through the lens of his artistic and critical reception in the United States 1875-1920. Puvis de Chavannes (1824-1898) is perhaps best known for the influence that as an academic artist he had on European avant-garde artists. Less well-known is his impact on conservative artists, especially in the United States, where mainstream artists seeking to align themselves with French respectability turned to Puvis, including Kenyon Cox, Will Hicok Low, Edwin Howland Blashfield, and John La Farge. After 1900, modernists such as Maurice Prendergast, Augustus Tack, Arbhur Wesley Dow, and Arthur B. Davies looked to him as well.

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  • "This dissertation engages the work of French artist Pierre Puvis de Chavannes through the lens of his artistic and critical reception in the United States 1875-1920. Puvis de Chavannes (1824-1898) is perhaps best known for the influence that as an academic artist he had on European avant-garde artists. Less well-known is his impact on conservative artists, especially in the United States, where mainstream artists seeking to align themselves with French respectability turned to Puvis, including Kenyon Cox, Will Hicok Low, Edwin Howland Blashfield, and John La Farge. After 1900, modernists such as Maurice Prendergast, Augustus Tack, Arbhur Wesley Dow, and Arthur B. Davies looked to him as well."@en
  • "American artists commissioned to decorate the Beaux-Arts buildings of a new wealthy class of American industrialists found in Puvis not only a model for allegorical decoration based on women's bodies but also for idealist aesthetics. Puvis and his art offered a modern decorative strategy nonetheless evocative of the classical past and of the rhetoric of culture."@en
  • "This study narrates American critical and artistic interest in Puvis during the period of his greatest regard and employs this framework to understand Puvis's work and the translation of his idyllic French nationalism into an American idiom. In the process, it discerns how gendered imagery was embedded in contemporary social political, and artistic discourse."@en
  • "Chapter One studies Puvis's career in France reported by American critics. Chapter Two traces contact between Puvis and Americans in Paris. Chapter Three investigates Puvis's Boston Public Library murals and their bohemian Boston milieu. Chapter Four analyzes American works responding to Puvis, both allegorical and not, that satisfied Americans' elitist quest for perfection predicated on the female form. Chapter Five analyzes later stages of interest in and collecting of Puvis's work, as well as the negation of his ideas after 1905 through the 1930s, when another American mural movement developed. His feminized aesthetic, so appropriate to the Gilded Age, would be displaced by a more masculine ethos."@en

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  • "Dissertations, Academic"@en
  • "Criticism, interpretation, etc"@en

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  • "Puvis de Chavannes and America : his artistic and critical reception 1875-1920"
  • "Puvis de Chavannes and America : his artistic and critical reception 1875-1920"@en
  • "Puvis de Chavannes and America : his artistic and critical reception, 1875-1920"
  • "Puvis de Chavannes and America: His artistic and critical reception, 1875-1920"@en

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