传

皮埃尔·保罗·普吉出生在马赛。在十四岁时，他建立刻在他的家乡城市的船厂厨房的装饰物，在十六岁的船舶装修施工委托给他。不久后，他去了意大利的脚下，并在罗马获得了一致好评彼得DA科尔托纳，谁带他到他的工作室，并雇用他的的天花板巴贝里尼宫和那些皮蒂宫在佛罗伦萨。

四年后在意大利，在1643年他回到马赛，在那里他画的肖像刻的男人-的战争的巨大傀儡。第二个旅程，意大利在1646年后，他画的图片了大量的普罗旺斯地区艾克斯，土伦，屈埃尔和拉西约塔和雕刻圣母大型大理石组和儿童的教堂洛尔格。他对的Hotel de Ville酒店的阳台女像柱土伦是1655年1657年间执行他还创造了一个巨大的木制祭坛装饰的土伦大教堂。尼古拉斯·富凯采用普吉雕刻一个大力士，他的城堡，子爵城堡。沦陷后富凯在1660年，搬到普吉湾到热那亚。在这里，他制作了弗朗索瓦德转租雅布他的大力士GAULOIS（卢浮宫）的雕像圣塞巴斯蒂安和主教亚历山德罗保利在教堂圣玛利亚迪卡里尼亚诺（约1664年），以及许多其他作品。该家庭多利亚给了他一个教堂修建。热那亚参议院提出，他要画自己的会议室。艺术家的愿望，他的雕塑前的激情漆逐渐消退，并在1665年大病带来普吉来自这使他完全放下画笔医生禁止。

但让-巴蒂斯特·科尔伯特吩咐普吉返回法国，并在1669他再次拿起他的旧作在土伦的船坞。这是他所承担的下订单，构建有阿森纳弗朗索瓦·德旺多姆广场，公爵博福特，被大火在施工过程中被破坏，被另一建筑师重建。心灰意冷，普吉了土伦的许可，并1685年回到马赛，在那里他继续长系列上，他曾受雇于科尔伯特雕塑作品。他的雕像巴豆米洛（卢浮宫）曾在1682年已经完成，英仙座和仙女座（罗浮宫）于1684年; 而亚历山大和第欧根尼（浅浮雕，卢浮宫）于1685年，但是，尽管个人喜好，他喜欢，普吉，在来巴黎在1688年推进的骑马雕像的执行路易十四，发现法院的阴谋他太多。他被迫放弃他的计划和退休马赛，在那里他保持直到他的死亡。他最后的工作中，“米兰的瘟疫”的浅浮雕，它仍未完成，被安排在他的家乡城市的市政厅会议室。

1882年，阿道夫-安德烈Porée就在城堡的理由发现了普吉丢失的雕像比埃维尔伯维尔。这尊雕像的大力士杀害勒拿湖的水润原是沃德勒伊的城堡，现在是在鲁昂美术馆。

尽管普吉的访问巴黎和罗马的他的工作从未失去它的地方特色：他的大力士从土伦的厨房清新; 他的圣人和处女是男人和女人谁说话的妇女普罗旺斯。他最好的作品，在圣塞巴斯蒂安在热那亚，虽然部分有点重，显示令人钦佩的能源和生活，以及与裸体的简单对比表面的装饰配件高超的技巧。有一个在博物馆普罗旺斯地区艾克斯在pseudoclassical古装长头发的年轻人这被认为是一个肖像的半身像路易十四被普吉的国王在1660年访华时提出。

皮埃尔·普吉是，现在仍然是马赛相当有名。本山普吉，山脉接壤马赛之一，他的名字命名。

泰奥菲尔·戈蒂埃称他为他的时代最伟大的雕塑家，他是诱发波德莱尔的诗句莱斯法勒斯（信标）一起鲁本斯，达芬奇，伦勃朗，米开朗基罗，华托，戈雅和德拉克洛瓦的“普吉，忧郁皇帝罪犯“。

Pierre Puget

From Wikipedia, the free encyclopedia

Pierre Puget (16 October 1620 – 2 December 1694) was a French painter,sculptor, architect and engineer.

Pierre Paul Puget 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 took him into his studio and employed him on the ceilings of the Palazzo Barberini and on those of Palazzo Pitti at Florence.

After four years in Italy, in 1643 he returned to Marseille, where he painted portraits and carved the colossal figureheads of men-of-war. After a second journey to Italy in 1646 he painted a great number of pictures forAix-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 de Noyers his Hercule Gaulois (Musée du Louvre), the statues of St Sebastianand of Bishop Alessandro Paoli 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 theFrançois de Vendôme, Duc de Beaufort, was destroyed by fire in the course of construction and was rebuilt by another architect.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 1882, Adolphe-André Porée discovered a lost statue by Puget on a castle grounds at Biéville-Beuville. This statue of Hercules slaying the Hydra of Lerna was originally in the castle of Vaudreuil, and is now at the Musée des Beaux-Arts de Rouen.^[3]

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.

Théophile Gautier called him the greatest sculptor of his time, and he is evoked in Charles Baudelaire's poem Les Phares (The Beacons) alongside Rubens, Leonardo Da Vinci, Rembrandt, Michelangelo, Watteau, Goyaand Delacroix as 'Puget, melancholy emperor of convicts'.

Biography