French Baroque Era Sculptor, 1620-1694 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,   Related Paintings of PUGET, Pierre :. | The Stoning of St Peter | Great Vessel of War | Self portrait | The Holy Family at the Palm-tree g | The Education of Achilles by Chiron ar |
Related Artists:
Ernest Walbourn
1871-1927
Francesco Monti
Italian Painter, 1685-1768 Italian painter and draughtsman. He was the son of a tailor who served the Este court in Modena during the 1690s. Monti studied with the foremost painter in Modena, Sigismondo Caula (b 1637), for three years from c. 1700. In 1703 he moved to Bologna and entered the studio of Giovanni Gioseffo dal Sole. Roli (1962) defined the formative influences on Monti's art as dal Sole and Donato Creti on the one hand, and Giuseppe Maria Crespi and Antonio Gionima on the other. Monti evolved a distinctive personal idiom, characterized by graceful figures reminiscent of the style of Parmigianino, but perhaps more directly inspired by the more extravagant late Mannerist idiom of such painters as Bartholomeus Spranger and Josef Heintz I of the court of Rudolf II at Prague. Monti may have known their work through prints by Aegidius Sadeler II, Jan Muller and others. This exotic figure style, with fluent, swaying forms and faces suggestively muted by half-shadow was accompanied by unusual shades of colour that glow richly in darkened settings. Monti's art contributed to a neo-Mannerist strain in 18th-century Emilian painting
CORTE, Gabriel de la.
Spanish painter b. 1648, Madrid, d. 1694, Madrid