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 Sacrifice of Noah f | Self-portrait in Old Age af | The Holy Family at the Palm-tree g | Vessel Firing a Salvo | Self portrait |
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CARDUCHO, Vicente
(b. 1576, Florence, d. 1638, Madrid Painter and theorist, brother of Bartolom Carducho. He became a prolific painter for both the church and the court in Castile, adapting a late 16th-century Italianate style, introduced into Spain in the 1580s, to Spanish themes and settings. After his death this style was superseded in monastic programmes by Zurbarn's pietistic simplicity and in altarpieces and devotional painting by the elegant compositions of van Dyck and Rubens, while Velezquez was unrivalled as a portrait painter. Of more enduring influence than Vicente's paintings, however, was his Dielogos de la pintura (Madrid, 1633), an erudite defence of painting as a noble pursuit and of the artist as a learned humanist. While painters in Spain struggled until the 18th century to attain freedom from artisanship, the Dielogos featured significantly in 17th-century efforts to achieve that goal,
Charles Ferdinand Wimar
German-born American Painter b.1828 d.1862 was a painter of Western Native Americans and buffaloes. Born in Siegenburg, Germany, came to America at the age of 15, settled with his parents in St. Louis, Missouri. In 1846 he began studying painting with Leon Pomarede and went with his master on a trip up the Mississippi River. In 1852 he went to the D??sseldorf Academy to study with Emanuel Leutze. Wimar returned to St. Louis in 1856. He primarily occupied himself with the themes of Indian life, buffalo herds, life in the Great Plains, the theme of the wagon trains. He made three trips to the headwaters of the Mississippi.
Faccini Pietro
Italian Painter, ca.1575-1602