Denys Puech
( 1854 - 1942 )
L'AURORE (Paris, 1900 )
Sèvres porcelain biscuit
H : 50,5 cm, L : 35,7 cm, D : 26,7 cm
Signed, located and dated «Puech, Paris 1900», old example by the Sèvres Manufacture («S» triangular seal with date «1907» and «Sèvres» seal) with the moulder monogram (reversed «R» and «P») for René Petit.
Kilned in 1907
Exhibition references of the model :
Salon des Artistes Français, 1901 (marble, musée d’Orsay)
Edition references from the Puech catalogue :
Edition planned at 24 examples between 1904 and 1910
Salon des Artistes Français, 1901 (Marbre, musée d’Orsay)
Biscuit en porcelaine de Sèvres.
H : 50,5 cm, L : 35,7 cm, P : 26,7 cm
Épreuve ancienne signée, située et datée «Puech, Paris 1900», fabrication ancienne de la manufacture de Sèvres (cachet triangulaire «S» millésimé «1907» et cachet «Sèvres») avec le monogramme du mouleur répareur («R» inversé et «P») pour René Petit, pour un tirage annoncé à 24 épreuves entre 1904 et 1910.
Fabriqué en 1907
H : 50,5 cm, L : 35,7 cm, D : 26,7 cm
Signed, located and dated «Puech, Paris 1900», old example by the Sèvres Manufacture («S» triangular seal with date «1907» and «Sèvres» seal) with the moulder monogram (reversed «R» and «P») for René Petit.
Kilned in 1907
Exhibition references of the model :
Salon des Artistes Français, 1901 (marble, musée d’Orsay)
Edition references from the Puech catalogue :
Edition planned at 24 examples between 1904 and 1910
Salon des Artistes Français, 1901 (Marbre, musée d’Orsay)
Biscuit en porcelaine de Sèvres.
H : 50,5 cm, L : 35,7 cm, P : 26,7 cm
Épreuve ancienne signée, située et datée «Puech, Paris 1900», fabrication ancienne de la manufacture de Sèvres (cachet triangulaire «S» millésimé «1907» et cachet «Sèvres») avec le monogramme du mouleur répareur («R» inversé et «P») pour René Petit, pour un tirage annoncé à 24 épreuves entre 1904 et 1910.
Fabriqué en 1907
Detailed Description
Student of François Jouffroy, Alexandre Falguière but also d’Henri Chapu, Denys Puech entered at the School of Fine Arts of Paris in 1873. In 1884, he won the Prix de Rome for Mezence blessé and it is from this moment that he will start to realize official commissions, in particular with busts like those of Jules Ferry (1895) and Emile Loubet (1901) as well as monuments for many cities. He continued a career as a portrait painter that has earned him great success among the public.
The busts represent the largest part of his OEuvre, with more than 500 portraits. A graceful and precious realism transpires in its female busts, unlike its male ones where the official character previals. From a stylistic point of view, Puech remains faithful to Academism rather resistant to any innovation, valuing an approach to the antique of his work. In 1903, he is at the origin of the project for the creation of a sanctuary of Aveyronnais art, in Rodez. For that, our artist offers many sculptures and drawings to the city and manages to convince his friends to to the same.
In 1900, our artist made a marble sculpture named L’Aurore which represents the allegory of the dawn personnified by a woman lifting her hair. This feminine figure full of grâce is typical of the Symbolist allegories of the time. Puech decided to present this sculpture at the Salon de la Société des Artistes Français in 1901 and was bought by Alfred Chauchard, one of the most important art collector of that time. It will be bequeathed in 1910 to the State.
Joseph Hild, a friend to Denys Puech wrote to him in 1915 :
"Cette jeune fille d’une plastique superbe qui s’éveille en soulevant le lourd manteau de ses cheveux […] comme le symbole vivant de notre France qui s’éveille aussi à l’aube de la victoire et ramasse ses forces pour se dresser dans le prochain et complet épanouissement de sa gloire."
The busts represent the largest part of his OEuvre, with more than 500 portraits. A graceful and precious realism transpires in its female busts, unlike its male ones where the official character previals. From a stylistic point of view, Puech remains faithful to Academism rather resistant to any innovation, valuing an approach to the antique of his work. In 1903, he is at the origin of the project for the creation of a sanctuary of Aveyronnais art, in Rodez. For that, our artist offers many sculptures and drawings to the city and manages to convince his friends to to the same.
In 1900, our artist made a marble sculpture named L’Aurore which represents the allegory of the dawn personnified by a woman lifting her hair. This feminine figure full of grâce is typical of the Symbolist allegories of the time. Puech decided to present this sculpture at the Salon de la Société des Artistes Français in 1901 and was bought by Alfred Chauchard, one of the most important art collector of that time. It will be bequeathed in 1910 to the State.
Joseph Hild, a friend to Denys Puech wrote to him in 1915 :
"Cette jeune fille d’une plastique superbe qui s’éveille en soulevant le lourd manteau de ses cheveux […] comme le symbole vivant de notre France qui s’éveille aussi à l’aube de la victoire et ramasse ses forces pour se dresser dans le prochain et complet épanouissement de sa gloire."
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