Background
Pierre Puget was born at Marseilles, France on the 31st of October 1622.
architect engineer painter sculptor
Pierre Puget was born at Marseilles, France on the 31st of October 1622.
At the age of fourteen he carved the ornaments of the galleys built in the port 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 di Cortona, who employed him on the ceilings of the Barberini Palace and on those of the Pitti at Florence. In 1643 he returned to Marseilles, 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 for Aix-en-Provence, Toulon, Cuers and La Coitat, and sculpted a large marble group of the Virgin and Child for the church of Lorgues. His caryatids for the balcony of the Hotel de Ville of Toulon were executed between 1655 and 1657. He also created a monumental wooden retable for Toulon Cathedral. Nicolas Fouguet employed Pueget to sculpt a Hercules for his chateau, 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 (Musee du Louvre), the statues of St Sebastian and of Bishop Alejandro 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 Genisis senate proposed that he should paint their council chamber. But Jean-Baptiste Colbert made 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 the François de Vendome, 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 on the 2nd of December 1694.
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 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 Provencal. There is in the museum of Aix in Provence the bust of a long-haired young man in pseudo-classical costume which is believed to be a portrait of Louis XIV made by Puget at the time of the king's visit in 1660.