Au Clair de la Lune (In the Moonlight), Pierre Puvis de Chavannes

Artwork Overview

Au Clair de la Lune (In the Moonlight), 1885
Where object was made: France
Material/technique: oil; canvas
Dimensions:
Canvas/Support (Height x Width x Depth): 46 x 38.1 cm
Canvas/Support (Height x Width x Depth): 18 1/8 x 15 in
Credit line: Gift of Harold Kaye
Accession number: 1956.0051
Not on display

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Spencer Museum of Art Highlights
Despite its title, the painting Au Clair de la Lune, French for By the Light of the Moon, does not show the moon at all. Instead, the celestial body is evident through its reflection on a distant lake and in the soft sheen on the face of a woman who leans against freshly cut sheaves of summer hay. This ethereal-looking woman seems immersed in contemplation as she drapes her arm languidly over the hay and turns toward the unseen moon. Au Clair de la Lune is a mural study by the 19th-century French artist Pierre Puvis de Chavannes. Puvis used soft colors laid out in smudgy planes that suggest forms rather than clearly defining them. Puvis painted in this style so that his art would harmonize with the walls it adorned. Thus, he made his figures flat and selected his colors to match the stone of the wall. The pale, golden tones of this study suggest that the finished artwork was meant for a warmly colored wall. The painting serves as an allegory for the summer harvest season—the woman in classical garb lounges on a newly mown haystack as she considers the fleeting beauty of a summer moon.
Google Art Project
Despite its title, the painting Au Clair de la Lune, French for By the Light of the Moon, does not show the moon at all. Instead, the celestial body is evident through its reflection on a distant lake and in the soft sheen on the face of a woman who leans against freshly cut sheaves of summer hay. This ethereal-looking woman seems immersed in contemplation as she drapes her arm languidly over the hay and turns toward the unseen moon. Au Clair de la Lune is a mural study by the 19th-century French artist Pierre Puvis de Chavannes. Puvis used soft colors laid out in smudgy planes that suggest forms rather than clearly defining them. Puvis painted in this style so that his art would harmonize with the walls it adorned. Thus, he made his figures flat and selected his colors to match the stone of the wall. The pale, golden tones of this study suggest that the finished artwork was meant for a warmly colored wall. The painting serves as an allegory for the summer harvest season—the woman in classical garb lounges on a newly mown haystack as she considers the fleeting beauty of a summer moon.

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Citations

Broun, Elizabeth. Handbook of the Collection: Helen Foresman Spencer Museum of Art. Lawrence, Kansas: Spencer Museum of Art, The University of Kansas, 1978.

Stokstad, Marilyn, ed. The Handbook of the Museum of Art. Lawrence, Kansas: The University of Kansas, 1962.

"The Register of the Spencer Museum of Art: The Humanist in the Art Museum." Vol. 5, no. 7, Spring (1979):

University of Kansas Press. The Register of the Museum of Art of the University of Kansas 1, no. 9, December (1957):

The University of Kansas Museum of Art. The Register of the Museum of Art 1, Re-issued, Spring (1965):

Berger, Klaus. Profiles and Perspectives in Nineteenth Century French Art. Lawrence, Kansas: The University of Kansas Museum of Art, 1958.

Bernstein, Gerald S, and Calder M. Pickett, Irving Stone. The Organizers of the Armory Show. Lawrence, Kansas: The University of Kansas Museum of Art, 1964.

Stokstad, Marilyn, and A. Bret Waller, James L. Connelly, Robert T. Neely, Jeanne A. Stump, Klaus Berger, Michael Stoughton,. Les Mardis: Stephane Mallarme and the Artists of his Circle. Lawrence, Kansas: The University of Kansas Museum of Art, 1965.