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| Pierre Puvis de Chavannes The Sacred Grove, beloved of the Arts and the Muses (study of flying figures for painting) ca. 1883 drawing Art Institute of Chicago |
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| Pierre Puvis de Chavannes The Sacred Grove, beloved of the Arts and the Muses (sketch for painting) ca. 1883-84 watercolor Phillips Collection, Washington DC |
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| Pierre Puvis de Chavannes The Sacred Grove, beloved of the Arts and the Muses (compositional study for painting) ca. 1883-84 drawing Art Institute of Chicago |
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| Pierre Puvis de Chavannes The Sacred Grove, beloved of the Arts and the Muses 1884-89 oil on canvas Art Institute of Chicago |
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| Pierre Puvis de Chavannes The Prodigal Son (study for painting) ca. 1879 drawing Morgan Library, New York |
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| Pierre Puvis de Chavannes The Prodigal Son ca. 1879 oil on canvas Princeton University Art Museum |
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| Pierre Puvis de Chavannes The Prodigal Son ca. 1879 oil on canvas National Gallery of Art, Washington DC |
"And now Albertine, liberated once more, had resumed her flight; men, women followed her. She was alive in me. I became aware that this prolonged adoration of Albertine was like the ghost of the sentiment that I had felt for her, reproduced its various elements and obeyed the same laws as the sentimental reality which it reflected on the farther side of death. For I felt quite sure that if I could place some interval between my thoughts of Albertine, or if, on the other hand, I had allowed too long an interval to elapse, I should cease to love her; a clean cut would have made me unconcerned about her, as I was now about my grandmother."
– Marcel Proust, from Albertine Disparue (1925), translated by C.K. Scott Moncrieff as The Sweet Cheat Gone (1930)
"Now Albertine, once more set free, resumed her flight; men and women followed in her wake. She was alive within me. I realized that my vast, protracted love for her was as it were the ghost of the feelings that I had felt for her, reproducing their diverse phases and obeying the same laws as the emotional reality which it reflected beyond her death. For I understood plainly that if I had been able to insert some intervals between my thoughts of Albertine, and had these lasted too long, I would have ceased to love her; this interruption would have made me indifferent to her, as I had now become towards my grandmother."
– Marcel Proust, from Albertine Disparue (1925), translated by Peter Collier as The Fugitive (2002)
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| Pierre Puvis de Chavannes Hope (study for painting) ca. 1872 drawing Walters Art Museum, Baltimore |
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| Pierre Puvis de Chavannes Hope 1872 oil on canvas Walters Art Museum, Baltimore |
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| Pierre Puvis de Chavannes Death and the Maidens (study for painting) ca. 1872 drawing Minneapolis Institute of Art |
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| Pierre Puvis de Chavannes Death and the Maidens (sketch for painting) ca. 1872 oil on board National Gallery, London |
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| Pierre Puvis de Chavannes Cider (studies for painting) 1863-64 drawing Minneapolis Institute of Art |
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| Pierre Puvis de Chavannes Cider (sketch for painting) ca. 1864 oil on paper, mounted on canvas Metropolitan Museum of Art, New York |
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| Pierre Puvis de Chavannes Beheading of St John the Baptist 1869 oil on canvas Barber Institute of Fine Arts, University of Birmingham |
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| Pierre Puvis de Chavannes Beheading of St John the Baptist ca. 1869 oil on canvas National Gallery, London |