LaurieAnnie's photos with the keyword: girl

Henri Matisse French, 1869-1954 Nono Lebasque, 1908 Oil on canvas Inscribed (upper right): N/O; Signed (lower left): Henri Matisse Accession # 67.187.83 Nono was the younger daughter of the French painter Henri Lebasque (1865-1937), who was friendly with Matisse, Roualt, and Signac. Nono was about eight years old when Matisse painted this portrait of her. Text from the Metropolitan Museum of Art label.

Marble statue of a girl Roman, Imperial period, 1st or 2nd century AD Copy or adaptation of a Greek work of the 3rd or 2nd century BC Restorations made in the early 17th century: the back of the head, neck, plinth with both feet and the drapery adjoining the left foot, drapery folds along the left side. The face itself is ancient but from a different statue. Accession # 03.12.9 During the Hellenistic period, sculptors delighted in the rendition of of complex layers of drapery. This figure was once part of the collection formed by the Marchese Vincenzo Giustiniani in Rome. Text from the Metropolitan Museum of Art label.

Marble statue of a girl Roman, Imperial period, 1st or 2nd century AD Copy or adaptation of a Greek work of the 3rd or 2nd century BC Restorations made in the early 17th century: the back of the head, neck, plinth with both feet and the drapery adjoining the left foot, drapery folds along the left side. The face itself is ancient but from a different statue. Accession # 03.12.9 During the Hellenistic period, sculptors delighted in the rendition of of complex layers of drapery. This figure was once part of the collection formed by the Marchese Vincenzo Giustiniani in Rome. Text from the Metropolitan Museum of Art label.

Marble statue of a girl Roman, Imperial period, 1st or 2nd century AD Copy or adaptation of a Greek work of the 3rd or 2nd century BC Restorations made in the early 17th century: the back of the head, neck, plinth with both feet and the drapery adjoining the left foot, drapery folds along the left side. The face itself is ancient but from a different statue. Accession # 03.12.9 During the Hellenistic period, sculptors delighted in the rendition of of complex layers of drapery. This figure was once part of the collection formed by the Marchese Vincenzo Giustiniani in Rome. Text from the Metropolitan Museum of Art label.

Marble statue of a girl holding a pet animal Greek, Hellenistic period, 3rd century BC. Accession # 26.60.89 The child wears a peplos with a long overfold and over it a sleeveless chiton that has slipped off her left shoulder. She has gathered up the front portion to carry a small animal, probably a pet puppy. Such statues of children were often dedicated as votives in sanctuaries or served as funerary monuments. Text from the Metropolitan Museum of Art label.

Marble statue of a girl holding a pet animal Greek, Hellenistic period, 3rd century BC. Accession # 26.60.89 The child wears a peplos with a long overfold and over it a sleeveless chiton that has slipped off her left shoulder. She has gathered up the front portion to carry a small animal, probably a pet puppy. Such statues of children were often dedicated as votives in sanctuaries or served as funerary monuments. Text from the Metropolitan Museum of Art label.

Marble grave stele of a little girl, ca. 450–440 B.C.; Classical Greek Marble, Parian; H. 31 1/2 in. (80 cm) Fletcher Fund, 1927 (27.45) This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...

Marble grave stele of a little girl, ca. 450–440 B.C.; Classical Greek Marble, Parian; H. 31 1/2 in. (80 cm) Fletcher Fund, 1927 (27.45) This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...

Marble grave stele of a little girl, ca. 450–440 B.C.; Classical Greek Marble, Parian; H. 31 1/2 in. (80 cm) Fletcher Fund, 1927 (27.45) This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...

Marble grave stele of a little girl, ca. 450–440 B.C.; Classical Greek Marble, Parian; H. 31 1/2 in. (80 cm) Fletcher Fund, 1927 (27.45) This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...

Marble grave stele of a little girl, ca. 450–440 B.C.; Classical Greek Marble, Parian; H. 31 1/2 in. (80 cm) Fletcher Fund, 1927 (27.45) This stele was found on the island of Paros in 1775. The gentle gravity of the child is beautifully expressed through her sweet farewell to her pet doves. Her peplos is unbelted and falls open at the side, and the folds of drapery clearly reveal her stance. Many of the most skillful stone carvers came from the Cycladic islands, where marble was plentiful. The sculptor of this stele could have been among the artists who congregated in Athens during the third quarter of the fifth century B.C. to decorate the Parthenon. Text from: www.metmuseum.org/Works_of_Art/viewOne.asp?dep=13&vie...

Marble funerary statues of a maiden and a little girl Greek, Attic, ca. 320 BC Said to have been found in Athens Accession # 44.11.2-3 Toward the end of the fourth century BC, Attic grave monuments became increasingly elaborate. Freestanding figures such as these were often placed within a shallow, roofed marble structure that was open at the front. The older girl must have died in her teens, before marriage, for she wears her mantle pinned at the shoulders and hanging down her back. This distinctive manner of dress was apparently reserved for young virgins who had the honor of leading processions to sacrifice, while carrying a basket containing barley, fillets, and the sacrificial knife. Being a kanephoros (basket bearer) was the highest honor possible for a maiden in the years just preceding marriage, and this girl is represented wearing the festival dress. Text from the Metropolitan Museum of Art label.

Marble funerary statues of a maiden and a little girl Greek, Attic, ca. 320 BC Said to have been found in Athens Accession # 44.11.2-3 Toward the end of the fourth century BC, Attic grave monuments became increasingly elaborate. Freestanding figures such as these were often placed within a shallow, roofed marble structure that was open at the front. The older girl must have died in her teens, before marriage, for she wears her mantle pinned at the shoulders and hanging down her back. This distinctive manner of dress was apparently reserved for young virgins who had the honor of leading processions to sacrifice, while carrying a basket containing barley, fillets, and the sacrificial knife. Being a kanephoros (basket bearer) was the highest honor possible for a maiden in the years just preceding marriage, and this girl is represented wearing the festival dress. Text from the Metropolitan Museum of Art label.

Marble funerary statues of a maiden and a little girl Greek, Attic, ca. 320 BC Said to have been found in Athens Accession # 44.11.2-3 Toward the end of the fourth century BC, Attic grave monuments became increasingly elaborate. Freestanding figures such as these were often placed within a shallow, roofed marble structure that was open at the front. The older girl must have died in her teens, before marriage, for she wears her mantle pinned at the shoulders and hanging down her back. This distinctive manner of dress was apparently reserved for young virgins who had the honor of leading processions to sacrifice, while carrying a basket containing barley, fillets, and the sacrificial knife. Being a kanephoros (basket bearer) was the highest honor possible for a maiden in the years just preceding marriage, and this girl is represented wearing the festival dress. Text from the Metropolitan Museum of Art label.

Yoram Wolberger (American, born Israel 1963) Farm Girl 2001 Polyester foam, pigmented resin Accession # 2006.48a-e Yoram Wolberger's work stages seemingly familiar scenes from ordinary life and presents them in unexpected configurations and placements. The artist is interested in recontextualizing his subjects as a means of questioning social values. His life-sized sculptures based on toys underscore the contrast between contemporary reality and the innocent world of childhood play. "Farm Girl" draws on children's play fantasies that revolve around charmed images of simple activities in a bucolic setting. The artist has also created oversize toy-soldier figures to point out that childhood play might actually be a psychological staging ground for the cruelties of the adult world. Wolberger's sculptures are made from small, readily available plastic toys, which he scans using the latest digital technology. The information is used to generate the acutal piece by means of the Computer Numeric Controlled Digital Sculpting Machine. Imperfections are retained in the final work, made of polyurethane, covered with layers of pigmented resin, to imitate the rough seams of the original toy. Text from the Brooklyn Museum label.

Yoram Wolberger (American, born Israel 1963) Farm Girl 2001 Polyester foam, pigmented resin Accession # 2006.48a-e Yoram Wolberger's work stages seemingly familiar scenes from ordinary life and presents them in unexpected configurations and placements. The artist is interested in recontextualizing his subjects as a means of questioning social values. His life-sized sculptures based on toys underscore the contrast between contemporary reality and the innocent world of childhood play. "Farm Girl" draws on children's play fantasies that revolve around charmed images of simple activities in a bucolic setting. The artist has also created oversize toy-soldier figures to point out that childhood play might actually be a psychological staging ground for the cruelties of the adult world. Wolberger's sculptures are made from small, readily available plastic toys, which he scans using the latest digital technology. The information is used to generate the acutal piece by means of the Computer Numeric Controlled Digital Sculpting Machine. Imperfections are retained in the final work, made of polyurethane, covered with layers of pigmented resin, to imitate the rough seams of the original toy. Text from the Brooklyn Museum label.

Ernst Ludwig Kirchner. (German, 1880-1938). Street, Dresden. 1908 (dated on painting 1907). Oil on canvas, 59 1/4" x 6' 6 7/8" (150.5 x 200.4 cm). Purchase Publication excerpt The Museum of Modern Art, MoMA Highlights, New York: The Museum of Modern Art, revised 2004, originally published 1999, p. 60 Street, Dresden is Kirchner's bold, discomfiting attempt to render the jarring experience of modern urban bustle. The scene radiates tension. Its packed pedestrians are locked in a constricting space; the plane of the sidewalk, in an unsettlingly intense pink (part of a palette of shrill and clashing colors), slopes steeply upward, and exit to the rear is blocked by a trolley car. The street—Dresden's fashionable Königstrasse—is crowded, even claustrophobically so, yet everyone seems alone. The women at the right, one clutching her purse, the other her skirt, are holding themselves in, and their faces are expressionless, almost masklike. A little girl is dwarfed by her hat, one in a network of eddying, whorling shapes that entwine and enmesh the human figures. Developing in parallel with the French Fauves, and influenced by them and by the Norwegian painter Edvard Munch, the German artists of Die Brücke explored the expressive possibilities of color, form, and composition in creating images of contemporary life. Street, Dresden is a bold expression of the intensity, dissonance, and anxiety of the modern city. Kirchner later wrote, "The more I mixed with people the more I felt my loneliness." Text from: www.moma.org/collection/browse_results.php?object_id=78426