LaurieAnnie's photos with the keyword: boy

Artist: Claude Monet (French, 1840–1926) Title: Jean Monet (1867–1913) on His Hobby Horse Date: 1872 Medium: Oil on canvas Dimensions: 23 7/8 x 29 1/4 in. (60.6 x 74.3 cm) Credit Line: Gift of Sara Lee Corporation, 2000 Accession Number: 2000.195 Gallery Label When Monet painted this picture of his elder son, Jean, in the summer of 1872, the artist and his family had recently returned to France from their self-imposed exile during the Franco-Prussian War. Through the efforts of the dealer Paul Durand-Ruel, the artist's finances had begun to improve. The once-impoverished Monets were thus able to rent a house in Argenteuil, an agreeable suburb northwest of Paris. For this portrait, Monet posed the five-year-old in the garden of their new home. The picture is freely and thinly painted, with areas of bare canvas showing here and there. Monet never exhibited it but kept it throughout his life. Text from: www.metmuseum.org/works_of_art/collection_database/europe...

Federico Gonzaga (1500–1540) 1510 Object Details Title: Federico Gonzaga (1500–1540) Artist: Francesco Francia (Italian, Bologna ca. 1447–1517 Bologna) Date: 1510 Medium: Tempera on wood, transferred from wood to canvas and then again to wood Dimensions: Overall 18 7/8 x 14 in. (47.9 x 35.6 cm); painted surface 17 3/4 x 13 1/2 in. (45.1 x 34.3 cm) Classification: Paintings Credit Line: Bequest of Benjamin Altman, 1913 Accession Number: 14.40.638 The great Renaissance collector Isabella d’Este, marquess of Mantua, commissioned this charming portrait of her son Federico Gonzaga to console her when he was taken to the papal court in Rome as hostage. It was painted by Francia as the young heir passed through Bologna, and was so admired that Isabella had to reclaim it from some papal courtiers. Federico’s black hat and gold-embroidered gown were much in vogue, and his gaze is exceptionally sweet for a fifteenth-century portrait. Soon after Isabella finally received the portrait she gave it away in response to an unexpected gift from a gentleman in Ferrara who had sent her a magnificent book of sonnets. Text from: www.metmuseum.org/art/collection/search/436333

José Costa y Bonells (died 1870), Called Pepito Francisco de Goya y Lucientes (Spanish, 1746–1828) Oil on canvas; 41 3/8 x 33 1/4 in. (105.1 x 84.5 cm) Gift of Countess Bismarck, 1961 (61.259) Pepito's father, Rafael Costa de Quintana, was doctor to Ferdinand VII; his mother was the daughter of Jaime Bonells, doctor to the Alba family. The portrait is most closely related to works that Goya painted shortly after 1810 and seems to allude to the Spanish War of Independence, 1808–14. Pepito's jacket is tailored in imitation of a soldier's uniform, and his hair is cut in the Napoleonic fashion. The military analogy is further enhanced by the drum and the toy rifle with a fixed bayonet. Pepito's pose is unquestionably intended as a variation on the so-called dismounted equestrian portrait, popular among military figures and royalty during the seventeenth and eighteenth centuries. Text from: www.metmuseum.org/toah/hd/goya/ho_61.259.htm

José Costa y Bonells (died 1870), Called Pepito Francisco de Goya y Lucientes (Spanish, 1746–1828) Oil on canvas; 41 3/8 x 33 1/4 in. (105.1 x 84.5 cm) Gift of Countess Bismarck, 1961 (61.259) Pepito's father, Rafael Costa de Quintana, was doctor to Ferdinand VII; his mother was the daughter of Jaime Bonells, doctor to the Alba family. The portrait is most closely related to works that Goya painted shortly after 1810 and seems to allude to the Spanish War of Independence, 1808–14. Pepito's jacket is tailored in imitation of a soldier's uniform, and his hair is cut in the Napoleonic fashion. The military analogy is further enhanced by the drum and the toy rifle with a fixed bayonet. Pepito's pose is unquestionably intended as a variation on the so-called dismounted equestrian portrait, popular among military figures and royalty during the seventeenth and eighteenth centuries. Text from: www.metmuseum.org/toah/hd/goya/ho_61.259.htm

Marble head of a boy wearing a wreath Roman, Antonine period, mid-2nd century AD Accession # 14.105.1 This child wears a wreath of grape clusters and leaves, associating him with the cult of Dionysos. Text from the Metropolitan Museum of Art label.

Marble portrait bust of a boy Roman, Julio-Claudian period, ca. 35-50 AD Accession # 32.100.471 The reduced scale of this bust and the carefully combed hair, with bangs parted in the center, are features that suggest a date toward the middle of the first century AD. Text from the Metropolitan Museum of Art label.

Terracotta Statuette of a Boy and a Rooster Greek, Asia Minor, Pontus, 2nd century BC Accession # 06.1087 Roosters were a favored pet of young boys in ancient Greece. Text from the Metropolitan Museum of Art label.

Basalt statue of a boy Roman, Early Imperial, 1st century AD Accession # 20.201 The Romans used colored stone on floors, as wall revetment, and in sculpture. This plump young boy originally appeared in a relaxed pose, with his left arm resting on a support. The statue was carved with consummate skill in basalt, one of the hardest stones. Text from the Metropolitan Museum of Art label.

Basalt statue of a boy Roman, Early Imperial, 1st century AD Accession # 20.201 The Romans used colored stone on floors, as wall revetment, and in sculpture. This plump young boy originally appeared in a relaxed pose, with his left arm resting on a support. The statue was carved with consummate skill in basalt, one of the hardest stones. Text from the Metropolitan Museum of Art label.

Portrait statue of a boy, Late 1st century B.C.–early 1st century A.D.; Julio-Claudian Roman Bronze; H. 48 1/2 in. (123.2 cm) Rogers Fund, 1914 (14.130.1) The privilege of establishing a public portrait in Republican Rome was based primarily on social status acquired through political and military achievement. Hence, there were few, if any, representations of children. It was not until the advent of Augustus' new Golden Age that significant, imperial portraits of children began to be produced to underscore the dynastic aspirations, as well as the fecundity, of the Julio-Claudian family. This lifesize bronze statue of a boy wearing a Greek himation (cloak) may well represent Gaius, the adopted grandson of Emperor Augustus. The statue was found on the eastern Mediterranean island of Rhodes, whose ancient Greek cities were wealthy, flourishing centers of commerce and culture during the Roman period. The Romans considered works in bronze to be more prestigious than those made of marble, and bronze statues were common in the Roman period. However, lifesize bronzes are a rarity in modern collections because they were routinely melted down in the Middle Ages for their inherent metallic value. This notable example is part of a relatively small corpus of large-scale bronze portraits (05.30; 05.47)to have survived, and its quality attests to the superior artistic standards which ancient artists achieved. Text from: www.metmuseum.org/toah/ho/05/eusb/hod_14.130.1.htm

Portrait statue of a boy, Late 1st century B.C.–early 1st century A.D.; Julio-Claudian Roman Bronze; H. 48 1/2 in. (123.2 cm) Rogers Fund, 1914 (14.130.1) The privilege of establishing a public portrait in Republican Rome was based primarily on social status acquired through political and military achievement. Hence, there were few, if any, representations of children. It was not until the advent of Augustus' new Golden Age that significant, imperial portraits of children began to be produced to underscore the dynastic aspirations, as well as the fecundity, of the Julio-Claudian family. This lifesize bronze statue of a boy wearing a Greek himation (cloak) may well represent Gaius, the adopted grandson of Emperor Augustus. The statue was found on the eastern Mediterranean island of Rhodes, whose ancient Greek cities were wealthy, flourishing centers of commerce and culture during the Roman period. The Romans considered works in bronze to be more prestigious than those made of marble, and bronze statues were common in the Roman period. However, lifesize bronzes are a rarity in modern collections because they were routinely melted down in the Middle Ages for their inherent metallic value. This notable example is part of a relatively small corpus of large-scale bronze portraits (05.30; 05.47)to have survived, and its quality attests to the superior artistic standards which ancient artists achieved. Text from: www.metmuseum.org/toah/ho/05/eusb/hod_14.130.1.htm

Portrait statue of a boy, Late 1st century B.C.–early 1st century A.D.; Julio-Claudian Roman Bronze; H. 48 1/2 in. (123.2 cm) Rogers Fund, 1914 (14.130.1) The privilege of establishing a public portrait in Republican Rome was based primarily on social status acquired through political and military achievement. Hence, there were few, if any, representations of children. It was not until the advent of Augustus' new Golden Age that significant, imperial portraits of children began to be produced to underscore the dynastic aspirations, as well as the fecundity, of the Julio-Claudian family. This lifesize bronze statue of a boy wearing a Greek himation (cloak) may well represent Gaius, the adopted grandson of Emperor Augustus. The statue was found on the eastern Mediterranean island of Rhodes, whose ancient Greek cities were wealthy, flourishing centers of commerce and culture during the Roman period. The Romans considered works in bronze to be more prestigious than those made of marble, and bronze statues were common in the Roman period. However, lifesize bronzes are a rarity in modern collections because they were routinely melted down in the Middle Ages for their inherent metallic value. This notable example is part of a relatively small corpus of large-scale bronze portraits (05.30; 05.47)to have survived, and its quality attests to the superior artistic standards which ancient artists achieved. Text from: www.metmuseum.org/toah/ho/05/eusb/hod_14.130.1.htm

Portrait statue of a boy, Late 1st century B.C.–early 1st century A.D.; Julio-Claudian Roman Bronze; H. 48 1/2 in. (123.2 cm) Rogers Fund, 1914 (14.130.1) The privilege of establishing a public portrait in Republican Rome was based primarily on social status acquired through political and military achievement. Hence, there were few, if any, representations of children. It was not until the advent of Augustus' new Golden Age that significant, imperial portraits of children began to be produced to underscore the dynastic aspirations, as well as the fecundity, of the Julio-Claudian family. This lifesize bronze statue of a boy wearing a Greek himation (cloak) may well represent Gaius, the adopted grandson of Emperor Augustus. The statue was found on the eastern Mediterranean island of Rhodes, whose ancient Greek cities were wealthy, flourishing centers of commerce and culture during the Roman period. The Romans considered works in bronze to be more prestigious than those made of marble, and bronze statues were common in the Roman period. However, lifesize bronzes are a rarity in modern collections because they were routinely melted down in the Middle Ages for their inherent metallic value. This notable example is part of a relatively small corpus of large-scale bronze portraits (05.30; 05.47)to have survived, and its quality attests to the superior artistic standards which ancient artists achieved. Text from: www.metmuseum.org/toah/ho/05/eusb/hod_14.130.1.htm

Bronze statue of a camillus (acolyte) ca. A.D. 14–54 Object Details Period: Early Imperial, Julio-Claudian Date: ca. A.D. 14–54 Culture: Roman Medium: Bronze Dimensions: H. 46 1/8 in. (117.1 cm) Classification: Bronzes Credit Line: Gift of Henry G. Marquand, 1897 Accession Number: 97.22.25 As soon as he took power, the emperor Augustus set in motion a program aimed at restoring the time-honored values of virtue, honor, and piety. Religious cults were revived, temples were built, public ceremonies and sacrifices filled the calendar. Men of every rank chose to be portrayed in the act of pious sacrifice. The popular type of sculpture seen here showed young boys who served as acolytes at religious ceremonies. The identification of this figure as a camillus, an attendant at sacrifices who was chosen from the noblest families, is based on comparisons with other stages and reliefs, most notably those of the famous monument, the Ara Pacis of Augustus. According to Roman tradition, a camillus had to be below the age of puberty, and both parents must be alive. This statue may have been dedicated at a sanctuary by the boy’s parents, in recognition of his service to the gods. Alternatively, its refined decorative qualities may signal its use as an adornment within a religious precinct, for instance in a dining room for priests. The figure’s eyes are inlaid with silver, the lips with copper, and the tunic with strips of copper to suggest woven or embroidered bands of color. He likely held ritual objects such as a container for incense in his left hand and a jug for wine or a ladle in his right. Text from: www.metmuseum.org/art/collection/search/246701

Bronze statue of a camillus (acolyte) ca. A.D. 14–54 Object Details Period: Early Imperial, Julio-Claudian Date: ca. A.D. 14–54 Culture: Roman Medium: Bronze Dimensions: H. 46 1/8 in. (117.1 cm) Classification: Bronzes Credit Line: Gift of Henry G. Marquand, 1897 Accession Number: 97.22.25 As soon as he took power, the emperor Augustus set in motion a program aimed at restoring the time-honored values of virtue, honor, and piety. Religious cults were revived, temples were built, public ceremonies and sacrifices filled the calendar. Men of every rank chose to be portrayed in the act of pious sacrifice. The popular type of sculpture seen here showed young boys who served as acolytes at religious ceremonies. The identification of this figure as a camillus, an attendant at sacrifices who was chosen from the noblest families, is based on comparisons with other stages and reliefs, most notably those of the famous monument, the Ara Pacis of Augustus. According to Roman tradition, a camillus had to be below the age of puberty, and both parents must be alive. This statue may have been dedicated at a sanctuary by the boy’s parents, in recognition of his service to the gods. Alternatively, its refined decorative qualities may signal its use as an adornment within a religious precinct, for instance in a dining room for priests. The figure’s eyes are inlaid with silver, the lips with copper, and the tunic with strips of copper to suggest woven or embroidered bands of color. He likely held ritual objects such as a container for incense in his left hand and a jug for wine or a ladle in his right. Text from: www.metmuseum.org/art/collection/search/246701

Bronze statue of a camillus (acolyte) ca. A.D. 14–54 Object Details Period: Early Imperial, Julio-Claudian Date: ca. A.D. 14–54 Culture: Roman Medium: Bronze Dimensions: H. 46 1/8 in. (117.1 cm) Classification: Bronzes Credit Line: Gift of Henry G. Marquand, 1897 Accession Number: 97.22.25 As soon as he took power, the emperor Augustus set in motion a program aimed at restoring the time-honored values of virtue, honor, and piety. Religious cults were revived, temples were built, public ceremonies and sacrifices filled the calendar. Men of every rank chose to be portrayed in the act of pious sacrifice. The popular type of sculpture seen here showed young boys who served as acolytes at religious ceremonies. The identification of this figure as a camillus, an attendant at sacrifices who was chosen from the noblest families, is based on comparisons with other stages and reliefs, most notably those of the famous monument, the Ara Pacis of Augustus. According to Roman tradition, a camillus had to be below the age of puberty, and both parents must be alive. This statue may have been dedicated at a sanctuary by the boy’s parents, in recognition of his service to the gods. Alternatively, its refined decorative qualities may signal its use as an adornment within a religious precinct, for instance in a dining room for priests. The figure’s eyes are inlaid with silver, the lips with copper, and the tunic with strips of copper to suggest woven or embroidered bands of color. He likely held ritual objects such as a container for incense in his left hand and a jug for wine or a ladle in his right. Text from: www.metmuseum.org/art/collection/search/246701

Bronze statue of a camillus (acolyte) Roman, Julio-Claudian period, ca. 14-54 AD Accession # 97.22.5 As soon as he took power, the emperor Augustus set in motion a program aimed at restoring the time-honored values of virtue, honor, and piety. Religious cults were revived, temples were built, public ceremonies and sacrifices filled the calendar. Men of every rank chose to be portrayed in the act of pious sacrifice. The popular type of sculpture seen here showed young boys who served as acolytes at religious ceremonies. The identification of this figure as a camillus, an attendant at sacrifices who was chosen from the noblest families, is based on comparisons with other stages and reliefs, most notably those of the famous monument, the Ara Pacis of Augustus. According to Roman tradition, a camillus had to be below the age of puberty, and both parents must be alive. This statue may have been dedicated at a sanctuary by the boy's parents, in recognition of his service to the gods. Alternatively, its refined decorative qualities may signal its use as an adornment within a religious precinct, for instance in a dining room for priests. The figure's eyes are inlaid with silver, the lips with copper, and the tunic with strips of copper to suggest woven or embroidered bands of color. He likely held ritual objects such as a container for incense in his left hand and a jug for wine or a ladle in his right. Text from the Metropolitan Museum of Art label.