Pesquisando por: "mother and child sculpture" - Fotoarena - Agência de fotojornalismo

uigphotos555726 Madonna and baby Jesus Christ sculpture, Sao Goncalo church, Amarante, Portugal, EuropePortugal//

uigphotos548633 Mother and Child sculpture artwork by Glynn Williams 1994, Temple Gardens, Lincoln, Lincolnshire, England, UKUnited Kingdom//

hiphotos577162 The International Exhibition: marble group by Flaxman - "The Fury of Athamas - Ino Endeavouring to Rescue her Children from Destruction by their Father", 1862. Colossal marble group depicting a scene from Ovid's "Metamorphoses". 'At command of Hera, Athamas married Nephele, by whom he became the father of Phryxus and Helle. But he was secretly in love with the mortal Ino by whom he begot Learchus and Melicertes. Nephele, discovering that Ino had supplanted her in her husband's affections, disappeared in anger, and, returning to the gods, demanded that Athamas should be sacrificed as an atonement to her. Thenceforward misfortune and ruin fell on the house of Athamas. By the artifices of Ino, as well as his own infidelity, he drew on him the anger of Hera also. At last he was seized by madness, and in his frenzy he killed one of his sons, Learchus, and Ino threw herself with the other, Melicertes, into the sea. The action of every figure in Flaxman's group very finely realises the old//

hiphotos563668 "The Massacre Of The Innocents" (Royal Academy Gold Medal, Sculpture), By Mr. Henry Wiles, 1868. 'Our readers are probably aware that, besides the annual prizes of the Royal Academy for drawings and models from the life, copies of antique works, and studies in perspective, every alternate year the Council of the Royal Academy offer a handsome gold medal, and a premium of £60, for each of the best original works in painting and sculpture, in illustration of subjects given out some months before the distribution; and also a gold medal for the best architectural design, and a travelling studentship for one year of £100 The subject for the sculpture competition was "The Massacre of the Innocents," and the prize was awarded to Mr. Henry Wiles'. From "Illustrated London News", 1868//

hiphotos555913 Holy-water font at the entrance to St. Peter's, Rome, 1870. 'On entering the nave of St. Peter's, the first things which strike the visitor's attention are the two fonts of holy water. The cherubs, of white marble, by which these fonts are guarded, are each about the size of a full-grown man; but the great size of the surrounding architecture makes them seem small. They are beautiful works of sculpture. The drapery around them is partly of white and partly of black marble. The gigantic shell which holds the water is of a rich deep yellow or orange marble. The cherubs, while holding this shell, seem to be presenting it with an action as if of desire that all would come and partake of the water. Each font is placed between two great pilasters, and the drapery of the figures is spread out over the mouldings of the bases of the pilasters. Many interesting groups of people are seen at these fonts, dipping their hands into the water and crossing themselves, as they enter the church, with their faces to the//

hiphotos553852 Virgin and Child with Saint Anne, 1500-1525. Sansovino was the leading Venetian sculptor of the Renaissance, though his fame was overshadowed by that of his contemporary, Michelangelo. The subject of St Anne with her daughter, the Virgin and the Christ Child in Italian Renaissance art is best known through several paintings by Leonardo da Vinci from which Sansovino's treatment is ultimately derived//

hiphotos553850 Virgin and Child with Saint Anne, 1500-1525. Sansovino was the leading Venetian sculptor of the Renaissance, though his fame was overshadowed by that of his contemporary, Michelangelo. The subject of St Anne with her daughter, the Virgin and the Christ Child in Italian Renaissance art is best known through several paintings by Leonardo da Vinci from which Sansovino's treatment is ultimately derived//

hiphotos553851 Virgin and Child with Saint Anne, 1500-1525. Sansovino was the leading Venetian sculptor of the Renaissance, though his fame was overshadowed by that of his contemporary, Michelangelo. The subject of St Anne with her daughter, the Virgin and the Christ Child in Italian Renaissance art is best known through several paintings by Leonardo da Vinci from which Sansovino's treatment is ultimately derived//

hiphotos553823 St Anne with the Virgin and Child, 1500-1550. The theme of three generations of the Holy Family, grandmother, mother and child, was popular in Northern Europe and especially Germany in the 15th and 16th century. Christ is depicted as a plump young child with his hand raised in blessing. The pomegranate held by the child and the Virgin is a Christian symbol of the Resurrection, due to its classical association with Proserpine, the daughter of the corn goddess Ceres, who returned each spring to regenerate the earth. It also has associations with the Virgin's chastity//

hiphotos553824 St Anne with the Virgin and Child, 1500-1550. The theme of three generations of the Holy Family, grandmother, mother and child, was popular in Northern Europe and especially Germany in the 15th and 16th century. Christ is depicted as a plump young child with his hand raised in blessing. The pomegranate held by the child and the Virgin is a Christian symbol of the Resurrection, due to its classical association with Proserpine, the daughter of the corn goddess Ceres, who returned each spring to regenerate the earth. It also has associations with the Virgin's chastity//

hiphotos553825 Madonna and Child, 1460-1470//

hiphotos553818 Virgin and Child, 1600-1700//

hiphotos553819 Virgin and Child, 1600-1700//

hiphotos549674 Harlem River Houses, 7th Ave. and 151 St., New York City, 1940//

hiphotos547438 Statuette of Seated Isis with Infant Harpokrates, 1st century B.C.-1st century A.D. Additional Info: Headless statuette of Isis Lactans (Isis Suckling). The deity is seated on a chair with a high back, her son Harpokrates on her lap, of whom remains only the left leg and right hand resting on his mother's leg. With her missing proper left arm the goddess would have been holding Harpokrates; the right hand supports the left breast, in the characteristic gesture of breastfeeding. She wears an himation over a chiton with open short sleeves, typical of Roman fashion. Her sandaled left foot rests on a small footstool. She is recognizable as Isis for the remains of curly hair on her back and right shoulder, as well as for the so-called "Isis knot" between her breasts, and the fringed cloak. An image of the god Horus is carved on the back of the chair in the shape of a falcon wearing the Egyptian double-crown//

hiphotos544952 Initial S: The Presentation in the Temple, about 1475-1500. Additional Info:The Presentation of Jesus in the Temple is an event from the Christian Bible’s Book of Luke. In this story, Mary and Joseph take the newborn Child to the Temple in Jerusalem as a part of a Jewish religious tradition. According to the laws given by God to Moses, mothers of new-born boys were to come to the Temple 40 days after giving birth to dedicate the child to God. The presentation also functioned as a purification ritual for the mother, who was believed to be unclean after giving birth. In this crowded composition that is nestled in the letter S, Joseph is seen from behind, carrying the two doves for the ceremony, while the Jewish priest Simeon reaches out to take the baby Jesus across the altar. The Presentation in the Temple contains a depiction of a sculpture in the background that shows Moses holding the Ten Commandments, written in pseudo-Hebrew (writing meant to suggest Hebrew letter forms//

hiphotos539531 Allegorical Portrait of the van Risamburgh Family, 1790. Additional Info: Carved out of a single block of gleaming white marble, this allegorical portrait represents the Van Risamburgh family in a sweet and affectionate commemorative portrait. Lovingly looking down, Madame van Risamburgh, dressed as Minerva, goddess of wisdom and war in ancient mythology, raises her shield as a canopy over her languidly slumbering young son. He is improbably perched on a pile of military equipment and holds a sword or dagger that is clearly too large for him in his right hand. Monsieur van Risamburgh, a prominent Lyon merchant, is represented by his profile medallion portrait on a shield at the base. The medallion format, traditionally used for tomb monuments, implies that, although still living, he is absent from the family. Through the use of allegory, sculptor Joseph Chinard suggested that Madame van Risamburgh was protecting her son from current civil and military unrest while her husband was away, possibly engaged//

hiphotos537594 The Virgin and Child with the Infant St John (Taddei Tondo), c1504-05//

hiphotos534690 Mother and child, 1877//

hiphotos529861 Virgin and Child, third quarter of 14th century//

hiphotos529863 Left half of a diptych depicting the Madonna and Child, date unknown//

hiphotos529864 Wing of a Diptych: Madonna and Child, about 1350//

hiphotos529862 Virgin and Child Flanked by Angels, date unknown//

hiphotos529859 Wing of a Diptych: Virgin and Child with St. James the Greater and St. Christopher, third quarter of 14th century//

hiphotos517764 Madonna of the Candelabra, c1513. Painted in Rome, this tondo (circular painting) of the Virgin and Child employs a rare motif of flanking candelabra that was derived from representations of ancient Roman emperors. Through this reference to the rulers of antiquity, Raphael alludes to Christ's and Mary's roles as the king and queen of Heaven. Raphael was famed for his graceful style. which combined the study of classical sculpture and nature. The chiaroscuro effects (modeling in light and shade) and gentle coloring give the figures a soft, delicate appearance. The painting relies heavily on the participation of Raphael's workshop, and the two angels certainly were done by his assistants. This was the first Madonna painted by Raphael to enter a North American collection//

hiphotos517421 Virgin with the Child Christ and Little Bird (Virgen con el Niño Jesús y pajarito), late 18th century//

hiphotos517419 Latona with Her Children Apollo and Diana, c.1742//

hiphotos517361 Virgin of Carmen with the Christ Child (Virgen del Carmen con el Niño Jesús), 18th century//

hiphotos516710 Monument to Lady John Manners in the Mortuary Chapel of Rawsley [sic] Church, 1861. Marble tomb with sculpture of Catherine Marley and her twelve-day-old daughter, Edith Katherine Mary, in St Katherine's Church, Rowsley, Derbyshire. 'This monument has been erected to the memory of Lady John Manners, who died on the 7th of April, 1854. The style of the monument partakes of the Middle Pointed Gothic, and the materials used are all from Derbyshire. It principally consists of stone known as Darley Dale, with russet marble columns, the carved capitals, the panels, and the figure being of alabaster. The monument is fixed in a mortuary chapel in Rawsley Church, which Lord J. Manners has caused to be erected for its reception. The floor is inlaid with rich marble mosaics, on the centre of which the monument is fixed. The effect is beautiful and striking, and altogether may be considered a good specimen of nineteenth-century art. The whole of the works were designed and carried out under the superintendence of Mr//

hiphotos514709 Margaret Monument, New Orleans, c.between 1890 and 1901. The Margaret Haughery Statue commemorates philanthropist Margaret Haughery (1813-1882). Known as 'the mother of the orphans', she devoted her life's work to the care and feeding of the poor and hungry of New Orleans, and to the funding and construction of orphanages throughout the city. Statue designed by Alexander Doyle and dedicated in 1884, one of the first memorials in the USA dedicated to a woman//

hiphotos510502 Triptych with Virgin and Child with Saints (center), male Donor with Saint Martin (left, inner wing), female Donor with Saint Cunera (right, inner wing), and the Annunciation (outer wings), c.1500-c.1510. The centre panel of this triptych shows the Virgin and Child seated on a lawn studded with flowers within a walled garden On the rear corners of the wall, with stretches of water behind them, are three musician angels on the left and Joseph on the right. Ringbom identified the two sumptuously attired women in the foreground as sibyls, prophetesses from classical antiquity, who are foretelling the coming of Christ, but other authors believe that the right to be in the enclosed garden was reserved for female saints. The woman with the book on the left is hard to identify as a specific saint. According to Ringbom she is the Cumaean Sibyl or the Cimmerian Sibyl, who is drawing the Child’s attention to the vision in the sky above. The woman on the right offering the Virgin a flower from her basket//

hiphotos495289 Mother and Child, between c.1880 and c.1881//

hiphotos494690 Sculpture of a Mother and Child (image 1 of 2), Late Roman Period-Early Coptic Period (200-400 CE) or modern//

hiphotos494689 Sculpture of a Mother and Child (image 2 of 2), Late Roman Period-Early Coptic Period (200-400 CE) or modern//

yonphotos216592 Ahead of BIE's on-site inspection A mother and her child look at a sand sculpture at Haeundae Beach in Busan, 325 kilometers southeast of Seoul, which has been set up to express the city's desire to become the host of the 2030 World Expo, on March 30, 2023, ahead of an on-site inspection by the Bureau International des Expositions (BIE) from April 4-6 of the South Korean port city. (Yonhap)/2023-03-30 17:05:54/ < 1980-2023 YONHAPNEWS AGENCY.//

uigphotos394195 Our Lady of Nazare Church (Largo Nossa Senhora da Nazare). Virgin and Child statue. Mary was a breastfeeding mother. PortugalNazare/Centro/Portugal

hiphotos412626 Simian Mother and Child, 13th century//

hiphotos407720 The Birth and the First Seven Steps of the Buddha, Kushan period, about 2nd/3rd century. Khyber Pakhtunkhwa Province, Swat Valley (modern Pakistan//

hiphotos407283 Figurine of a Mother and Child, 14th/16th century//

hiphotos418573 Hagar and Ishmael, 1856. Hagar pleads to the heavens to rescue her son//

hiphotos418377 Seated Maternity Figure, 100 B.C./A.D. 300//

hiphotos418376 Standing Figure of a Mother and Child, 100 B.C./A.D. 250//

hiphotos405159 Seller of Loves (after Herculancum frieze), n.d//

hiphotos416820 The Birth of Saint John the Baptist, About 1525. Detail from a larger artwork//

hiphotos416817 Virgin and Child, c. 1450. Detail from a larger artwork//

hiphotos416816 Virgin and Child Crowned by Angels, 1490/95. Detail from a larger artwork//

hiphotos416803 The Adoration of the Christ Child, c. 1515. Detail from a larger artwork//

hiphotos416772 The Holy Family with Four Saints and a Female Donor, c. 1510. Detail from a larger artwork//

hiphotos416773 The Holy Family with Four Saints and a Female Donor, c. 1510. Detail from a larger artwork//

hiphotos416770 Virgin and Child with Saints Jerome, Bernardino of Siena, and Angels, 1450/60. Detail from a larger artwork//

hiphotos416771 Virgin and Child with an Angel, 1475/85. Detail from a larger artwork//

hiphotos416766 The Adoration of the Christ Child, c. 1490. Detail from a larger artwork//

hiphotos416765 A Mother Feeding her Child (The Happy Mother), 1707. Detail from a larger artwork//

hiphotos416757 The Adoration of the Magi, 1515/25. Detail from a larger artwork//

hiphotos416754 Holy Family, 1520/30. Detail from a larger artwork//

hiphotos416753 Virgin and Child, 1460/65. Detail from a larger artwork//

hiphotos373184 Virgin and Child with the Young Saint John the Baptist, 1527/30 or later. [By Agnolo Bronzino or Follower//

hiphotos373141 Adoration of the Christ Child, after 1479//

hiphotos373139 Mrs. Hugh Morgan and Her Daughter, c. 1771//

hiphotos373101 Virgin and Child Enthroned with Two Angels Holding a Crown, 1505/15. Attributed to Ansano Ciampanti//

hiphotos373102 The Birth of Saint John the Baptist, About 1525//

hiphotos373100 Madonna and Child, c. 1480. Attributed to Antonio Rossellino//

hiphotos373094 Virgin and Child with Two Angels, 1465/75. Attributed to Francesco Botticini//

hiphotos373086 The Adoration of the Magi, c. 1495. Attributed to Raffaello Botticini//

hiphotos373080 Virgin and Child Enthroned with Saints Peter, Paul, John the Baptist, and Dominic and a Dominican Supplicant, 1325/35. Attributed to Ugolino di Nerio//

hiphotos373069 Virgin and Child with Saint Anne, Saint Gereon, and a Donor, c. 1520//

hiphotos373064 Scenes from the Life of Saint John the Baptist, 1490/95//

hiphotos373061 Adoration of the Shepherds, About 1520//

hiphotos373047 Madonna of Humility, 1375/1400//

hiphotos373040 The Flight into Egypt, c. 1485//

hiphotos373023 Virgin and Child, c. 1450//

hiphotos373024 Virgin and Child, About 1500//

hiphotos372995 The Artist's House at Argenteuil, 1873//

hiphotos372971 Virgin and Child Crowned by Angels, 1490/95//

hiphotos372958 Virgin and Child with the Young Saint John the Baptist, c. 1515//

hiphotos372957 Icon with the Virgin and Child, c. 1500//

hiphotos372950 Virgin and Child, c. 1450//

hiphotos372943 The Nativity, c. 1465//

hiphotos372938 Diptych of the Virgin and Child Enthroned and the Crucifixion, 1275/85//

hiphotos372904 Virgin and Child, 1490/96//

hiphotos372887 A Family Meal, 1890s//

hiphotos372883 The Red Room, Etretat, 1899//

hiphotos372876 Virgin and Child, 1500/1550//

hiphotos372877 Virgin and Child, c. 1700//

hiphotos372858 Virgin and Child with Saints John the Baptist and Anthony Abbot, 1575/1625. Follower of Paolo Caliari//

hiphotos372852 The Nativity, 1504/07//

hiphotos372851 Virgin and Child Adored by Saint Francis, c. 1606/07//

hiphotos372847 Charity, 1743/44. [Allegorical figure of Charity caring for children, while the pelican pierces her own breast with her beak to feed her young with her own blood//