تحديث نوفمبر 2026 · مُرتبة حسب مؤشر شعبيتنا (عمليات البحث، والزيارات، والطلبات لكل عمل فني) · 17 أعمال لـ Charles Boit في كتالوجنا
باختصار
من وجهة نظر المعرض، تُعد Leopold I in the Circle of the Family (1703) أشهر لوحات Charles Boit، والتي تُعرض لوحتها الأصلية في متحف الفنون التاريخية، فيينا. William III (1708) و Unknown man (1694) يكملان الثلاثية التي تدركها كل عين. من بين 17 من أعمال Charles Boit في كتالوجنا، يعرض المعرض أدناه 17 من أشهرها، كل منها عمل أصلي مع سنة إنتاجه، والمتحف الذي يضمها، وما يجعلها فريدة من نوعها.
In this work, titled Leopold I in the Circle of the Family, the artist Charles Boit presents a formal and highly structured portrait from 1703. The piece focuses on Emperor Leopold I, who is depicted surrounded by his family members. It is a work that functions on both a personal and a political level, using the intimacy of a family gathering to communicate broader dynastic themes. Through this arrangement, the…
The gaze of William III meets the viewer through this intimate portrait miniature, a work that captures the essence of the man who reigned as King of England from 1689. Known to history as the Prince of Orange, his presence is distilled into this small, focused likeness. The portrait, titled William III, emerges from the hand of the artist Charles Boit, who brings a sense of quiet authority to the…
Portrait of a BaronFinnish National Gallery
12
Anna, Queen of England and Scotlandالمتحف الوطني
13
August II den starke (1670-1733), kurfurste av Sachsen, kung av Polenالمتحف الوطني
14
Bacchus and Ariadneالمتحف الوطني
15
Lord Godolphin (efter original av G. Kneller?)المتحف الوطني
16
Peter I den store (1672-1725), tsar av Rysslandالمتحف الوطني
17
Anne (1665-1714), queen of England (1702-1714)المتحف الوطني
المواضيع الأربعة التي تتكرر باستمرار في هذه الأعمال الأصلية، مع تقديم أروع مثال لكل منها.
المتاحف الـ 4 التي تضم أكبر عدد من اللوحات الموجودة في هذه الصفحة.
| المتحف | المدينة | أعمال Charles Boit | لوحات من هذه القائمة |
|---|---|---|---|
 المتحف الوطني |
ستوكهولم | 12 | Unknown man, Francis, 2nd Earl of Godolphin, with wife, Caritas (Boit after Cignani) resp. Anne-Geneviève de Bourbon, Duchess de Longueville (Petitot) |
 Rijksmuseum |
أمستردام | 3 | William III, Mary II Stuart, Anne Stuart (1665-1714), Queen of England. Spouse of George of Denmark |
 متحف الفنون التاريخية |
فيينا | 1 | Leopold I in the Circle of the Family |
 Finnish National Gallery |
هلسنكي | 1 | Portrait of a Baron |
اختر عقداً لتشاهد العمل الأصلي الذي يجسده.
In this work, titled Leopold I in the Circle of the Family, the artist Charles Boit presents a formal and highly structured portrait from 1703. The piece focuses on Emperor Leopold I, who is depicted surrounded by his family members. It is a work that functions on both a personal and a political level, using the intimacy of a family gathering to communicate broader dynastic themes. Through this arrangement, the…
Leopold I in the Circle of the Family (1703)، متحف الفنون التاريخية, فيينا. ويليها William III (1708) وUnknown man (1694).
عمر 41 عاماً: يعود تاريخ Leopold I in the Circle of the Family إلى 1703، وقد وُلد Charles Boit في 1662.
Leopold I in the Circle of the Family, William III, Unknown man, Francis, 2nd Earl of Godolphin, with wife, Caritas (Boit after Cignani) resp. Anne-Geneviève de Bourbon, Duchess de Longueville (Petitot), Mary II Stuart, Anne Stuart (1665-1714), Queen of England. Spouse of George of Denmark, Peter I the Great, Tsar of Russia, Peter I the Great (1672-1725), Tsar of Russia و Unknown Man. يوضح التصنيف أعلاه سنة كل لوحة والمتحف التابعة له.
يضم كتالوجنا 17 من أعمال Charles Boit، التي يعود تاريخها من 1694 إلى 1717.
توجد غالبيتها في المتحف الوطني (ستوكهولم), Rijksmuseum (أمستردام) و متحف الفنون التاريخية (فيينا). يدرج جدول المتاحف أعلاه جميعها.
في 1700s: تم إنجاز 4 من أصل 17 من الأعمال في هذه الصفحة خلال تلك الفترة، من بينها Leopold I in the Circle of the Family.
في هذه الصفحة، أقدم الأعمال يعود إلى Unknown man (1694) وأحدثها يعود إلى Peter I the Great, Tsar of Russia (1717).
Enamel، لـ 2 من أصل 17 من الأعمال في هذه الصفحة.
Unknown man, Francis, 2nd Earl of Godolphin, with wife و Caritas (Boit after Cignani) resp. Anne-Geneviève de Bourbon, Duchess de Longueville (Petitot): يضم المتحف الوطني, ستوكهولم 12 من الأعمال المعروضة في هذه الصفحة.
Stockholm, 1662. A child is born into a Huguenot family, the son of a merchant who manages the royal indoor tennis court. The boy’s path begins not with a brush, but with the heavy, precise tools of a goldsmith. At fifteen, he enters an apprenticeship, learning the discipline of metal and fire. By 1682, he is a journeyman. A brief three-month stint in Paris pulls him away from Sweden, yet the pull of his roots remains strong enough to lead him back to Gothenburg to marry.
The transition from metalwork to vitreous enamel happens through the influence of Pierre Signac. This master, who had served the court of Queen Christina, provides the technical bridge. The focus shifts from the structural rigidity of gold to the delicate, translucent chemistry of enamel on copper. It is a transformation of medium, moving from the solid to the luminous.
1687. He arrives in England. The early years are marked by struggle; he works as a drawing master for children to survive. A scandal involving a scholar's daughter leads to two years in prison, yet the gates of the court eventually swing open. In 1696, he is appointed official enameller to William III. Success follows quickly. He moves through London, painting subjects from life and establishing a reputation that commands extraordinary sums.
The scale of his ambition becomes visible in his commissions. One project for Queen Anne, an allegorical enamel commemorating the Battle of Blenheim, consumes nearly a decade of his life. The technical demands are immense. He builds a furnace in Mayfair, creating heat so intense it threatens to calcine the very ground he works upon. He spends hundreds of pounds on failed attempts at the enamel ground alone. The project is massive, intended to be over 60cm by 40cm, featuring the Queen, Prince George, and figures of Victory and Peace.
The end of this era is sudden. The death of Prince George halts the work. Political shifts at court demand changes to the design—replacing Victory with Peace. Financial pressure mounts. When asked to return the advances paid for the commission, he flees. He leaves England behind, moving through Holland and Düsseldorf toward Vienna.
1715. The flight ends in Paris. He is no longer a fugitive but a man under the protection of the duc d'Aumont and the Regent, Philip of Orléans. His technical skill secures him a place in the Royal Academy of Painting and Sculpture, becoming the first Swede to join in 1717. In this final chapter, his work returns to the intimate scale of the miniature.
His late output includes portraits of the French elite and even depictions of the Sun King, Louis XV. The technique remains rooted in that original mastery of enamel on copper, producing small, oval miniatures that capture the likenesses of European royalty. He remains in Paris, working until his death in 1727.
