11月 2026 更新 · 当サイトの人気スコア（各作品の検索数、閲覧数、注文数）に基づくランキング · 17点の Charles Boitの作品がカタログにあります
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ギャラリーの視点では、Charles Boitの最も有名な作品はLeopold I in the Circle of the Family (1703)であり、その原画はウィーンの美術史美術館に展示されています。 William III (1708)とUnknown man (1694)が加わり、誰もが一度は目にしたことのある至高のトリオが完成します。 当カタログに含まれるCharles Boitの作品17点の中から、特に有名な17点を厳選してご紹介します。各作品は、制作年、所蔵美術館、そしてその作品ならではの魅力とともに、一点物のオリジナル作品として掲載されています。
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 Scotland国立美術館
13
August II den starke (1670-1733), kurfurste av Sachsen, kung av Polen国立美術館
14
Bacchus and Ariadne国立美術館
15
Lord Godolphin (efter original av G. Kneller?)国立美術館
16
Peter I den store (1672-1725), tsar av Ryssland国立美術館
17
Anne (1665-1714), queen of England (1702-1714)国立美術館
これらのオリジナル作品に繰り返し描かれている4つの主題と、それぞれの最高傑作。
このページに掲載されている絵画を最も多く所蔵している 4 の美術館
| 美術館 | 都市 | Charles Boitの作品 | このリストの絵画 |
|---|---|---|---|
 国立美術館 |
ストックホルム | 12 | Unknown man, Francis, 2nd Earl of Godolphin, with wife, Caritas (Boit after Cignani) resp. Anne-Geneviève de Bourbon, Duchess de Longueville (Petitot) |
 国立美術館 |
アムステルダム | 3 | William III, Mary II Stuart, Anne Stuart (1665-1714), Queen of England. Spouse of George of Denmark |
 美術史美術館 |
ウィーン | 1 | Leopold I in the Circle of the Family |
 Finnish National Gallery |
ヘルシンキ | 1 | Portrait of a Baron |
その時代を象徴する名作を見るために、年代を選択してください。
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)（美術史美術館, ウィーン）。次いでWilliam III (1708)、Unknown man (1694)が続きます。
41歳：Leopold I in the Circle of the Familyは1703年の作品で、Charles Boitの生年は1662年です。
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 と Unknown Man。上記のランキングには、それぞれの制作年と所蔵美術館が記載されています。
当カタログには、1694年から1717年にかけて制作されたCharles Boitによる17点の作品が収められています。
主に国立美術館 (ストックホルム), 国立美術館 (アムステルダム) と 美術史美術館 (ウィーン)に所蔵されています。上記の美術館一覧にすべて記載されています。
1700s年：このページにある全17作品のうち、4作品がその時期に制作されました。そのうちLeopold I in the Circle of the Family作品が含まれます。
このページでは、最も古い作品はUnknown man (1694)、最新の作品はPeter I the Great, Tsar of Russia (1717)です。
このページに掲載されている全17作品のうち、2作品のEnamel
Unknown man, Francis, 2nd Earl of Godolphin, with wife と Caritas (Boit after Cignani) resp. Anne-Geneviève de Bourbon, Duchess de Longueville (Petitot)：国立美術館, ストックホルムには、このページに掲載されている作品のうち12点が所蔵されています。
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.
