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1938, “1788: Piety Weeping at the Tomb of Benevolence, a Model of a Monument to be Erected in Whitechapel Church, to the Memory of Dr Markham the Late Rector, at the Expence of His Parishioners”, in C F Bell, editor, Annals of Thomas Banks, Sculptor, Royal Academician:, Cambridge, Cambridgeshire: At the University Press, →OCLC, page 72:
There is in the porch of the present church a tablet to Luke Flood (died 1818) which has much the appearance of having been made up of portions of earlier monuments. It is surmounted by a bas-relief of a winged boy holding an inverted torch. But not only is he a baby putto, not a youth, and without an urn, but the style and execution scarcely seem worthy of [Thomas] Banks even when not at his best.
The Carmelite scapulars held by the putto and young male saint on the right indicate that the altarpiece was intended for a church of the Carmelite order.
A second putto with a gallows in its hand cries at the judge's feet.
1990, Oskar Bätschmann, “Deliverance – Destruction”, in Nicolas Poussin: Dialectics of Painting, London: Reaktion Books, →ISBN, part I, page 62:
In The Youth of Bacchus (illus. 51) [by Nicolas Poussin], a painting produced before 1630, the figures are arranged in a triangle. The young Bacchus is at the top, the putti lying on the ground and the feet of the sitting figures mark the base-line and the lower corner, while the sides are designated by the nymphs and satyrs.
1990, Kristine Koozin, “The Vanitas Still Life”, in The Vanitas Still Lifes of Harmen Steenwyck: Metaphoric Realism (Renaissance Studies; 1), Lewiston, N.Y., Queenston, Ont.: Edwin Mellen Press, →ISBN, page 25:
The picture shows a putto who has just blown bubbles through a clay tube. He holds a scallop shell of soapy water and leans against a skull. [...] In picture and verse the imagery echoes classical and biblical metaphors for the brevity of a man's life. The fresh flower is in contrast to the dying tree like the putto as childhood innocence is opposed by the death's head.
The walls [of Naples Cathedral] have ranks of white marble niches capped by huge marble scallops, and flanked by urns and flowers, drapes and putti.
2005, David Farrell Krell, “God’s Footstool”, in The Tragic Absolute: German Idealism and the Languishing of God, Indianapolis, Ind.: Indiana University Press, →ISBN, page 160:
Whatever the case, the evangelical animals are appreciably larger than the puttos of the painting. The animals gaze upward, their mouths gaping. They are cawing, bellowing, roaring out the Gospel. [...] Only the attendant puttos seem to be taking the divine afflatus or descent in stride.
2018, Claudia La Malfa, “Copies of Raphael’s Mythological Paintings in the Collection of Cardinal Ludovisi”, in Maddalena Bellavitis, editor, Making Copies in European Art 1400–1600: Shifting Tastes, Modes of Transmission, and Changing Contexts (Brill’s Studies in Intellectual History; 286; Brill’s Studies on Art, Art History, and Intellectual History; 30), Leiden, Boston, Mass.: Brill, →ISBN, →ISSN, page 347:
A Galatea with Triton, 5 puttoes and 5 other figures, painted frame in fake marble and gilded, 12 palmi in height, copy of Raphael made by Caracci.
“putto”, in Kielitoimiston sanakirja [Dictionary of Contemporary Finnish] (in Finnish) (online dictionary, continuously updated), Kotimaisten kielten keskuksen verkkojulkaisuja 35, Helsinki: Kotimaisten kielten tutkimuskeskus (Institute for the Languages of Finland), 2004–, retrieved 2023-07-03