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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Mikhail Larionov invited him to take part in the Jack of Diamonds exhibition in 1910 and in 1912 he was involved in establishing The Donkey s Tail During these years Malevich s art evolved from an aesthetic close to Post Impressionism to Cubism and subsequently Futurism For the showing of his Black Square Moscow Tretiakov State Gallery at 010 The Last Futurist Exhibition of Paintings in 1915 he published From Cubism and Futurism to Suprematism which summed up his new artistic theory Thenceforward his art became focused on depicting geometric shapes chiefly squares on a white background Throughout the following year he worked with other artists on the magazine Supremus but was conscripted before it was published The process of reducing the pictorial elements in his compositions became increasingly accentuated culminating in the White on White series of 1917 18 Following the Revolution of 1917 Malevich became an active member of the revolutionary art committees and was involved in the events staged to celebrate the first anniversary of the Revolution In 1919 he accepted a teaching post at Vitebsk Art School which was run by Marc Chagall and took over as its director during Chagall s absence During the following years Malevich concentrated on his lectures his writings on art and the establishment of the Unovis group The Affirmers of the New Art After being dismissed from his Vitebsk post in 1922 he moved to Petrograd now Saint Petersburg with a few students and worked at the Museum of Artistic Culture which came to be called Institute of Artistic Culture Inkhuk in 1923 The work of the institute was exhibited first in Russia and subsequently in other countries such as Germany where Malevich visited the Bauhaus Malevich began to experience problems with the Soviet regime around 1930 owing to his

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/383 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    but his passion for painting often attracted him to the Louvre where he copied Rembrandt Tintoretto Rubens Renoir In the evening he attended some free academies in Montparnasse and later the Académie Ranson where he was briefly introduced to the technique of fresco painting a course recently opened by Bissière The works from his youth were influenced by Cubism and later by Surrealism A long military service his father s death in 1936 and the outbreak of the war with his consequent mobilisation forced him to abandon his art which he took up again in Paris in 1942 a year after the exhibition Vingt jeunes Peintres de Tradition Franà aise to which he had contributed with three Surrealist paintings including The Last Horse dating from 1938 conceived as a manifesto against Hitler Together with Bazaine Lapicque and the artists Manessier created a new movement of living art during the Occupation Fame came for him after the Liberation First Prize at the Biennial Art competition in Sâo Paulo in 1952 First Prize at the Carnegie Institute in Pittsburgh in 1955 First Prize for painting and the Prize of the Catholic Liturgical Institute of the 31st Venice Biennale in 1962 In spring 1963 Manessier discovered Spain where he lived and worked regularly at the Ermita de Luchente in the province of Valencia for which in 1947 he had designed five small stain glass windows Manessier was an abstract landscape painter who depicted at the same time the light of the North Bay of the Somme Flanders Holland Canada Sweden of the South Provence Spain Algeria and of many other places Beauce Perche Brittany Jura Through his art he also wished to express his faith as a convert his conversion dates from 1943 Manessier has been acknowledged in line with Georges Rouault as

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/384 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Cézanne and Camille Pissarro The son of a senior civil servant of the Ministry of JusticeManet decided to take up painting after two failed attempts at being admitted to the Naval School From 1850 to 1856 he attended the workshop of Thomas Couture where he coincided with his childhood friend Antonin Proust who later became Minister of Culture Guided by his admiration for the Great Masters of painting he copied the works of the Italian Renaissance painters in the Musée du Louvre and travelled around Belgium Holland and Germany His admiration for the work of Diego Velázquez Bartolomé Esteban Murillo and Francisco de Zurbarán led him to paint themes inspired by Spain which he visited in 1865 Manet s initial Spanish inspired tenebrist style developed into a more luminous type of painting and he began to focus on urban life for the first time These themes no doubt influenced by his friend Charles Baudelaire and the boldness of his light brilliant technique caused his works to be rejected systematically by the official salons while his fame grew among the young Impressionist painters who tried unsuccessfully to persuade him to join their exhibitions Manet s Luncheon on the Grass ParisMusée d Orsay included in the first Salon des Refusés of 1863 caused a great stir as much for the theme as for the technique employed comparable only to the scandal triggered shortly afterwards by his Olympia ParisMusée d Orsay at the Salon of 1865 He secured the greatest success of his career with A Bar in the Folies Bergère London Courtauld Institute which was shown at the Salon of 1882 Towards the end of his life he painted numerous portraits of women in oils and pastels as well as many still lifes and garden scenes His technique which became even more

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/385 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen In 1890 Manguin abandoned his studies at the Lycée Colbert in order to devote himself exclusively to painting In 1894 he enrolled at the École des Beaux Arts in Gustave Moreau s workshop There he met Henri Matisse and Albert Marquet becoming close friends with both In 1899 he married Jeanne Marie Carette the model of many of his paintings for over thirty years Together they moved to a house in Rue Boursault In its garden Manguin built a large studio with assembled panels which was frequented among others by Matisse Marquet Derain Camoin and Puy thus becoming the place where Fauvism took shape In September 1904 invited by Paul Signac Manguin visited Saint Tropez where he was captivated by the southern light Manguin in spite of Signac s example did not take up pointillism but continued in his search for a painting both harmonic in its use of colour and balanced Manguin visited in Saint Tropez again in the summer of 1905 and there he painted many works on the subject of 14 July some of them without the development of perspective In October he presented five oil paintings in the famous cage aux fauves at the Salon d Automne Amboise Vollard bought one hundred and fifty of his paintings in 1906 In the following years he befriended Henri Edmond Cross and Félix Vallotton and the latter put him in touch with important Swiss collectors Manguin remained faithful to Fauvism during the rest of his life painting landscapes and still lifes of great balance and harmony From the 1920s onward he alternated his life in Paris with long periods in Saint Tropez Marseille Neuilly sur Seine etc After a short illness he died in Saint Tropez on 25 September 1949 at the age of 75 Juan Á

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/386 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    there until Sacchi s death in 1661 His master s style fell within the most classicising trend in Roman painting and Sacchi upheld line and disegno over colour Maratta s training was completed by copying classical sculpture and the great works of the Renaissance and early 17th century masters His first public commission as an independent painter was for The Adoration of the Shepherds of 1650 painted for the church of San Giuseppe dei Falegnami in Rome which marked the start of a lengthy career of public and official commissions The 1650s were crucial for the evolution of Maratta s style while Sacchi s influence was still evident it was now combined with that of other artists most importantly Pietro da Cortona The latter upheld the importance of colour and was the leading figure in the trend opposed to that of Sacchi In 1656 Maratta was involved in the project for the decoration of the Quirinale palace commissioned by Alessandro VII and directed by Pietro da Cortona For the first time he began to deploy a palette of lighter colours that would characterise all his subsequent output Maratta s style can be located between the rigour of Sacchi and the expressivity of Cortona The two decades following Sacchi s death were the most brilliant in Maratta s career He achieved international renown worked for the most prestigious Italian patrons and ran one of the most important and prolific studios In 1664 he was elected president of the Accademia di San Luca while in 1698 he was made life long president of that institution Altarpieces occupy the most important position within Maratta s oeuvre but he also executed portraits decorative fresco cycles and designs for sculpture Around the turn of the century economic issues resulted in a significant decline in the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/387 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    he began studying at the Akademie der Bildenden Künste in Munich under the guidance of Gabriel von Hackl and Wilhelm von Dietz in 1900 In 1903 and 1907 he travelled to Paris where he became acquainted with Impressionism first hand and was particularly drawn by the work of Vincent van Gogh and Paul Gauguin In 1906 he visited Mount Athos in Greece with his brother Paul Later together with his future wife the artist Maria Franck he travelled to Lenggries where he became intensely interested in making sketches of animals which he considered worthier subjects than humans and which gradually became the favourite theme of his compositions In 1910Marc met August Macke who became a close friend and introduced him to Bernhard Koehler the future patron of both artists Not long afterwards he also met the members of the Munich Neue Künstlervereinigung among them Wassily Kandinsky Alexej von Jawlensky and Gabriele Münter and soon joined the group Out of all of themMarc felt a particular affinity with Kandinsky with whom he shared the idea of the need for a spiritual renewal of Western art This stance soon led to disagreements with other members and the group eventually split up Marc and Kandinsky exhibited under the name of Der Blaue Reiter in December 1911 and in 1912 they edited an almanac which with their essays soon became a manifesto on the new art pivotal to the development of twentieth century art In 1912 Marc and Macke travelled to Paris where they met Robert Delaunay and had firsthand contact with the Cubist trends Thereafter Marc s compositions tended towards greater abstraction Around this time he started on his project to illustrate a bible an initiative stemming from his profound religious beliefs When the First World War broke outMarc joined up voluntarily as

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/388 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Author Michele Marieschi Title The Grand Canal with Santa Maria della Salute Year ca 1738 40 Biography Listen Little is known of Marieschi s training In the Abecedario pittorico of 1753 his first biographers Orlandi and Guarienti state that as a young man Marieschi worked in Germany but there is no documentary proof of this statement It is more likely that he began as a designer of theatrical sets and other decorative schemes although recent research also suggests that the may have trained with the history painter Gaspare Diziani The first documentary reference to Marieschi refers to his participation in 1731 in the decoration of the Piazzetta in Venice for Carnival Marieschi began to work as an independent master from the second half of the 1730s He is only recorded in the fraglia or painters guild in Venice for five years from 1736 to 1741 Initially and influenced by the work of Marco Ricci and Luca Carlevarijs Marieschi painted capriccios including the early examples Capriccio with classical Ruins and Bridge and Capriccio with Roman Arch and Encampment Museo Civico Gaetano Filangeri Naples Shortly after this period Marieschi also turned his attention to view paintings undoubtedly encouraged by Canaletto s growing success in this field The chronology of Marieschi s output is difficult to establish as the only recorded dates for his works are those of the twelve compositions painted between 1736 and 1738 for Marshal Schulenburg his most important client In 1741 Marieschi published a series of prints including a self portrait and twenty one views of Venice entitled Magnificentiores selectioresque urbis Venetiarum prospectus He died young at the age of thirty two His most gifted pupil and follower was Francesco Albotto Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/390 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    interested in modernism in the United States at the beginning of the twentieth century Unlike the oeuvre of many of his contemporaries his work was praised by critics and he became the first American painter to have a retrospective exhibition at The Museum of Modern Art in New York in 1936 Marin took up painting relatively late after studying architecture at the Stevens Institute of Technology in Hoboken and working for a brief spell as a draughtsman He studied at the Pennsylvania Academy of the Fine Arts in Philadelphia from 1899 to 1901 and travelled to Europe between 1905 and 1911 where he became acquainted with the latest art trendsMarin s first one man show was held at Alfred Stieglitz s 291 Gallery in 1910 and the following year he settled in New York From this point onwards his work was shown in solo exhibitions practically every year and Ferdinand Howald became his main patron in 1920 Landscape became Marin s favourite theme following his trip to Europe during which he immortalised some of the places he visited such as Saint Peter s square On returning to America he spent winters in the city and summers in the country Maine New Jersey New England New Mexico and Canada His works were therefore divided into two main groups urban views and rural scenes and seascapes Marin was initially attracted by Impressionism and Post Impressionism and in the early 1910s he developed an interest in Fauvist colour and forms that tended towards schematisation and a certain geometry This preference increased over the years and gave rise to works in which the planes were fractured and the lines hinted at movement From 1930 onwards figures became more important elements and he rarely abandoned figuration completely One of these exceptions was in 1917 when

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/391 (2016-02-13)
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