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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    and his uncle Dirck were master goldsmiths Following an initial apprenticeship as a goldsmith in the family workshop which was run by his cousin Willem Frans van Mieris studied painting in the studios of Gerrit Dou and Abraham van den Tempel assimilating Dou s refined technique and approach to composition In 1658 he is registered in the Guild of Saint Luke in the city and held important positions within that institution being appointed hoodfman president then dean in 1665 Frans van Mieris first works depict scenes of daily life seen through a window opening He specialised in small format genre paintings but also executed portraits and some history paintings He produced his finest works around the end of the 1650s and the early 1660s They include The Doctor s Visit and Gentleman in a Draper s both Kunsthistorisches Museum Vienna and The Meal of Oysters Hermitage St Petersburg During this period Van Mieris style and subject matter depart little from his earlier work but at this period he achieved a high degree of technical perfection particularly with regard to his polished finish in which the brushstrokes are even less visible than in Dou s paintings Frans van Mieris was a celebrated painter in his own lifetime and his works were frequently copied and imitated Like Dou he was greatly in demand among collectors of the day Cosimo III de Medici Grand Duke of Tuscany personally visited his studio in 1669 where he acquired two self portraits and three genre paintings In addition the Archduke Leopold William of Austria offered him the position of court painter in Austria a post that Van Mieris turned down His sons Jan and Willem van Mieris studied in his studio while his grandson Frans van Mieris the Younger continued his style and subjectmatter Van Mieris

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/405 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    contemporaries and generations to come He trained at the Llotja in Barcelona and later at the Academia de Francesc Galí which was more modern in outlook At the school and the Cercle Artistic de Sant Lluc he met some of his great friends the critic Sebastià Gasch the poet JV Foix Josep Llorens Artigas and Joan Prats From an early age he was in contact with Barcelona s most avant garde scene then in full swing At the end of 1920 Miró made his first trip to Paris where he met Pablo Picasso Throughout the decade he alternated his winters in Paris with long stays at the country house his family owned in Montroig Tarragona These would be the crucial years in his artistic career in which he discovered his personal language In the French capital he struck up a friendship with André Masson the leader of the so called rue Blomet group the future core of the Surrealist group From this point onwards his sensibility came close to that of the Surrealist movement many of whose theoretical ideas he shared although he never fully belonged to the group and gave priority to his individual creative freedom In the 1930s he became established as one of the most prominent figures on the international art scene and as one of the key twentieth century artists It was precisely then that Miró a born non conformist entered a phase that he called the assassination of painting in which he voluntarily gave up painting experimented with other media such as collage and drawings on differently textured papers and made objects from elements found in nature which were his first forays into the world of sculpture Although he returned to painting soon afterwards he never abandoned his desire to experiment with all kinds of

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/406 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    figure with a special interest in the face and the female body Modigliani s childhood was marked by his frail health which accompanied him for the rest of his life He began studying in his city of birth under the painter Guglielmo Micheli an exponent of plein air painting and travelled through various Italian cities with his mother He joined the Florence Accademia di Belle Arti in 1902 and moved to Paris in 1906 He took up residence in Montmartre and enrolled at the Académie Colarossi He frequented the company of many avant garde artists and his works became influenced by Henri Toulouse Lautrec Fauvism and Pablo Picasso s Blue Period as well as the portraits from Paul Cézanne s final period In addition he developed an interest in sculpture and in 1909 the doctor Paul Alexandre who had become his patron introduced him to Constantin Brancusi The works of the Romanian sculptor and his admiration for non European art especially the African masks that he had probably become acquainted with through Picasso in 1909 influenced the series of heads standing figures and Caryatids he produced between 1909 and 1914 In 1914 Modigliani abandoned sculpture and returned to painting His subsequent works show the translation into two dimensions of many of the stylistic elements developed in the field of sculpture The portraits from this period are of his numerous mistresses and his friends among them many members of Paris s artistic and literary avant garde such as Diego Rivera Chaïm Soutine and Jean Cocteau His figures tended increasingly towards the stylised faces elongated necks and blank eyes that became even more accentuated with one of his last models Jeanne Hébuterne his partner from 1917 Amedeo Modigliani failed to achieve recognition for his oeuvre during his short existence At the only

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/407 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    leading figure in twentieth century art for his experiments with light and time which were widely disseminated through his work as an educator first in Europe and later in the United States Moholy Nagy discovered painting after being wounded in the First World War and from this point onwards experimented unceasingly with all kinds of artistic genres He was especially interested in phenomena of light which he studied in his photograms and films During his youth in Budapest Moholy Nagy frequented the company of the group of artists connected with the MA magazine as a result of which his compositions adopted Cubist and Futurist forms In 1919 he fled his country following the fall of the short lived Conciliar Republic and took up residence in Berlin after spending a few weeks in Vienna There he met Kurt Schwitters and other Dadaists as well as representatives of the Russian avant gardes and the artists of De Stijl in whose magazine he published an article in 1921 The intense creative activity of Berlin was reflected in his new abstract compositions collages and photomontages The gallery Der Sturm exhibited his work in various German cities during 1922 and in 1923 he became involved with the Weimar Bauhaus where he began to work as a lecturer He remained there until 1928 moving to Dessau with the school in 1925 In this period he combined teaching and writing with designing everyday objects and photography The new political situation triggered by the rise to power of the National Socialist party drove Moholy Nagy to move to London in 1935 and to Chicago in 1937 There he had the opportunity to become the director of the New Bauhaus which opened at the end of the year In 1939 he established a new centre the School of Design

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/408 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    children was obliged to convert to Catholicism while the other two fled to London Louise died in 1696 Most of Louise Moillon s signed paintings are dated between 1629 and 1637 while there is also a work of 1641 painted in collaboration with Pieter van Boekel Pierre van Boucle and Jacques Linard which was a large composition with fruits and flowers Some of her later works date from 1674 The high esteem in which her work was held is demonstrated by the fact that in 1639 Charles I of England had five fruit pieces by the artist The inventory of the possessions of Louise Moillon s mother mentions thirteen paintings and nine unfinished works We also know of paintings dated between 1629 and 1630 which do not appear in the inventory This implies that Louise must have been a dedicated and prolific artist from an early date The inventory supplies a great deal of information From the descriptions the paintings would all seem to be simple depictions of fruit with the inclusion of an occasional flower and a painting of winkles and fruit Flower pieces from this period by Moillon are unknown but a later inventory mentions two paintings of flowers and fruit The paintings are on panels of a standard price and dimensions and all have an ebony or pear wood frame including the unfinished works These are preliminary studies some perhaps being sketches for finished works It would seem that the artist worked on a series of paintings simultaneously One is referred to as being an original and a copy perhaps signifying a signed painting and an unsigned version by the artist s own hand There are also versions of another painting The identity of Louise Moillon s teacher is unknown In the literature it is generally stated

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/409 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Son of the architect Giovanni Battista Mola Pier Francesco was born in Coldrerio near Lugano in 1612 In 1616 he and his family moved to Rome where he spent the remainder of his life apart from some trips away during his years of training His earliest documented works are chalk sketches and drawings in his father s notebooks where he reveals a precocious interest in chiaroscuro Although his travels are not well documented it is known that between 1633 to 1640 and 1641 to 1647 he lived in the north of Italy and visited a number of cities including Bologna and Venice There he studied the works of the great northern painters and completed his studies probably in the studio of Francesco Albani in Bologna On his return to Rome in 1647 Mola s style reflected a profound knowledge of the work of Titian the Bassano Guercino and Albani Soon afterwards he began to receive important public commissions including the fresco decoration of the church of San Domenico e Sisto in which he combined the monumentality and grandeur of Michelangelo and Raphael with Titian and Guercino s colour Mola s most important work at this period is the fresco of Joseph greeting his Brothers executed for the gallery of Alessandro VII in the Quirinale palace The twelve surviving preparatory drawings reveal the care and precision with which Mola prepared this work His work was also admired by other prestigious patrons including the Colonna and Pamphilj families and Queen Christina of Sweden The Vision of Saint Bruno J Paul Getty Museum Malibu of 1662 to 1663 reveals the markedly dramatic tone of his late works In 1663 Mola was appointed president of the Accademia di San Luca a post from which he resigned one year later due to a serious illness

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/410 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    but it is thought that he may be Sienese and it would seem that he trained with Agnolo Gaddi and as an illuminator in the scriptorum of Santa Maria degli Angeli During his early years of monastic life Lorenzo Monaco illuminated a large number of manuscripts By 1401 he was working outside the monastery and had set up his own workshop His works are characterised by their sinuous lines uniform subtle combined colours and gentle faces while his painting reveals the clear influence of his master and of Niccolò di Pietro Gerini and Gherardo Starnina Lorenzo Monaco was one of the leading figures of the International Gothic style combining the legacy of Giotto with the Sienese tradition while also alert to innovations in 15th century Florentine painting Notable works include the San Gaggio Polyptych of around 1387 88 now divided between the Galleria dell Accademia Florence the Courtauld Institute London and other collections At the end of the 15th century he painted various altarpieces including a polyptych for the Carmelite monastery in Florence while a slightly later work is the Christ as the Man of Sorrows of 1404 Galleria dell Accademia Florence The only documented work by the artist to have survived is the Monte Oliveto Altarpiece dated 1406 10 while Lorenzo Monaco s most famous and only signed work is The Coronation of the Virgin painted in 1413 for the altar of his monastery Galleria degli Uffizi Florence Around 1420 during the last phase of his career the artist painted the frescoes for the Bartolini Salimbeni chapel in Santa Trinità in Florence and the Annunciation Altarpiece also in that chapel Lorenzo Monaco died around 1425 30 leaving a Descent from the Cross unfinished Museo di San Marco Florence which was completed by Fra Angelico who was notably influenced by

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/351 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Stijl His conception that art should be represented through the straight line and pure colours as a symbol of the expression of the cosmic order made him one of the major advocates of abstraction and one of the most admired and influential artists of the twentieth century Mondrian trained as a compulsory education drawing teacher and in 1892 enrolled at the Rijksakademie van Beeldende Kunsten in Amsterdam where he began to mix with the art groups of the day His first works were serene landscapes painted in delicate shades of grey mauve and dark green and in 1908 influenced by the painter Jan Toorop he began to experiment with brighter colours In 1912 Mondrian moved to Paris where he met Fernand Léger and Georges Braque among others His spell in the French capital prompted him to adopt the Cubist style from which he gradually turned towards abstraction The outbreak of the First World War forced him to remain in the Netherlands where he met Bart van der Leck and Theo van Doesburg In 1917 along with the two painters and a group of young architects and artists he founded the De Stijl magazine which until 1924 provided him with a vehicle for disseminating Neo Plasticism an art that sought to represent the absolute truths of the universe From this point onwards Mondrian s painting was expressed solely through planes of primary colours and straight lines When Van Doesburg introduced the diagonal into his compositions in 1925 Mondrian left the group for good Mondrian later collaborated with the Cercle et Carré group established by Michel Seuphor in 1929 and joined August Herbin s group Abstraction Création in 1931 In 1938 he emigrated to London and in the autumn of 1940 after the air raids on the city and the German occupation

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/411 (2016-02-13)
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