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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    childhood in the French town of Le Havre where he began to paint landscapes of the Normandy coast together with Eugène Boudin and Johann Jongkind After studying for a short period at the Académie Suisse in Paris he took up plein air painting as a self taught artist striving to study the effects of light and time on nature Monet and Auguste Renoir were the first artists to use the loose brushstrokes characteristic of Impressionism His Impression Sunrise Paris Musée Marmottan Monet shown in the First Impressionist Exhibition in 1874 gave its name to this style After living in London and Holland during the Franco Prussian warMonet returned to France in 1872 and settled in Argenteuil with his family until 1878 During these years this village on the banks of the Seine became a sort of centre of Impressionism where he was joined by Camille Pissarro Alfred Sisley Pierre Auguste Renoir and Édouard Manet among others From 1878 to 1881 he his wife Camille and their children lived in Vétheuil where Camille died In this village which was much quieter and more rural than ArgenteuilMonet was extremely productive and unlike before focused on the beauty of nature and on capturing solitary landscapes with no trace of human life It was there that he started on the series of paintings repeating similar themes under changing atmospheric conditions In 1883 Monet retired to Giverny north east of Paris with Alice Hoschedé the wife of the collector of Impressionist works Ernest Hoschedé whom he later married after Hoschedé died in 1891 and their children and they spent the rest of their lives there From there they made trips to Normandy the Mediterranean coast England Norway and Italy In the 1890s Monet took up gardening at his Giverny home As his garden grew it

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/412 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Hieronymus Galle Towards 1650 he was documented in Paris working at the Hà tel Lambert Among his first decorations with flowers are those of the Hà tel Lauzun in Anjou From 1658 he was associated with the team working for Le Brun the artist s patron Among the royal residences he helped decorate are Vincennes the queen s apartments carried out under the supervision of Philippe de Champaigne the Chà teau de Saint Cloud for the king s brother Philip of Orleans Versailles Marly and the Tuileries In 1665 partly due to the success of his art he became a member of the Academy and was appointed Counsellor in 1679 From 1666 he collaborated assiduously with the Gobelins designing wreaths and borders for tapestries together with his brother in law Jean Baptiste Belin and with the Beauvais manufacturers working with Jean Bérain In 1690 in spite of the good clientele he had in France he travelled to London to attend to the decoration of Ralph Montagu s residence British Museum Two years later he returned to London producing paintings for Burlington House Charles Howard Kensington Palace Charles Beauclerk and Hampton Court He spent the last two years of his life in England he died in London on 20 February 1699 His still lifes are characterised by the magnificence and brilliance of the colours of his flowers placed in luxurious vases and containers the varieties of which are chosen to be included in the bouquet for their particular shape and colour In the background which is sometimes architectural he places elegant tapestries occasionally including animals Among his followers are two of his sons Antoine and Baptiste Throughout his life he collaborated with many artists such as René Antoine Houasse Hyacinthe Rigaud and Jean Baptiste Blin de Fontenay His paintings were greatly

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/413 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    where his family originated or Biron Vicenza where his family settled around 1450 Montagna was the most important painter in Vicenza in the last quarter of the 15th century and the first quarter of the 16th His son continued his activities and was particularly noted in the field of printmaking In 1469 Montagna travelled to Venice after which he is once again documented in Vicenza in 1474 The influence of Antonello da Messina and Alvise Vivarini is evident in his style with its three dimensional modelling based on simple geometrical forms In addition the more linear soft and luminous style of Giovanni Bellini is also to be detected in his work These two differing approaches evident in Montagna s style have given rise to various doubts regarding his early training for example whether and for how long he was a pupil of Bellini before absorbing the work of Antonello or vice versa Art historians have generally considered his last fifteen years to mark a decline in the quality of his work during this period Montagna was less prolific and showed little interest in reflecting new innovations He gradually abandoned his activities in favour of his son and his workshop In the 1460s and 1470s Montagna received important commissions in Vicenza including the altarpiece for the church of San Bartolommeo Museo Civico Vicenza In 1482 he was working in Venice for the Scuola Grande di San Marco Dating from 1499 is the altarpiece painted for San Michele in Vicenza with The Virgin and Child enthroned with Saints and musical Angels Pinacoteca di Brera Milan Montagna also produced major fresco cycles notably one on the life of Saint Biagio in the church of SS Nazaro e Celso in Verona Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/414 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    his own desire to become a sculptor Moore worked as a teacher and only in 1919 after returning wounded from France where he served during the First World War did he begin studying at the Leeds School of Art In 1921 he enrolled at the Royal College of Art in London where he had the chance to visit the British Museum regularly As well as being captivated by the Greek sculptures Moore was fascinated by non Western expressions of art such as that of Africa Oceania and in particular pre Columbian art During the 1920s he travelled to France and Italy where he admired the work of Cézanne Picasso Hans Arp and Modigliani but also that of Renaissance masters such as Giotto and Massaccio In 1933 Moore joined Unit One a group of avant garde painters sculptors and architects that included Barbara Hepworth Ben Nicholson and the critic Herbert Read Also although he never fully subscribed to the Surrealist doctrines he was connected with the advocates of the movement in England and showed his work in the International Surrealist Exhibition at the New Burlington Galleries in London in 1936 In 1940 Moore s studio was wrecked by bombs and shortly afterwards the Government commissioned him to capture on paper the Londoners who sought shelter in the underground stations For these drawings Moore returned to a more naturalistic style although even in his more abstract works he never completely abandoned figuration In 1946 while the New York Museum of Modern Art was showing a major respective of his work his only child Mary was born During this period his drawings and studies reflected family and domestic life Women either alone or accompanied by a child a frequent theme in his previous work became his main subject matter from this point onwards

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/415 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in the Galleria Sprovieri in Rome However his futurism was relative as he showed at that time a preference for the work of Cézanne Picasso and Braque which enabled him to participate in the second exhibition of the Roman Secession 1914 from which the Futurists were excluded Morandi was also offered a teaching post at the municipal drawing school in Bologna a post he held until 1929 After falling seriously ill during World War I Morandi went back to his artwork in 1918 During the following years he often met up with Giorgio de Chirico Carlo Carrà and Ardengo Soffici contributing to metaphysical painting with his own formal rigour At the end of 1919 he signed a contract with Mario Broglio the publisher of the review Valori Plastici thanks to whom he took part in exhibitions with other members of Valori Plastici in Berlin Dresden Hanover and Munich in 1921 and in the Fiorentina Primaverile in 1922 During those years he abandoned vanguard innovations in order to concentrate on his own poeticised vision of everyday objects paying special attention to the treatment of light and to spatial intervals as became characteristic in his mature work In 1926 and 1929 he took part in the first and second Mostra del Novecento Italiano and around the same time he was in close touch with the intellectual group linked to the review Il Selvaggio directed by Mino Maccari In 1930 Morandi became professor of engraving techniques at the Accademia di Belle Arti in Bologna Two years later Soffici dedicated to him a monographic issue of the review L Italiano which earned him international fame At the end of the 1920s and during the 1930s Morandi took part in important competitions such as the Venice Biennale 1928 1930 and 1934 the Carnegie Prize in

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/416 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Gustave Moreau who had a Romantic grounding and a thorough knowledge of the Italian Renaissance painters developed a personal style that foreshadowed late nineteenth century French Symbolism He studied under François Édouard Picot at the École des Beaux Arts and exhibited for the first time at the Salon of 1851 His early works steeped in the Romanticism of Eugène Delacroix and Théodore Chassériau were well received by the critics though Moreau was not entirely satisfied with them Moreau travelled to Italy in 1857 For the next two years he visited Rome Florence and Venice and had the opportunity of studying and copying the great Italian Renaissance painters who had a determining influence on him After returning to Paris he worked intensely on Oedipus and the Sphinx New York The Metropolitan Museum of Art for which he earned a medal at the Salon of 1864 Prince Napoléon Jérôme Bonaparte s acquisition of this picture contributed decisively to Moreau s public recognition Thenceforward mythological themes and religious scenes always interpreted in a personal manner became predominant in his production However his critical fortunes changed at the end of the 1860s which led him to rework his style adopting a Baroque manner linked particularly to Rembrandt Salomé Dancing before Herod Los Angeles Armand Hammer Collection shown at the Salon of 1876 was a resounding success An officer of the Legion of Honour from 1883Moreau taught at the Académie des Beaux Arts of the Institut de France from 1888His liberal method of teaching had a determining influence on his students among them Henri Matisse and the other Fauve painters Towards the end of his life in 1895 he began to remodel his Montmartre home to convert it into a museum which has housed his work since then Search Advanced search Featured Products Catalogue of

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/417 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    E B Morgenstern Title Oaks beside the Water Year 1832 Biography Listen Christian Ernst Bernhard Morgenstern was the son of a miniaturist and began his training in his native city first with the Suhr brothers and later with the landscape painter Siegfried Bendixen Between 1827 and 1828 he completed his training at the Fine Arts Academy in Copenhagen during which time he travelled around Norway and Sweden drawing the landscape On the advice of his mentor Baron Von Rumohr he decided to move to Munich where he settled permanently in 1829 Morgenstern travelled around Bavaria executing landscapes and studying the topography in detail Many of these trips and excursions were made in the company of his friends the painters Daniel Fohr and Heinrich Crola His works of this period reveal the influence of 17th century Dutch painting particularly that of Jacob van Ruisdael and that of the landscape painters of Copenhagen and Norway and the work of the group of realistic painters in Munich particularly Johann Georg von Dillis Morgenstern was one of the first German painters to execute watercolours outdoors preferring isolated desolate scenes and landscapes with changing atmospheric conditions flooded with dawn or evening light or with mist and storms Over the following years his landscapes evolved into panoramic views in which he omitted foreground details for example Dawn in the Ammer Valley near Polling of 1853 Staatliche Kunsthalle Karlsruhe Morgenstern s interpretation of nature became more subjective and his works express feelings of solitude the spirituality of nature and the insignificance of man all of which brings him close to the Romanticism of Caspar David Friedrich Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the Madrid Realists exhibition Spanish Paperback Add to Basket Go to the shop

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/418 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Berthe Morisot was born into a family belonging to the haute bourgeoisie and was brought up to appreciate music and the arts Her interest and creative flair led her and her sister Edma to further their painting studies by taking classes with Geoffroy Alphonse Chocarne and Joseph Benoît Guichard Guichard exhibited regularly at the Salon and encouraged the two sisters to visit the Musée du Louvre and copy sculptures In 1858 Berthe and Edma were admitted to the Louvre as copyists and met Henri Fantin Latour and Félix Bracquemond It may have been this contact that led them to propose going to paint outdoors to their new teacher Achille Oudinot Through Oudinot they met Camille Corot who had a determining influence on them Edma abandoned her artistic career in 1869 after marrying and Berthe carried on painting alone Her works which had always depicted mainly domestic environments became even more centred on scenes featuring her own sisters and their children In 1868 Berthe met Édouard Manet for whom she posed in The Balcony ParisMusée d Orsay which was shown at the Salon the following year Thereafter Manet and Morisot were bound by a close artistic relationship for the rest of their lives which was enhanced when Berthe married the painter s brother Eugène Manet in 1874 After exhibiting at the Salon from 1864 to 1868 Berthe joined the group of artists who began to show their works in the Impressionist exhibitions She was absent from only one of their shows that of 1879 owing to an ailment of her only daughter She enjoyed a close relationship with the Impressionist painters and held frequent gatherings at her home for artists and intellectuals of the day After Édouard Manet died in 1883 she organized an exhibition in his honour with the help

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/419 (2016-02-13)
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