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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    van Mander in his biography of the artist during his youth Mor travelled to Italy In 1547 he was working as an independent master in Antwerp and in 1549 was in the service of Cardinal Granvela Antoine Perrenot whom he accompanied on official trips and depicted in a portrait now in the Kunsthistorisches Museum Vienna Also dating from this period is the Portrait of the Third Duke of Alba Musées Royaux des Beaux Arts de Belgique Brussels Between 1550 and 1553 Mor visited Spain and Portugal and painted portraits of members of the Spanish royal family Between 1554 and 1555 he is documented in England where he painted Mary Tudor second wife of Philip II Museo Nacional del Prado Madrid In late 1554 Mor was appointed official painter to the court of Philip II Between 1555 and 1559 he was in Brussels and Utrecht while between 1559 and 1561 he was again in Spain where he painted Doña Juana of Austria Museo del Prado From 1561 until his death Mor lived between Utrecht and the southern Low Countries Mor s years in Spain were crucial for the evolution of the court portrait and his style was assimilated by his follower the great portraitist Alonso Sánchez Coello Mor captured the formality of Spanish court etiquette depicting its members with distance austerity and majesty His depictions of the Spanish monarchs such as Philip II monastery of El Escorial omit any use of symbolism to indicate the sitter s status and focus entirely on the physical presence During his last years Mor also depicted merchants artists and intellectuals from the humanist circles in which he moved His last known work is a portrait of Hubert Goltzius painter numismatist and a personal friend of Mor s executed in 1573 74 Musées Royaux des Beaux

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    other religious compositions Karel van Mander erroneously stated that the artist was born in Haarlem into a noble family but in fact he was from a prosperous family of millers He trained with Jacob van Haarlem who is probably the Master of the Brunswick Diptych Mostaert is first mentioned as a painter in 1498 in a document that records his acquisition of a house in Haarlem In 1500 he was commissioned to decorate the reliquary of Saint Bavo in the Groote Kerk Haarlem now lost From this date onwards Mostaert is frequently mentioned in the archives of the painters guild of which he was dean in 1507 1543 and 1544 The number of references that locate him in Haarlem and the commissions that he executed for the church of Saint Bavo indicate that he lived and worked in that city throughout his entire career Mostaert s first paintings reveal the influence of Geertgen tot Sint Jans and his followers In 1519 he became court painter to Margaret of Austria governor of the Low Countries and according to Van Mander remained in her service for the next eighteen years although this seems an exaggeration Mostaert s most typical works are his three quarter length portraits in which the sitters are located in front of a landscape their hands resting on a cushion in the foreground His diptychs with couples are particularly elegant including the one of Hendrik van Merode and his Wife Franziska van Brederode Sint Dimpnakerk Geel From the 1520s onwards Mostaert began to imitate the panoramic landscapes of Antwerp painters such as Patinir The last known biographical reference to the artist dates from 1549 when he requested permission from the Haarlem town council to temporarily reside in Hoorn where he was painting the altarpiece for the Groote Kerk Search

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    a Landscape Year c 1922 Biography Listen Born in the village of Liebau in the Sudetes mountains the German painter Otto Müller trained as a lithographer at a workshop in the town of Gölitz in Silesia He went to Dresden in 1894 to study at the Kunstakademie and moved to Berlin in 1908 There he was involved in the establishment of the Neue Sezession during 1910 and met some of the members of the Expressionist group Die Brücke The Bridge which he joined In 1911 he travelled to various places with Ernst Ludwig Kirchner and Erich Heckel including Bohemia and the island of Fehrmarn in the Baltic Sea The three of them exhibited in two of the group s important shows at the Galerie Arnold in Dresden in 1910 and at Fritz Gurlitt s gallery in Berlin in 1912 In 1919 after being discharged from the army he moved to Breslau where he taught at the Kunstakademie until his death in 1930 Müller sought harmony between man and nature The Arcadian tone of his works is a far cry from the interests of the rest of the Die Brücke artists who were much more concerned with the everyday world and the perception of early twentieth century cosmopolitan life After travelling to Romania Bulgaria and Hungary during the 1920s he produced many works portraying people belonging to the gypsy ethnic group which fuelled the legend of his possible gypsy origins His work which he rarely dated and of which he destroyed an indeterminate part was notable for its use of line and pursuit of the two dimensional quality of the canvas His interest in achieving a matte result in his painting drove him to experiment with tempera an aspect in which he influenced the rest of the group Search Advanced search

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    fin de siècle feeling Born into a family afflicted by tuberculosis he received an upbringing based on strict moral principles in an environment dominated by a bad tempered father prone to depression After beginning his engineering studies in Christiania now Oslo he enrolled at the Tegneskole in 1881 to train as a painter Around 1884 he met some of the members of the city s bohemian circle led by the anarchist writer Hans Jaeger who advocated a break with bourgeois principles and morals A work dating from this period is the Sick Girl Oslo Nasjonalgalleriet which was very harshly criticised when shown in 1886 From 1888 onwards he spent his summers in Åsgårdstrand in Christiania Fjord where he eventually bought a house In 1889 Munch was awarded a travelling scholarship that enabled him to gain firsthand knowledge of trends in contemporary French painting During the three years he lived in Paris he was particularly attracted to the Post Impressionist painters and Synthetism His work shifted gradually towards a very personal type of Symbolism that was marked by his views on life and centred on the themes of death sex women and his mental crises In 1892 he exhibited at the Verein Berliner Künstler in Berlin but the show had to be closed a week after opening The scandal it triggered caused Munch s fame to grow in Germany and led to the formation of an association of artists in protest the germ of the Berlin Secession Edvard Munch later settled in Germany where he showed his work on many occasions There he frequented the group of bohemian intellectuals who met at the Zum Schwarzen Ferkel tavern among them Stanislas Przybyszewski and August Strindberg Munch suffered various nervous breakdowns which were sometimes aggravated by his problem with alcohol In 1908 he

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Münter Title Self Portrait Year ca 1908 Author Gabriele Münter Title School House Murnau Year 1908 Author Gabriele Münter Title Murnau Murnau in May Year 1924 Biography Listen Gabriele Münter was one of the few women who played a part in the development of German Expressionism As student collaborator and partner of Wassily Kandinsky during the years leading up to the First World War she was actively involved in various Munich art movements such as Der Blaue Reiter The Blue Rider She trained at the Malschule für Damen the Düsseldorf drawing school for women in 1897 and later in 1901 at the Phalanx school where she was taught by KandinskyWith him she visited Tunisia Belgium Italy and Austria returning to Berlin in 1908 and settling at last in Munich In 1909 she bought a house in the Bavarian town of Murnau where Kandinsky Alexej von Jawlensky and Marianne Werefkin met during the following summers At Murnau Münter s art evolved towards a simplification of form influenced by the experiments of her colleagues and the discovery of the typical paintings on glass from this part of Bavaria After taking part in the exhibitions of the Neue Künstlervereinigung in Munich in 1909 and 1910 Münter left the association together with Kandinsky and Franz Marc to participate in the exhibitions of Der Blaue Reiter and create its almanac In 1914 when the First World War broke out she moved to Switzerland with Kandinsky and later to Copenhagen on her own Her relationship with Kandinsky ended soon afterwards After the war Münter returned to Murnau where she lived from then onwards In 1927 she met the philosopher and art historian Johannes Eichner She and Eichner remained together until he died The resurgence of interest in German Expressionism following the Second World War led the

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    also a surgeon and barber Little is known of Murillo s earliest years or his apprenticeship other than that according to Palomino he trained in the studio of Juan del Castillo in Seville In 1645Murillo married Beatriz Cabrera y Villalobos and from that date on we have more detailed information on his life and activities Murillo s first major commission executed between 1645 and 1646 was for the decoration of the cloister of the monastery of San Francisco The success of this project brought him numerous commissions from the Church and following the crisis in Seville of the 1650s he became the city s most prestigious artist In 1658 Murillo travelled to Madrid and became familiar with the royal collections In 1660 together with Herrera el Mozo and other Sevillian artists Murillo founded the Academia de Pintura intended to offer teaching and training to young painters and of which Murillo was co director first with Herrera and later with Valdés Leal During these years he produced a large number of paintings for Seville cathedral as well as religious and secular compositions for a wide range of private clients Among the secular subjects that Murillo painted were genre scenes while his religious works include scenes from the life of Christ idealised images of the Virgin and Child and the Immaculate Conception and saints visions such as The Vision of Saint Anthony of Padua In 1663 Murillo was widowed and two years later joined the Hermandad de la Caridad for which charitable confraternity he painted eleven canvases The following years were the most prolific of his career and between 1665 and 1672 he executed two more important commissions for Sevillian churches one for Santa María la Blanca and the other for the Capuchin church In the years between 1670 and his death

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    painter Babic his teacher at the Fine Arts Academy in Zagreb Music moved to Spain in 1935 There he travelled all over the wide Castilian landscapes and spent long sessions working in the Prado copying El Greco and Goya whose black romanticism greatly influenced his later works The outbreak of the Spanish Civil War took him to Dalmatia where he discovered the semi desert and petrified landscapes of Kras and at the start of the Second World War he moved to Venice where he held his first individual exhibition as early as 1943 In 1944 he was accused of supporting the anti Nazi groups arrested by the Gestapo and deported to Dachau concentration camp There in a sort of creative frenzy he made about 180 drawings of his dead friends which can be considered the origin of paintings made between 1970 and 1975 We are not the last a series of collective deaths which Music understood as the cry of the eternally suffering humanity like the evidence of a collective trauma beyond all individual traits After various sojourns in Venice Music settled in Paris in 1952 and worked on paintings whose abstract appearance conceals constant memories of the arid landscapes of Dalmatia Dalmatian Lands and Rocky Landscapes and of the light and the sky of Venice In Paris he also made some etchings in Lacourières studio for which he was awarded the Grand Prix in the Graphic Arts competition at the Venice Biennial Exhibition in 1956 and in 1957 he received the Graphic Arts Prize in Ljubljana After the first retrospective presentation of his oeuvre at the Musée d Art Moderne de la Ville de Paris in 1972 various retrospective exhibitions were held in particular in 1977 in Darmstadt in 1992 at the Albertine in Vienna exhibiting his work on

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/627 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    of Madame Bouret as Diana Year 1745 Biography Listen Member of a family of artists Nattier s father was the portrait painter Marc Nattier and his mother the miniaturist Marie Nattier Jean Marc began his studies with his father and then continued with his grandfather Jean Jouvenet before attending classes at the Académie Royale Around 1703 he was to be found in the Galerie of the Palais du Luxembourg copying works by Rubens and Charles Le Brun On the recommendation of Jouvenet he was awarded a place at the French Academy in Rome which he turned down In 1717 he travelled to Holland where he painted portraits of Peter the Great and the Empress Catherine Hermitage St Petersburg Pleased with his work the Tsar offered him a position at the court which Nattier again declined in order to remain in Paris where he lived and worked for the rest of his life Nattier entered the Académie royale in 1717 with Perseus showing the head of Medusa Musée des Beaux Arts Tours His preferred theme was the female allegorical portrait for example Madame de Lambesc as Minerva with the Count of Brionne Musée du Louvre Paris Nattier began to enjoy great popularity among the French aristocracy from the 1730s and from 1742 received his first commissions from the royal family They included the portraits of the daughters of Louis XV Madame Henriette as Flora and Madame Adélaïde as Diana for the palace at Versailles In 1747 his daughter married the painter Louis Tocqué with whom Nattier worked Although he painted one of his most ambitious works in 1755 the full length portrait of Madame Henriette playing the Viola Versailles Nattier s fame and success gradually diminished during the latter years of his career Search Advanced search Featured Products Catalogue of the

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