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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the foremost practitioners of the modern art that emerged in the United States in connection with the photographer and gallery owner Alfred Stieglitz Throughout her life she created a personal style that public and critics identified as the expression of the new native American art O Keeffe studied at the Art Institute of Chicago from 1905 to 1906 and at the New York Art Students League in 1907 but was forced to abandon her classes and began to work as an illustrator in Chicago In 1911 she became a primary school art teacher an activity she combined with attending Alon Bement s summer courses at the University of Virginia In 1914 she spent a few months in New York and attended the Teachers College of Columbia University Thereafter she remained in contact with the New York avant garde through the periodicals Camera Work and 291 published by Alfred Stieglitz and her correspondence with Anita Pollitzer whom she sent examples of her first abstract works on paper in 1915 O Keeffe held her first solo exhibition at 291 in 1917 and moved to New York soon afterwards thanks to Stieglitz s patronage She went to live with him in 1918 and they married in 1924 From then until 1946 the year Stieglitz died she showed her work practically every year at his various galleries During the 1920s Georgia O Keeffe attained artistic maturity in a particular combination of symbolism abstraction and interest in photography In 1924 she produced Petunia No 2 Santa Fe Peters Gallery the first of her flower pictures in large format that soon became her most highly acclaimed works Shortly afterwards she started on a series of urban landscapes centered in New York City and executed her first painting of bones in 1931 In 1949 she settled permanently

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/437 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Houbraken he trained in the studio of the painter Nicolaes Berchem where he possibly coincided with Pieter de Hooch between 1646 the year that Berchem returned from Italy and 1655 when Ochtervelt is again documented in Rotterdam marrying Dirkje Meesters that year His earliest works reveal the influence of the Italianate painters including his master Berchem Jan Baptist Weenix and Ludolf de Jongh From the mid 1650s Ochtervelt began to paint genre scenes located in gardens with classical buildings works that are notable for the monumental figures and which recall the style of Karel du Jardin They also use a dramatic almost theatrical lighting characteristic of the Dutch Caravaggisti Ochtervelt gradually created his own style in which the figures and in particular the textures of the draperies are painted with great care and painstaking detail in a manner close to that of Frans van Mieris the Elder Ochtervelt s principal contribution to Dutch genre painting lies in his interiors of wealthy bourgeois houses including The Grape Seller Hermitage St Petersburg and Street Musicians at a Doorway Saint Louis Art Museum in which groups of figures usually musicians or street vendors are seen through a doorway on the street Such scenes usually located on the threshold of a house allowed the artist to explore contrasts and connections between figures of different social classes It is not known at what date Ochtervelt entered the guild of Saint Luke in Rotterdam but in 1667 he is mentioned among the candidates for presidency for the period 1667 to 1669 In 1674 he moved to Amsterdam where he worked until his death in 1682 His late works conform to the more elaborate style of Dutch art of the last third of the 17th century when the classicising manner became to prevail over Dutch realism Search

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/438 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    reference to the artist relates to his marriage to Agnes Seghers in 1512 Three years later he was already established as an independent master in Brussels and that year received his first important commission an altarpiece for the chapel of the Confraternity of the Holy Cross in the church of Saint Walburga in Veurne Van Orley s work for the church came to the attention of Margaret of Austria governor of the Low Countries who from that date onwards commissioned him to produce numerous portraits of members of the royal family A document of 1516 records seven portraits of Charles I by the artist The city of Brussels considered at that date the principal centre for the manufacture of tapestries began to be gradually eclipsed by Antwerp which was emerging as the leading centre for painting Van Orley took advantage of this situation and became one of the principal tapestry designers in Antwerp registering as a master in the painters guild of that city in 1517 One year later he was appointed official court painter to Margaret of Austria retaining this position under her successor Mary of Hungary Together with Gossaert Van Orley is considered one of the leading figures within the Italianate trend in Flemish painting of the early 16th century His work was notably influenced by Raphael whose style he may have absorbed through prints by Marcantonio Raimondi and by Raphael s own tapestry cartoons given that no trip by Van Orley to Italy is recorded He may also have derived inspiration from the figure of Dürer whom he met in Brussels in 1520 In the last years of his career from 1525 onwards Van Orley focused most of his activities on designing tapestries and stained glass Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/439 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    is known of his early training but Houbraken states that he studied with Frans Hals in whose studio he coincided with the painter Adriaen Brouwer Van Ostade s first signed work Peasants playing Cards Hermitage St Petersburg dates from 1633 In 1634 the artist registered in the painters guild in Haarlem His early works depict lively scenes of peasants in rowdy taverns compositions that reveal the influence of Brouwer and of Rembrandt s use of chiaroscuro In 1636 Van Ostade married Machtelje Pietersdr in Haarlem who died six years later At this period the artist s work became increasingly organised with regard to composition and pictorial depth and in the 1640s his interiors acquired greater atmosphere and sense of space Around the mid century Van Ostade s style evolved towards a more idealised one and his paintings featured tranquil socially respectable figures possibly responding to his own more elevated social status and to a new type of clientele In 1667 having converted to Catholicism Van Ostade remarried this time to Anna Ingels a wealthy Catholic from Amsterdam In 1647 and 1661 he was president of the painters guild and in 1662 was appointed dean Van Ostade enjoyed an elevated reputation as a painter and a comfortable economic situation for the remainder of his life The paintings of his last period depict respectable country people in comfortable surroundings He also painted a number of portraits of both individuals and groups and elaborate luxurious still lifes in addition to his considerable output as a printmaker Van Ostade collaborated with Pieter Saenredam on a number of paintings and with Jacob van Ruisdael on his landscapes His most important pupil was his brother Isack van Ostade although he also had a number of followers including Thomas Wijck Cornelius Bega Michiel van Musscher Jan Steen

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/440 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in Haarlem in 1621 younger son of Jan Hendrick van Eindhoven a linen weaver and younger brother of Adriaen van Ostade Little is known of his training but Houbraken states that he learned from his elder brother In the early years of his career Isack painted genre scenes very similar to the interiors in tones of brown and grey produced by his brother at that date In the early 1640s he began to specialise in compositions that combined genre motifs and landscape and from 1642 interiors are not be found in his oeuvre In 1643 Isack van Ostade entered the gild of Saint Luke in Haarlem and that same year began to adopt themes found in the work of Pieter van Laer a Dutch painter who specialised in scenes of street life among the humbler social classes Isack van Ostade s style underwent a complete transformation and he made use of the delicate technique used by the Italianate painters to depict figures and buildings This is evident in Tavern with Horse at a Drinking Trough Rijksmuseum Amsterdam Scenes of travellers resting at the door of an inn became a recurring motif in his work as did winter landscapes in which the influence of painters such as Jan van Goyen and Salomon van Ruysdael is evident Isack van Ostade also collaborated with other artists painting figures in their compositions particularly for Jacob van Mosscher He died in Haarlem in 1649 at the early age of twenty eight Many of his unfinished works were completed by his brother Adriaen Despite his brief career of only a decade Isack van Ostade exercised a considerable influence on the work of other painters including Claes Molenaer Cornelis Decker Roelof van Vries Jan Wijnants and Johannes Oudenrogge Search Advanced search Featured Products Catalogue of the Madrid

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/441 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Palma Vecchio Title The Virgin and Child with Saints and a Donor Year ca 1518 1520 Biography Listen Palma Vecchio whose real name was Jacopo Negretti was the first representative of a family of artists active in the Veneto until the first quarter of the 17th century Born in 1479 or 1480 in Serina near Bergamo by 1510 he is documented in Venice although he probably moved there prior to that date Palma Vecchio lived and worked in Venice for the remainder of his career Nothing is known of his early training although the style of his first works suggests that he may have trained with one of the Bergamesque painters living in Venice possibly Andrea Previtali By 1513 he was already a member of the Scuola di San Marco Despite the fact that none of his works is signed or dated their chronology is easy to establish through the evolution of the artist s own highly individual style His early works are notably influenced by Giorgione but from 1520 Titian became his principal model Palma specialised in the genre of the Sacra conversazione already used by Titian with its horizontal format and beautiful serene figures set against a landscape background Among his finest examples are The Virgin and Child with Saints Kunsthistorisches Museum Vienna Sacra conversazione Museo Thyssen Bornemisza Madrid and The Holy Family with Mary Magdalen and the infant Saint John the Baptist Galleria degli Uffizi Florence Another Titianesque motif frequently used by the artist was the depiction of halflength female figures in which Palma focused on the woman s sensual beauty and reduced the allegorical content found in Titian s versions The two finest examples of this group both of which depict the same woman are in the Kunsthistorisches Museum Vienna and the Museo Thyssen Bornemisza Madrid

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/443 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    artists such as Gregorio di Cecco Benedetto di Bindo or Martino di Bartolomeo He is first mentioned in a document of 1417 relating to a payment for a Book of Hours Giovanni di Paolo s work particularly his early output reveals the influence of late Gothic painting particularly the Sienese school with its sinuous lines and interest in decorative elements which he was able to combine with imaginative brilliance His work evolved stylistically partly through his knowledge of the work of artists such as Gentile da Fabriano who lived in Siena from 1426 to 1427 evident in a new emphasis on naturalist details Clear examples of this evolution are the paintings for the church of San Domenico in Siena now Pinacoteca Nazionale Siena of around 1420 The Pecci Polyptych now divided between the Pinacoteca Nazionale Siena and the parish church of Castelnuovo Berardenga of 1426 and the Branchini Polyptych Norton Simon Museum Pasadena of one year later In 1441 Giovanni di Paolo was made rector of the Ruolo dei Pittori in Siena while during that decade he collaborated with Sano di Pietro and formulated his mature style During these years the influence of Sassetta and the new generation of Sienese painters as well as some elements of Florentine painting are to be seen in his work His compositions now reveal a greater monumentality in the forms and a more pronounced sense of three dimensionality From this period onwards Giovanni di Paolo created most of his masterpieces and his workshop received numerous commissions They include the panel of The Creation and Expulsion from Paradise The Metropolitan Museum of Art New York while slightly later is a series of ten scenes from the life of Saint Catherine now divided between various collections His last works were less innovative and reveal a greater

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/234 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the drawing section in 1848 Between 1850 and 1851 he was commissioned to produce the series of lithographs Thirty Views of Castles around Piacenza Lunigiana and Parma His draughtsmanship was noticed by the artist Paolo Toschi a highly respected cultural figure who encouraged the young Pasini to find a new life in Paris as Parma in the years after the death of the Duchess Maria Luigia 1851 offered very few work opportunities Thus he joined the workshop of Charles and Eugène Ciceri The new world which opened up to him offered many opportunities as he adhered to the so called school of Barbizon In 1853 he was admitted to the Paris Salon thanks to the lithograph The Evening which enabled him to join the workshop of the famous Chassériau who shortly afterwards in February 1855 recommended his name to replace his own as the artist that was to accompany the mission of the plenipotentiary minister P Bourée to Persia The ten months spent in Teheran and the return journey through the north of Persia and Armenia before reaching the port of Trabzon marked for ever his career as an orientalist painter Back in Paris his artistic qualities were soon acknowledged and he was appreciated for being a talented colourist and even more talented painter of light an impeccable draughtsman and a rigorous landscape composer a lively narrator and a strict illustrator of reality a reality in which there are hardly any traces of romanticism left and in which the decadence and the symbolist borrowings of the end of the century exoticism are entirely absent In 1859 Pasini set off on his second trip to the Mediterranean Middle East stopping at Cairo crossing the Arabian desert of Sinai along the Lebanese coasts and ending in Athens In 1860 he married Marianna Celli who remained his lifelong companion and who gave birth to a daughter Claire in 1862 In the summer of 1865 he spent some time in Cannes where he painted bright landscapes of the Riviera He left again for Constantinople in October 1867 summoned by the French Ambassador Bourée his close friend and patron and remained there for nine months He returned to Turkey the following year to execute the four paintings commissioned by Sultan Abdul Aziz Due to the war of 1870 he returned to Italy and established himself permanently not in his native Parma but in Cavoretto on the hills around Turin He was on his way to Turkey again in 1876 when his journey was interrupted in Vienna due to the death of Sultan Abdul Aziz who had summoned him His tranquil and productive life in his ample workshop in Cavoretto was punctuated by trips to Venice and two sojourns in Spain in 1879 and 1883 The self portrait he sent to the Uffizi in Florence is from 1888 After that he embarked upon his series of Piedmontese paintings of Cavoretto and Issogne In 1895 he took part in the Sponsorship Committee of the Venice Biennale and

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/445 (2016-02-13)
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