archive-org.com » ORG » M » MUSEOTHYSSEN.ORG

Total: 1651

Choose link from "Titles, links and description words view":

Or switch to "Titles and links view".
  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen Jean Baptiste Pater began his training in Valenciennes with the painter Jean Baptiste Guidé and with his father the sculptor Antoine Pater He moved to Paris around 1710 probably following Watteau a fellow citizen of Valenciennes Pater became a pupil of Watteau in Paris but the latter s difficult temperament led him to abandon his studies after a short time Around 1715 or 1716 Pater returned to his native city where he tried to work outside of the framework of the guild of Saint Luke of which he was never a member The constant legal problems that arose as a result encouraged him to return to Paris in 1718 Over the following years he must have maintained contacts with Watteau as he worked for some of his clients Pater completed Watteau s unfinished commissions after his death and was involved in Jean de Jullienne s project to reproduce all the artist s oeuvre in the form of prints In 1728 he was admitted to the Académie Royale as a painter of fêtes galantes At this period his work reveals the marked influence of Flemish painting while on occasions he borrowed compositions settings and clothing directly from Watteau s work which he imbued with the characteristic animation and joviality of Flemish scenes of social gatherings Among Pater s best works are Soldiers celebrating Musée du Louvre Paris Conversation galante Wallace Collection London and Italian Players in the Park Royal collection London In 1736 Pater was commissioned to paint a Tiger Hunt Musée Picardie Amiens for the royal apartments in Versailles Despite his success Pater lived in a constant state of economic difficulty and was obliged to produce large numbers paintings of subjects that were easy to sell such as women bathing series of the Seasons and dances Search Advanced

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/446 (2016-02-13)
    Open archived version from archive


  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    His place and date of birth continue to be debated and it has been suggested that he was born in either Dinant or Bouvignes both in southern Belgium The first documentary reference to the artist dates from 1515 when he entered the guild of Saint Luke in Antwerp He married twice first to Francisca Buyts daughter of the painter Edward Buyts de Dendermonde then to Johanna Noyts The date of Patinir s death is known to be before 5 October 1524 from a document of that date that refers to his second wife as a widow Patinir was one of the first artists to specialise in landscape as an independent subject While his compositions always include igures that refer to a narrative generally religious content they were sometimes added by other painters and are never more important than the landscape setting The backgrounds in these works are depicted from an elevated viewpoint with the horizon line located in the upper part of the composition creating a panoramic view Patinir s style is characterised by a minutely detailed technique in which every element is meticulously represented and by a preference for dark tones The landscapes in his works are comparable to those painted by earlier artists such as Jan van Eyck Gerard David and Bosch but he was the first artist to give them such prominence It is thought that before he moved to Antwerp Patinir may have work in Bruges in Gerard David s studio or at least within his circle of influence The records of the painters guild in Antwerp do not refer to any pupils of the artist but according to Dürer who visited Patinir during his trip around the Low Countries the artist had a flourishing studio in Antwerp with various apprentices He frequently collaborated with other

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/447 (2016-02-13)
    Open archived version from archive

  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    painters Of the great artists of the colonial period among them Benjamin West and John Singleton Copley he was the only one to remain in the United States following the Declaration of Independence Peale learned the saddle making trade and started out as a self taught artist in the 1760s by observing the work of other painters such as John Hesselius and also Copley whom he met in Boston in 1765 In 1767 he travelled to London thanks to the financial assistance of a group of businessmen and stayed there for two years to complete his training by studying with Benjamin West His subsequent development attests to the influence of eighteenthcentury English painting and the work of West in shaping his style On returning Peale worked as a portraitist in Maryland and from 1776 in Philadelphia He was politically active from the revolutionary period onwards He first took part in the Pennsylvania militia against the British forces and following independence in 1776 he portrayed prominent men and heroes of the new nation A notable example is the first official full length portrait of George Washington 1779 Philadelphia Pennsylvania Academy of the Fine Arts At the end of the eighteenth century Peale developed an interest in natural sciences and opened his own museum Although he did not give up painting completely he became considerably less active in this field only executing portraits of people belonging to his closest circle He handed over the baton to his brother James his nephew Raphaelle and his sons Rembrandt and Rubens Peale was involved in establishing the Pennsylvania Academy of the Fine Arts in 1805 and towards the end of his life in 1822 he portrayed himself in what would become one of his most representative works The Artist in his Museum Philadelphia Pennsylvania Academy

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/448 (2016-02-13)
    Open archived version from archive

  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in Nidden Year 1919 or 1920 Biography Listen The German Expressionist painter Max Pechstein first trained as a decorator s apprentice in Zwickau and moved to Dresden in 1900 to study at the Kunstgewerbeschule In 1906 he met Erich Heckel and through him joined Die Brücke The Bridge along with Ernst Ludwig Kirchner and Karl Schmidt Rottluff During the following years he shared their revolutionary ideas on art and their interest in primitive art and travelled with them to different parts of Germany to paint outdoors In 1907 he was awarded a scholarship to travel to Italy and subsequently visited Paris where he met the Fauve group and persuaded Kees van Dongen to collaborate with Die Brücke On returning to Germany he took up residence in Berlin to which the rest of the members of the group moved three years later In Berlin Pechstein had the opportunity to secure more commissions which materialised in the decoration of numerous private residences and in the design of stained glass windows During this time his work began to be publicly acclaimed ahead of the rest of the group Throughout his life he combined intense public activity such as the founding of the Neue Sezession after the Berlin Secession rejected some of his paintings and taking part in the Novembergruppe with temporary retreats to places isolated from civilisation such as Nidden and Leba in the Baltic Sea and Palau in the South Seas When the National Socialist party arrived in power in 1933 Pechstein was forced to abandon painting and was dismissed from his teaching post at the Preussische Akademie der Künste where he had worked since 1922 He was also included by the Nazi regime in the Munich Entartete Kunst Degenerate Art exhibition and his work was removed from the state museums After

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/449 (2016-02-13)
    Open archived version from archive

  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Henri joined the staff in 1902 In 1905 Du Bois went to Paris with his father where he studied at the Académie Colarossi under Steinlen When Du Bois returned to New York in 1906 he worked as a reporter for the New York American He was promoted to the position of art critic in 1909 a post he held until 1912 In 1911 Du Bois married Florence Sherman Duncan and their daughter Yvonne was born in 1913 Du Bois served on the publicity committee for the 1913 Armory Show and that year began to assist Royal Cortissoz on the New York Tribune Du Bois career as an art critic was paralleled by his painting career and in 1913 he joined the Kraushaar Gallery The Du Bois family lived in Nutley New Jersey between 1914 and 1917 A son William was born in 1916 the year Du Bois joined the New York Post In 1917 Du Bois exhibited at the Whitney Studio Show and the following year he had his first one man show there Du Bois began teaching in 1920 first at the Art Students League and later in his studio The Du Bois family moved to Connecticut in 1920 and then to France in 1924 In 1930 they returned and Du Bois went back to teaching He taught for year at the Art Students League again and in 1932 opened the Guy Pène du Bois School In the late 1930s he taught at the Amagansett Art School Long Island and at Cooper Union School of Art Du Bois received numerous awards and honours during the 1940s In 1951 he worked with Raphael Soyer on Reality A Journal of Artists Opinions He visited Paris with his daughter Yvonne for the last time in 1953 and died in Boston Massachusetts on

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/450 (2016-02-13)
    Open archived version from archive

  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in the workshop of an artisan painter and began studying art in the evening classes given at the municipal drawing school in his home town A scholarship enabled him to move to Paris where he enrolled at the École des Beaux Arts in 1872 and was taught by Alexandre Cabanel He greatly admired Puvis de Chavannes and he painted allegorical and mythological scenes which were exhibited at the Salon from 1880 to 1890 He was supposed to have met Seurat in 1884 and to have participated in the neo Impressionist movement since its creation in 1886 But his relationship with the neo Impressionist artists was documented only from the beginning of the 1890s a period when he took part in the exhibitions of the divisionist painters He exhibited at the Salon des Indépendants from 1891 and took part in the neo Impressionist exhibition of 1892 in the Le Barc gallery in Boutteville and in the Salon des XX in Brussels in 1893 In that period he was friends with Camille Pissarro and his son Lucien and with Maximilien Luce with whom he shared his political convictions Like them he contributed to the anarchist review Les Temps Nouveaux in particular with a lithography entitled Dawn 1896 signed with the pseudonym Jehannet In painting he adapted then the new technique to an idealised conception inherited from Puvis In his compositions with bathers similar to Puvisian Arcadias made in petit point he used the stippled stroke without following the principles of tone division or the use of pure colours From 1898 he earned a living as a drawing teacher for the Paris municipal council and soon moved back to a more traditional style always at the service of allegorical and mythological scenes Towards 1912 he took up once again the neo Impressionist style

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/451 (2016-02-13)
    Open archived version from archive

  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Title Afternoon Sailing Year ca 1890 Author John Frederick Peto Title Toms River Year 1905 Biography Listen The American painter John Frederick Peto started out as a self taught artist Raised by his grandmother with whom he lived until his twenties he showed a great interest in drawing and painting from childhood His first dated work was executed in 1875 two years after he began attending the Pennsylvania Academy of the Fine Arts During this period he came into contact with William M Harnett who had then moved back to Philadelphia and like Peto was studying at the academy Harnett s still lifes and his use of the trompe l oeil technique had a decisive influence on the artistic development of the painter who went on to show a preference for the same genre Peto married in 1887 and two years later he and his wife went to live in Island Heights a summer resort on the New Jersey coast where he spent the rest of his life He died in 1907 from a painful illness that affected his kidneys after spending his final years completely out of contact with the art world Peto was not an acclaimed artist in his lifetime He did not enjoy success with the general public or with critics and after his death his work was plunged into oblivion Although his style and his personal enigmatic iconography are now distinguished from the work of his contemporary Harnett for a long time many of Peto s paintings were attributed to the latter Only Alfred Frankenstein s study on trompe l oeil in the 1940s recognised Peto to be Harnett s best disciple and one of the most prominent still life painters of nineteenth century America Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/452 (2016-02-13)
    Open archived version from archive

  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    of Giulia Lama Year ca 1715 20 Author Giambattista Piazzetta Title Portrait of a Young Woman in Profile with a Mask in her Right Hand Year ca 1720 1730 Author Giambattista Piazzetta Title Self portrait Year 1730s Biography Listen Giambattista Piazzetta was a Venetian painter and graphic artist who began his training in the studio of his father a well known wood carver Having decided to opt for painting he moved to the studio of Antonio Molinari where he coincided with two other talented pupils Federico Bencovich and Giulia Lama Piazzetta is documented in Bologna in 1703 where he continued his studies with Giuseppe Maria Crespi and his works of this date deploy a pronounced chiaroscuro Around 1705 he was once again in Venice and his name appears in 1711 in the records of the painters guild or fraglia Among Piazzetta s works of this period is The Martyrdom of Saint James the Apostle painted for the Venetian church of San Stae In the late 1720s his palette began to lighten through the use of softer more luminous tones evident in the works he painted for Santa Maria della Fava Among Piazzetta s most important compositions are a series of genre paintings all of which are considered masterpieces The Fortune Teller Gallerie dell Accademia Venice Pastoral Scene Art Institute of Chicago and Idyll on the Beach Wallraf Richartz Museum Cologne Among his works as an illustrator are the illustrations for Tasso s Gerusalemme liberate published in 1745 by one of Piazzetta s patrons Giovanni Battista Albrizzi Between 1740 and 1750 his style became more academic with pronounced effects of chiaroscuro Piazzetta was responsible for a new approach to genre subjects and following his death his compositions would be imitated by other painters until the end of the 18th century Search

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/453 (2016-02-13)
    Open archived version from archive



  •