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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Theodore Robinson Biography and Works Author Theodore Robinson Born Dead Irasburg 1852 New York 1896 Date Works Author Theodore Robinson Title Capri Year 1890 Author Theodore Robinson Title The Old Bridge Year 1890 Biography Listen The painter Theodore Robinson is considered a prominent figure in American Impressionism although his work received little recognition during his lifetime He grew up in Evansville in the state of Wisconsin and in Boston where he studied art for a brief period In 1874 he moved to New York and attended classes at the National Academy of Design From 1876 to 1878 Robinson lived in Paris where he studied under Émile Auguste Carolus Duran and Jean Léon Gérôme In 1879 shortly before returning to the United States he visited Venice where he met James Whistler Back in New York Robinson began to teach at Mrs Sylvanevus Reed s School and collaborated with John La Farge in executing mural paintings and mosaics In 1881 he became a member of the Society of American Artists During the summer of 1884 Robinson spent a long spell in Barbizon and the imprint of the school of that name became evident in his work Between 1887 and 1892 he lived most of the time in Europe mainly in the French village of Giverny There he met Claude Monet who became a good friend and whose influence was instrumental in steering his work towards a personal interpretation of Impressionism In 1892 Robinson settled again in New York and taught at the Pennsylvania Academy of the Fine Arts in Philadelphia and other art schools He died young in 1896 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 Recommended artists

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/488 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the sculptor moved to Brussels where he achieved public acclaim with the marble Man with a Broken Nose that he exhibited at the 1872 Brussels Salon In 1875 Rodin travelled to Italy where he remained almost a year studying the classical examples of Donatello and Michelangelo There the artist conceived his first celebrated masterpiece The Age of Bronze which he presented in its first state at the 1877 Parisian Champs Élysees Salon under the title of The Vanquished The year 1880 marked Rodin s official recognition by the French State which commissioned him a monumental doorway for a proposed Museum of Decorative Arts that never came to be realised The gate credited as one of his major achievements was given the title of the Gates of Hell During the extended genesis of the Gates of Hell Rodin produced a great number of figures that he often retouched and later recontextualised as independent works such as by the several versions of both The Thinker and The Kiss In 1884 Rodin was requested by the mayor of Calais to execute a memorial that would celebrate the sacrifice of The Burghers of Calais The massive sculpture was presented at the exhibition Monet Rodin that opened in Paris in 1889 In 1890 Rodin together with Carrière Meissonnier and Puvis de Chavannes founded the Société Nationale des Beaux Arts By that time Rodin s growing notoriety among the middle and upper classes brought him a number of portrait commissions for both private and public display which culminated with the execution of the Bust of Balzac in 1898 The sculptor s first major exhibition was held at the 1900 Exposition Universelle where he presented more than 150 works In that instance Rodin gained a remarkable success among both the French and the foreigner public enacting a

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/489 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    came across the work of the Barbizon School painters although his plein air landscapes from the beginning of the 1880s still maintain the large format typical of history painting After finishing his studies in 1884 Rohlfs began to free his palette giving up the use of black and increasingly using a more sketch like technique The decisive turn in his painting took place in 1900 when through Henry van de Velde he met Karl Ernst Osthaus A patron and collector Osthaus owned an important collection of works of modern and primitive art including paintings by Monet Signac Cézanne Gauguin and Van Gogh which Rohlfs was able to contemplate In 1901 when Osthaus opened his private museum the Folkwang Museum in Hagen he invited Rohlfs and asked him to teach painting in an academy adjacent to the museum a project which was never put into practice As a result of his contact with modern art Rohlfs painted his first pointillist works in those years Towards 1905 he befriended Emil Nolde who introduced him to the paintings of the Brücke artists In the summer of 1906 they worked together in Soest near Hagen where Rohlfs painted his first expressionist works In 1907 Rohlfs entered the Sonderbund westdeutscher Kunstfreunde und Künstler works in presided by Osthaus and in 1911 he joined the Neue Berliner Secession During those years Rohlfs reached his artistic maturity executing compositions with figures with thick angular outlines and bright translucent colours World War I was for Rohlfs a period of pessimism and depression as he was plagued by illness and deafness Paintings with religious subjects absent from his previous works began to appear After the end the war came a new period of vital affirmation and optimism with depictions of flowers In addition the density of oil painting gave

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/630 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    early 1640s when the Lateran Baptistry was painted and where the Pistoian artist with whom Romanelli had good relations Giacinto Gimignani was also working Romanelli meanwhile also frescoed the hall of Countess Mathilda in the Vatican In 1638 when still very young he was elected Principal of the Accademia di San Luca an achievement undoubtedly assisted by the protection of a patron as powerful as Cardinal Francesco Barberini and by the esteem in which he was held by Bernini Among the many works commissioned from him the one which stands out is perhaps his altarpiece of the Presentation of Mary in the Temple for Saint Peter s 1638 1642 now in Santa Maria degli Angeli a highpoint in its fusion of Cortona with Emilian classicism as in Domenichino melded into a sort of stereotypical formula of Romanellian ideal beauty which constitutes the specific style but also the personal limits of this painter Thanks to Barberini Romanelli was constantly employed in supplying cartoons for the tapestry workshop founded by the cardinal In 1644 the artist produced an altarpiece of The Assumption of the Virgin for the high altar of the Swiss abbey of Sankt Gallen The high point of Romanelli s career was in 1646 when he was called to Paris by Cardinal Barberini who had moved there following the death of his uncle Pope Urban VIII The decoration of the vaults of the upper gallery of the palace of Cardinal Mazarin now the Bibliothèque Nationale with Stories from Ovid s Metamorphoses was the first superb accomplishment of his first French sojourn Romanelli s blend of the art of Cortona and classicism would prove extremely influential on French painting But Rome when he returned to it proved no less prodigal with regard to prestigious commissions These included the frescoes painted in

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/490 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    his principal assistant and collaborator He worked with him on the Vatican Stanze and although it is not easy to distinguish Romano s hand he is considered to have executed a significant part of the Stanza di Eliodoro the Stanza dell Incendio and the Sala di Constantino From 1518 to 1519 while Raphael was engaged on devising the programme for the decoration of the Loggia of Leo X in the Vatican Giulio was responsible for supervising the artists to execute the project He also worked with Raphael on the execution of a number of easel paintings On Raphael s death in 1520 Giulio Romano became head of the studio together with the young Giovan Francesco Penni He continued with the decoration of the Sala di Constantino painting The Battle of the Milvian Bridge During this period Giulio designed various Roman villas for prestigious patrons such as Cardinal Giulio de Medici the future Clement VII In 1524 Giulio Romano became the painter and architect to the court of Federigo Gonzaga in Mantua the city to which he moved and where he remained until his death in 1546 The artist became the leading figure in the city s cultural life responsible for organising and producing the widest range of artistic projects The most important of these was the construction and decoration of the Palazzo del Tè between 1527 and 1534 The palace was designed as a recreational residence for the Gonzaga family on the edge of the city The decorative scheme extends through all the principal rooms of the palace of which particularly notable for their quality and dramatic compositions are the frescoes in the Sala di Psiché and the Sala dei Giganti Years later between 1536 and 1538 Giulio Romano undertook another major decorative scheme for the Gonzaga namely the Apartamento

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/491 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    as a poster painter while a student at the Minneapolis Institute of Arts familiarised him with advertising techniques and marked his later style of painting Rosenquist moved to New York in 1955 to study at the Art Students League and the following year began to work as a commercial painter on Broadway as he had done in Minneapolis In 1960 he rented a small studio in Manhattan where artists such as Ellsworth Kelly and Robert Indiana also worked The Green Gallery in New York held his first one man show in 1962 and from then onwards his works were included in the group exhibitions that progressively shaped the phenomenon of Pop Art As well as devoting himself to painting from the 1960s Rosenquist experimented with sculpture and assemblage He was also interested in lithography as an ideal means of disseminating his pictorial ideas and produced some of the largest works ever created in this medium In 1965 one of Rosenquist s paintings the colossal F 111 1964 65 New York The Museum of Modern Art attracted the attention of international critics In this as in many other works Rosenquist delved into a field as yet unexplored by many contemporary Pop artists political and social themes By means of an apparently irrational juxtaposition of images from mass culture Rosenquist seemed to borrow elements from Surrealism to show his critical and ironic view of the world around him Using an impersonal technique a legacy of his years as a poster painter he produced images that were fragmented and dissected from such a close viewpoint that they seemed to be painted using a magnifying glass Once again Rosenquist distanced himself from artists like Warhol and Lichtenstein whose approach to objects was more direct and immediate in order to show through a combination of

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/492 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    tragedy and ecstasy Markus Rothkovitz was born in Russia into a Jewish family who emigrated to Oregon in 1910 and from 1940 onwards he signed his works with the name Mark Rothko Despite studying under Max Weber at the Art Students League in New York in 1924 he always considered himself a self taught artist From 1929 to 1952 he taught art at a few New York centres for which he developed his own teaching programme In the 1930s his painting was dominated by a type of Expressionist figuration In 1935 together with Adolph Gottlieb Ilya Bolotovsky and Louis Harris he founded The Ten a group whose main purpose was to organise exhibitions for its members The shows Cubism and Abstract Art and Fantastic Art Dada Surrealism staged in 1936 by Alfred J Barr at The Museum of Modern Art had a huge influence on him and his work turned towards Surrealism After the Second World War he met Clyfford Still and together they began to explore the possibilities of color field painting By 1950 Rothko had already eschewed figurative references and had begun to develop his own personal brand of abstraction that would characterise his painting from then onwards In his large canvases broad rectangular fields of colour with blurred edges float upon monochromatic grounds Rothko became affiliated with Peggy Guggenheim s gallery Art of This Century and soon began to be hailed as one of the leading members of the emerging School of New York In 1961 The Museum of Modern Art in New York staged a retrospective of his painting Throughout his life Rothko received several commissions for mural paintings for Harvard University Cambridge in 1961 and for a chapel in Houston in 1964 which became the Rothko Chapel following the artist s death At the end

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/493 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Lethière both of them painters from the Académie However he soon turned away from the historical landscapes of his masters In the Musée du Louvre he copied works by Claude Lorrain Adriaen van de Velde and Karel du Jardin and he studied the work of John Constable In 1829 he discovered the Woods of Fontainebleau and the following year he travelled to Auvergne where he made his first sketches of wild nature Rousseau presented his compositions regularly at the Paris Salon from 1831 to 1836 the year when the jury refused his monumental Cows Coming Down a work which was exhibited by the painter Ary Scheffer in his own atelier Following his Parisian failure that same year he moved to the small village of Barbizon near the Woods of Fontainebleau From then on with the exception of his travels around France but never to Italy Rousseau alternated his sojourns in Paris and Barbizon where he worked with Jules Dupré Narcisse Diaz de la Peña Jean Franà ois Millet and other members of the so called Barbizon School of which he was the leader Between 1836 and 1841 his paintings were systematically excluded from the Salons which made him stop sending landscapes to the Parisian competitions until French artistic policy changed after the 1848 Revolution In the 1849 Salon his painting Avenue of Trees Forest of l Isle Adam received a first class medal However he had to wait until 1852 to receive the long awaited Cross of the Légion d Honneur In 1855 his landscapes were shown at the Paris Exposition Universelle in a room devoted entirely to him which gave him some prestige However financial problems led him to give up some of his dearest works in public auctions held in 1850 1861 and 1863 His economic situation did

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/494 (2016-02-13)
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