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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    was one of the leaders of the Dada movement He gave up studying architecture in his hometown to move to Dresden where he visited the Kunstakademie with the aim of becoming a painter After initially embracing Impressionism followed later by Expressionism in 1918 he exhibited his first Cubo Futurism works at Der Sturm gallery in Berlin The following year he used waste materials to build his first collages and assemblages which he would call Merz a name derived from a fragment of the word kommerz that he had used in one of his collages Merz became synonymous with the new multidisciplinary art he went on to produce unfettered by traditional artistic conventions and gave its name to his poems his magazine his theatre and his sculptural architectural constructions Merzbau He himself defined this artistic process as a consequence of the historic moment in which it had befallen him to live The Great War is over in a certain manner the world is in ruins and so I pick up its pieces I build a new reality Schwitters maintained close ties with the Dadaists of Zurich and Berlin and in 1922 through Theo van Doesburg he met the members of De Stijl The imprint of the geometric art of the Dutch painters and the powerful impact of the exhibition of contemporary Russian art he had seen at the Van Diemen gallery in Berlin the previous autumn spurred him to embrace Constructivist ideas In 1927 he established the group Die Abstrakten Hannover together with Friedrich Vordemberge Gildewart He took part in the activities of the Cercle et Carré group in 1930 and joined Abstration Création two years later Under pressure from the Nazis in 1937 Schwitters was forced to abandon Germany and settle in Norway only to leave the country following the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/520 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the painter Cornelis Buys I in Alkmaar before moving to Amsterdam in 1512 where he entered the studio of Jacob Cornelisz van Oostsanen as an apprentice According to Van Mander Van Scorel also trained with Jan Gossaert who was working in Utrecht from 1517 In 1519 Van Scorel embarked on a lengthy trip whose final destination was Venice passing through Cologne Speyer Strasbourg Basel Nuremberg where he met Dürer and studied his work and Ratisbon In 1520 he set out from Venice for the Holy Land recording his impressions in a notebook of which some pages have survived On his return from Jerusalem Van Scorel remained for some time in Venice studying the work of Giorgione and Palma Vecchio In 1522 the Dutchman Adriaan Florensz Boeyens was elected Pope Adrian VI and Van Scorel consequently moved to Rome where he was appointed superintendent of the Vatican collections Van Mander states that during this period the artist studied classical ruins and sculpture as well as the work of Michelangelo and Raphael Van Scorel returned to the Low Countries in the summer of 1524 and settled in Utrecht where he became vicar of the church of Saint John and subsequently a canon Apart from a trip to the southern Netherlands and France he remained in Utrecht for the rest of his career and was one of the artists who most disseminated the Italian High Renaissance in Holland Van Scorel was a highly regarded prestigious artist in his own lifetime and ran an extremely active workshop Among his pupils were some of the leading names of the following generation including Antonis Mor and Maerten van Heemskerk Many of Van Scorel s religious compositions particularly his altarpieces were destroyed during the iconoclastic riots Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/511 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    a painter in Munich Giovanni Segantini s oeuvre and gradually the representation formulas of Italian divisionism marked the work of the young Segal around 1900 From 1908 his transition to the expressionist language became visible in a new colour range and a different brushstroke In 1904 he moved to Berlin again to marry his cousin Ernestine Charas they had two children Walter 1907 and Marianne 1908 In 1907 he exhibited a painting for the first time at the Berliner Secession In 1910 he joined the Neue Berliner Secession and took part in very different exhibitions and initiatives of the expressionist circles especially around Herwarth Walden owner of the Der Sturm gallery Religious themes had a prevalent place in the works he exhibited at the Werkbund in Cologne in 1914 the last exhibition in which he took part before immigrating to Switzerland where he spent the war years Segal and his family settled in Ascona a centre of pacifism of political anarcho idealism and of artistic revolution since the creation around the turn of the century of the philosophical poetic and vegetarian community Monte Verità The egalitarian ideas of the painter developed and matured with the social model of Ascona and became the definition itself of his art It was then that Segal worked out his theory of the equi balance in the composition which marked an extraordinary change in his oeuvre Zurich where he began to participate in the exhibitions at the Cabaret Voltaire thanks to his connections with Hans Arp and Hugo Ball was the second place that marked Segal s permanence in Switzerland He did not go back to Berlin until February 1920 On his arrival there he opened a painting school and his commitment to the teaching of art an activity in which he excelled began to have special importance He developed his artistic activity in the context of the Novembergruppe the vanguard association created in Berlin in 1918 In 1922 he began experimenting with his prismatic painting a formula for pictorial images deriving from his definition of equi balance and from his exchange of ideas with his friend the Goetheian philosopher Salomo Friedlà nder Mynona Prismatic painting marked Segal s artistic production in the period between the two wars in which he achieved maximum recognition He also experimented with other models of representation such as optical relief and new naturalism In 1933 Segal and his family being Jewish abandoned Germany and moved to Palma de Mallorca where they remained until October 1936 During his exile in Spain Segal held various exhibitions in Palma and in Barcelona and worked frequently on Mediterranean themes But in 1936 the outbreak of the Spanish Civil War forced him to emigrate again London was his next refuge There he opened a painting school which he moved to Oxford in 1939 to flee the threat of imminent bombings In 1940 the British authorities deported him to the Isle of Man where he was detained for several months Segal returned to London with

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/628 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    scant amount of available information Only eleven works by the artist have survived and none are dated which has made the chronology of his oeuvre difficult to establish Son of Pieters Segers a textile dealer from Haarlem Hercules Segers was brought up in the Mennonite religion His date of birth has been deduced from a series of documents It is known that following the Spanish occupation in 1596 the family fled from Haarlem for religious reasons and moved to Amsterdam In 1606 the artist was in the studio of the painter Gills van Coninxloo through whom he became familiar with the work of the landscape painters Joos de Momper Paul Bril and Pieter Bruegel the Elder In 1612 Segers returned to Haarlem where he registered in the guild of Saint Luke Two years later he assumed custody of his illegitimate daughter Nelletje The following year in 1615 Segers married Anneken van der Brugghen who was sixteen years his senior During the 1620s Segers is regularly mentioned as a painter in Amsterdam and from 1625 numerous documents refer to his debts In 1631 he was obliged to sell his house by court order probably to pay his creditors after which he moved to Utrecht In 1632 the artist lived in The Hague remaining there until at least 1633 which is the last known reference to his activities It is also known that he married again probably in The Hague The date of Segers death has been established as between 1633 and 1638 the year when Cornelia de Witte is referred to in a document as his widow Among collections that housed works by Segers were those of the governor of the Low Countries the king of Denmark Rembrandt and the royal court at The Hague Search Advanced search Featured Products Catalogue

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/522 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Pont Aven at the end of the summer he met and befriended Émile Bernard and Paul Gauguin who only the previous month had laid the foundations for Synthetism with works like Breton Women at the Pardon and Vision after the Sermon respectively At the beginning of October guided by Gauguin Sérusier painted Bois d Amour in Pont Aven an innovative work in its use of flat surfaces in arbitrary colours Back in Paris Sérusier showed Bois d Amour in Pont Aven also known as The Talisman due to its referential character to his fellow students at the Académie Julian Maurice Denis Pierre Bonnard Paul Ranson and Henri Gabriel Ibels Thus he proposed to them the creation of the artistic fellowship of the Nabis a term which in Hebrew means prophet in which he played an important role as an artist and as a theoretician In the summers of 1889 and 1890 Sérusier returned to Brittany to work with Gauguin There he was deeply moved by the simple and pious life of its inhabitants After Gauguin s departure for Tahiti Sérusier established his atelier in the towns of Huelgoat 1891 and Chà teauneuf du Faou 1893 where he painted Breton women usually busy with their everyday chores allowing himself to be guided by the example of his master and by his interest in Japanese prints His trips to Paris were reduced to short sojourns during the winters in order to exhibit with his fellow Nabi artists In 1898 thanks to the painter Jan Verkade who was close to the Nabi group Sérusier visited the monastery of Beuron Germany where he was taught by the artist and Benedictine monk Desiderius Lenz From then on he developed a complex theory on the use of colour consisting in the separation of warm and cold

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/523 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    17 1922 Year 1922 Author Victor Servranckx Title Opus 30 1922 Factory Year 1922 Biography Listen Victor Servranckx became one of the first Belgian artists to espouse abstraction He studied at the Brussels Académie des Beaux Arts from 1913 to 1917 and after completing his studies began working at the Peters Lacroix wallpaper factory where he designed abstract motifs Servranckx s lengthy collaboration with this firm until 1925 where he met René Magritte spurred him to take an interest in interior decoration and interior design Also during this period he exhibited his paintings for the first time at the Giroux gallery in Brussels in 1917 In 1918 Servranckx began to exhibist his oeuvre in L Effort Moderne Léonce Rosenberg s Paris gallery which had been a meeting place for the members of the Cubist movement since the First World war He met Filippo Tommaso Marinetti Theo van Doesburg Fernand Léger and Marcel Duchamp and thereafter his work was shown in numerous solo and group exhibitions In 1926 thanks to Marcel Duchamp he took part in the exhibitions of the Société Anonyme in the United States and received an invitation from László Moholy Nagy to teach at the New Bauhaus in Chicago which he rejected Servranckx produced abstract sculptures and collages and was an active contributor to the magazines Sept Arts and Opbouwen From 1932 to 1935 he taught at the École des Arts Industriels et Décoratifs d Ixelles and although his work had a largely hostile reception in Belgium his influence on subsequent generations of artists was significant He was selected at the 1948 and 1954 Venice Biennales and in 1965 shortly before his death the Musée d Ixelles held a retrospective of his work Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/524 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Gino Severini belonged to the Futurist movement from the outset and the many years he lived in France made him an important bridge between Italian and French art He grew up in Cortona and in 1899 he and his mother moved to Rome where he started his training at a drawing school known as Gli Incurabili In 1901 he met Umberto Boccioni with whom he began to frequent the studio of Giacomo Balla who introduced him to the Divisionist technique of Georges Seurat which influenced him for much of his life Dissatisfied with the Roman art Scene Severini went to live in Paris in autumn 1906 There he met the habitual Montmartre artists such as Maurice Raynal Pablo Picasso Juan Gris Georges Braque and Max Jacob and this contact brought his work closer to Cubism In 1910 he received a letter from Boccioni inviting him to sign the Futurist Manifesto as a result of which he embarked on a new path in an attempt to explore dynamism and speed This evolution led to an increasingly less figurative art in which his primary interest was to explore the effects of light as energy Soon afterwards he signed the Second Futurist Manifesto and took part in the group exhibitions In 1914 he wrote his own manifesto Les Analogies plastiques dans le dynamism which was not published until much later With the outbreak of the First World War Severini s works gradually became more solid and volumetric In 1916 he wrote Du Cubisme au Classicisme which illustrated his own return to the pictorial tradition of the Italian Renaissance During the following years he produced mural paintings in both Italy and France as well as mosaics prominent among which are his collaborations in the monumental works erected under Benito Mussolini during the 1930sWhen the

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the Collection Open Windows Restoration Educathyssen Educational Programmes Apps Community Mobile apps social media Online Shop Book Publications Gifts Support the Museum Sponsors Friends Volunteers The Museum in Private Corporate Events Press Tourism Professional Channel About Thyssen History Staff Jobs Transparency h Home Ben Shahn Biography and Works Author Ben Shahn Born Dead Kovno 1898 New York 1969 Date Works Author Ben Shahn Title French Workers Year 1942 Author Ben Shahn Title Four Piece Orchestra Year 1944 Author Ben Shahn Title Carnival Year 1946 Author Ben Shahn Title Identity Year 1968 Biography Listen Born in Lithuania and emigrating to the United States with his family in 1906 Ben Shanh is considered to be one of the principal figures of American Social Realism He is especially well known for his series dedicated to Sacco Vancetti of 1931 in which he showed his social and political compromise Based in New York he travelled to Paris and round Europe 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 Edward Hopper Nyack 1882 NewYork 1967 Reginald Marsh París 1898 Dorset

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/526 (2016-02-13)
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