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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Lives and Lomazzo in his Trattato dell arte de la Pittura for many years he was a little known figure and his work was frequently attributed to better known artists such as Bernardino Luini Solario s oeuvre comprising around fifty paintings and twenty drawings was only reconstructed in the 19th century by Mündler Little is known of the artist s life but it has been suggested that he may have first trained with his elder brother the sculptor Cristoforo Solario It is thought that during the early 1640s the Solario accompanied his brother on a trip to Venice where he encountered the work of Antonello da Messina which profoundly influenced his own style The fact that his first signed and dated work a Virgin and Child with Saints Jerome and Simeon Pinacoteca di Brera Milan of 1495 was originally in Murano supports this hypothesis In early 1507 Solario was invited to France by Cardinal Georges I d Amboise who commissioned him to decorate the chapel of the châteaux at Gaillon residence of the archbishops of Rouen Solario remained there until at least September 1509 Much of the scant documentation that relates to the artist is associated with the payments that he received in France from the d Amboise family On his return to Milan he worked for the Cardinal s nephew and heir Charles II d Amboise governor of Milan and for other members of the city s political and ecclesiastical elites Andrea Solario primarily focused on religious painting but was also a great portraitist His style assimilated Leonardo s models and solutions while also reflecting the work of Antonello da Messina Solario s painting reveals a profound knowledge of Flemish art evident for example in The Lamentation Musée du Louvre Paris which combines oil and tempera Solario died in

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/534 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Dead East Liberty 1822 Nueva York 1900 Date Works Author William Louis Sonntag Title Fishermen in the Adirondacks Year ca 1860 1870 Biography Listen William Louis Sonntag was born on 2 March 1822 in East Liberty PA He grew up in Cincinnati OH and was briefly apprenticed to an architect before beginning the study of art From the mid 1840s he made annual sketching trips to Kentucky and Virginia In 1847 he worked on an important series of pictures titled Progress of Civilization encouraged by his patron Rev Elias Magoon By this time he had opened a studio in Cincinnati and exhibited for the first time at the American Art Union New York In 1850 he began the panorama of Milton s Paradise Lost and Paradise Regained but was unable to complete it due to an illness In 1852 he painted along the Baltimore and the Ohio Railroad route over Alleghenies The following year he travelled with his fellow artists John Tait and Robert Duncanson in Europe visiting London Paris and Italy In 1855 1856 he made his second trip to Italy where he returned several times throughout his career By 1857 he had moved to New York City During the Civil War he abandoned his former sketching grounds in the South or the scenery of New York and New England Throughout the second half of the century he exhibited at the National Academy of Design at the Pennsylvania Academy of the Fine Arts at the Boston Athenaeum and at the Brooklyn Art Association After 1870 he painted small Barbizon inspired landscapes He died on 22 January 1900 in New York City Katherine E Manthorne 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

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/535 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    of Raphael Soyer belong to the context of the social realism which emerged in the United States inspired by the movements that had arisen in Mexico following the Revolution of 1910 Soyer who was of Russian origin emigrated to America in 1913 Both he and his twin brother Moses and their youngest sibling Isaac took up painting The lives of Raphael and his brothers were closely connected and they worked on many projects together He studied at the Cooper Union the National Academy of Design and the Educational Alliance Art School until 1922 His first one man exhibition at the Daniel Gallery in New York in 1929 was such a success that thereafter Soyer devoted much of his time to painting Despite this between 1933 and 1942 he taught intermittently at the Art Students League Soyer espoused figuration from the beginning of his career The main subject of his paintings executed in a direct style was always New York City His first urban landscapes gave way to portraits of the working class During the 1920s along with his brothers he became an important member of the Fourteenth Street School an association of artists interested in showing social inequalities At the same time he worked with his brother Moses in the Works Progress Administration The economic crisis that gripped the United States in 1929 merely accentuated this tendency and his paintings watercolours lithographs and book illustrations depicted jobless people and social outcasts Raphael Soyer had a lifelong interest in the genre of portraiture He painted his family and friends of the New York art scene sometimes singly and sometimes in groups He himself was the subject of many paintings and there are more than fifty surviving self portraits Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/537 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    from 1922 onwards Nicolas and his sisters were raised by a family living in Brussels where he began to study interior design at the Académie Royale des Beaux Arts in 1933 and architecture at the Académie de Saint Gilles During the summer of 1936 he made a visit to Morocco which according to his letters was decisive in steering him towards a style of his own although very few of the works painted there survive In 1937 he met Jeannine Guillou who became his companion until she died in 1946 and travelled in Algeria and Italy with her Stäel was conscripted following the outbreak of the Second World War but after being discharged in 1940 he met up with Jeannine in Nice where they coincided with a group of artists among them Sonia Delaunay Alberto Magnelli and Henri Goetz Influenced by these contacts his painting turned towards abstraction for the first time In 1944 by which time he was back in Paris the Galerie L Esquisse staged his first one man exhibition Through the gallery owner Jeanne Bucher whom he had met before the war he came into contact with the Russian painter André Lanskoy whose textured highly material surfaces greatly influenced him At the end of the 1940s Stäel began to consolidate his reputation and his improved financial situation enabled him to work in a larger studio As a result his works increased in size and became less corporeal and more luminous and tranquil He first exhibited his work in New York in 1950 and in 1953 signed an exclusive contract with Paul Rosenberg a French gallery owner based in the city From 1953 onwards Stäel returned to non realistic figurative painting He produced series of landscapes footballers and still lifes and although criticised by some he never considered

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/538 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    years later he belonged to the painters guild in his native city He married Margaetha van Goyen in The Hague in 1649 one of the daughters of Jan van Goyen A restless character Steen moved around and worked in a number of cities Between 1656 and 1660 he is documented in Warmond while between 1661 and 1670 he lived in Haarlem and from 1670 until his death in Leiden Steen was active in fields other than painting between 1654 and 1657 his father rented him a brewery in Delft which was not particularly successful while in 1672 he opened an inn in Leiden Steen was president of the painters guild of that city on two occasions and dean on one His first compositions date from the 1640s and include figures of a grotesque type Among the artists considered to have influenced his work are Adriaen van Ostade in Haarlem Jan van Goyen in The Hague and Nicolaus Knüpfer in Utrecht Steen admired Frans Hals whose works profoundly impressed him and he seems to have owned various examples Furthermore in two paintings by Steen The Baptism Gemäldegalerie Berlin and The Doctor s Visit Apsley House London Hals Peeckelhaering is to be seen hanging on the wall Steen s style evolved towards works with fewer more individualised figures In his last paintings the figures become more elegant the colours more subtle and the compositions reflect the changes in taste in Dutch art during the last quarter of the century Jan Steen was a highly prolific artist and in addition to his animated scenes with figures set indoors or outdoors he also painted allegorical and religious works along with a number of commissioned portraits Notable within his oeuvre are his religious narratives Steen was a loyal Catholic throughout his life treated in the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/539 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    who has at times also been suggested to be Steen s teacher The artist worked as a painter of low life genre scenes in The Hague until 1654 the period in which he painted his Peasant Wedding 1653 which has a marked narrative character In 1654 affected by the crisis in the art market caused by the war with England Steen and his father leased a brewery in Delft Around 1658 he moved to Warmond near Leyden where he once again devoted his full attention to painting The paintings from this period have a minute finish and frequently employ complex spatial constructions One notable example is The Card Players c 1660 During the 1660s Steen moved to Haarlem where he painted his most popular genre scenes which are filled with life though the expressive characterisation of their numerous figures joined together in complex networks of gestures and looks and which possess a theatrical concept of space Among the various subjects found in Steen s oeuvre all of them showing a strongly moralising bent are scenes of daily life amorous intrigues and cycles dedicated to criticisms of the vices of drinking luxury and covetousness Among these are The Dancing Couple 1663 and While the Old One Sings the Young One Smokes c 1663 1665 In the late 1660s Steen also painted religious and mythological subjects such as Samson and Delilah 1668 and the Marriage of Tobias and Sara 1667 1668 as well as some portraits Following the death of Steen s wife in 1669 and that of his father the following year from whom Steen inherited a house in Leyden the artist moved to his native city in 1670 Despite his reputation as an artist Steen once more suffered during the crisis in the art market brought on by the third

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/540 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    to a generation of artists who despite spending their formative years in the abstract environment that emerged after the Second World War reacted against the gesture and spirit of Abstract Expressionism by producing works governed by geometry in which they completely negated spatial illusion and advocated the two dimensionality of the canvas Stella studied at the Phillips Academy in Andover and at Princeton University In 1958 he visited Jasper Johns s first exhibition of flag and target pictures which interested him enormously even though the brushwork came close to Abstract Expressionism That year he settled in New York and his work soon began to attract the attention of critics particularly his series of Black Paintings shown in the Sixteen Americans exhibition held in 1959 at the New York Museum of Modern Art which acquired one of them His subsequent series Aluminium Paintings and Copper Paintings went one step further in this direction and introduced another of the characteristic feature of his art the use of an alternative format to traditional rectangular canvases In 1959 Stella joined the large group of artists under the wing of Leo Castelli Since then he has taken part in numerous exhibitions in which he has been hailed as one of the leading representatives of Minimalism among them the early retrospective of his work staged by the MoMA in 1970 Since the 1960s he has extended his investigations to other fields of art In the middle of the decade he began experimenting with engraving with Kenneth Tyler and in 1967 he designed the set and costumes for a dance piece by Merce Cunningham In the following decade relief began to appear in his paintings which became more exuberant and baroque This marked the first step in his experiments with sculptures which attained monumental dimensions in 1990

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/541 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Varvara Fedorovna Stepanova was born on 5 November 1894 in Kovno today Kaunas in Lithuania Her artistic path began in 1910 at the Kazan School of Art where she met Alexander Rodchenko a student of that same school who became her life long companion Together with Rodchenko the artist moved to Moscow in 1912 and continued her apprenticeship attending the Stroganov School and studying with Mikhail Leblan and Konstantin Yuon Early in her career Stepanova admired the Futurist poets and autonomously developed what came to be known as non objective visual poetry examplified by such works as Zigra Ar and Gaust Chaba After the October Revolution Varvara Stepanova became progressively interested in art that would express the social by being accessible to the masses She thus began to experiment with new languages that both revealed and served the multitude such as designs for clothing that were then reproduced on an industrial scale and commercialised through popular publications such as Zhurnal Levogo Fronta Iskusstv During the 1920s her works epitomised the Russian avant garde movement known as Constructivism characterised by large scale canvases featuring statuesque figures The paintings were executed according to geometric pictorial values that were intended to embody the positive spirit that pervaded the rise of the post revolutionary Russian citizen From 1920 until 1925 the artist taught at the Krupskaia Academy of Social Education and from 1922 she started collaborating with theatres including the Theatre of the Revolution for which she created sets and costume designs for Meierhold s The Death of Tarelkin Smert Tarelkina Along with many avant garde artists Stepanova produced works in a variety of mediums ranging from traditional painting to decorative designs for public spaces She also contributed to journals and together Rodchenko extensively experimented with photography Varvara Stepanova died over on 20 May

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/542 (2016-02-13)
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