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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    painter Clyfford Still started out as a self taught artist capturing on canvas his impressions of the Canadian landscape in which he spent his childhood from the age of six onwards He studied for a brief period at the Art Students League in New York in 1925 and from 1933 to 1941 attended Washington State College first as a student and subsequently as a lecturer Despite defending a thesis on Paul Cézanne in 1934 he soon decided to banish references to the European artistic tradition from his work and was one of the first American artists to espouse abstractionHis initial works infused with classical allegorical references soon gave way to compositions based on large planes In this process which took place at the end of the 1930s he was ahead of the rest of the artists of his generation who were then still painting figurative works connected with Surrealism When the Second World War ended Still settled in New York Through Mark Rothko whom he had met in 1943 and become close friends with he made the acquaintance of Peggy Guggenheim who showed his work at her gallery Art of This Century a year later During the following years Still met other artists affiliated with Abstract Expressionism and exhibited at the Betty Parsons Gallery and his work became more abstract Titles were replaced by numbers to avoid any interpretation and his interest in verticality already apparent in earlier works became even more evident in large canvases soaked in patches of contrasting colours However it was precisely at this point that Still began to be highly critical of the art world He became increasingly isolated and avoided showing and even selling his work Finally in 1961 he moved to a farm in Maryland where he spent the rest of his life

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/543 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    after 1652 Date Works Author Matthias Stom Title The Supper at Emmaus Year ca 1633 39 Biography Listen Little is known regarding Stom s life and training He was born in Amersfoort near Utrecht around 1660 His first works reveal the pronounced influence of the Utrecht Caravaggisti and it is therefore thought that he was associated with Van Honthorst s studio in the 1620s Stom is first documented in Italy in 1630 in the census of the Roman parish of San Nicola in Arcione in which he is stated to be aged thirty From a document of 1631 we know that he lived in the same house as the French painter Nicolas Provost on Strada dell Olmo He probably left Rome shortly after 1663 and moved to Naples where he remained until around 1640 In Naples he came across the work of Ribera whose influence is evident in his own paintings such as Saint Onophrius Pinacoteca Girolamini Naples and Christ among the Doctors Martin D Arcy Museum of Art Loyola University Chicago Stom travelled to Sicily where he undertook commissions for the churches of Caccamo Messina and Monreale in the early 1640s His only signed and dated work is The Miracle of Saint Isidro Labrador of 1641 painted for the high altar of the Augustinian church in Caccamo in situ Two further works from his Sicilian phase are Saint Dominic for the church of San Salvatore in Monreale in situ and The Martyrdom of Saint Cecilia for the Capuchin church in Messina destroyed in 1908 Stom is documented for the last time in Sicily in 1649 when the Italian collector Antonio Ruffo Duke of Messina acquired three of his works Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the Madrid

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/544 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Strigel Title Portrait of a Man Year 1528 Biography Listen Strigel probably trained in the family workshop in Memmingen The relationship between this artist and Hans Strigel the Younger remains unresolved although it is thought that Hans may have been Bernhard s father or uncle From an inscription on the reverse of the Portrait of Johannes Cuspinian we know that Strigel painted this portrait in Vienna in 1520 at the age of sixty Following this discovery and its publication Bode identified Bernhard Strigel as the so called Master of the Hirscher Collection Strigel s early works reveal the influence of Hans Strigel although in many cases Bernhard s motifs were derived from prints by Schongauer and from works by the Ulm school which was the principal artistic centre in southern Germany at this period Strigel worked with Bartholomäus Zeitblom in the abbey church at Blaubeuren Both artists were influenced by Netherlandish art at this period particularly Rogier van der Weyden in the case of Zeitblom and Dieric Bouts in the case of Strigel A clear example of Bouts influence on Strigel is evident in The Adoration of the Magi Stadtmuseum Memmingen One of his most important works is the Altarpiece of the Virgin executed for the monastery at Salem now in Salem castle The monumental treatment of the objects and their arrangement in space reflects Strigel s knowledge of the work of Dürer His most important patron was the Emperor Maximilian who summoned the artist to Vienna in 1515 to paint the portraits of the Habsburg Jagellon marriage Strigel s last paintings reveal the influence of Hans Holbein and the Danube School Strigel was a great draughtsman and was noted for his innovative use of reds and whites in his works on paper with which he achieved brilliant effects of

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/545 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    antiquarian Cesare Corte known as Soprani and later with the Sienese painter Pietro Sorri who was active in Genoa during the last years of the century In 1598 Strozzi entered the Capuchin Order in the monastery of San Barnaba in Genoa On the death of his father in 1610 Strozzi obtained permission to leave the monastery in order to support his family as a painter The chronology of his oeuvre is difficult to establish as many of his works are unsigned His early paintings reveal the influence of Barocci and the Sienese masters particularly Francesco Vanni as well as that of the Lombard Mannerist painters Notable works from his early period include The Pietà Museo dell Accademia Linguistica di Belle Arti Genoa and Saint Catherine of Alexandria Wadsworth Atheneum Hartford Around 1620 Strozzi adopted a much more naturalistic style influenced by Caravaggio and his followers and the Mannerist elements in his work gradually disappeared In the 1620s his style was also influenced by Rubens and the Flemish artists living in Genoa Also notable from this decade are his series of frescoes of which few have survived while it was during these years that he produced his most famous and celebrated compositions such as Jacob and Esau Palazzo Bianco Genoa and The Supper at Emmaus Musée de Grenoble Strozzi s mother died and his sister married around 1630 Freed from his family responsibilities he was recalled by the Capuchins to re enter the monastery but he fled to Venice where he remained until his death Among Strozzi s early works from this final phase of his career are the Portrait of Cardinal Federico Correr Museo Correr Venice and other portraits of members of the leading aristocratic families of the city suggesting that Strozzi achieved considerable fame and prestige in Venice His

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/546 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Jakob and or Hans Strüb Title The Visitation Year ca 1505 Biography Listen The Strüb family is documented in Veringenstadt near Sigmaringen in Swabia from 1360 onwards Peter Strüb the Elder father of Jakob and Hans was a painter and it would seem likely that the two brothers trained in the family workshop which they took over following their father s death The first document relating to their activities dates from 1505 and mentions both men as independent masters and the creators of an altarpiece for the church in the Augustinian monastery at Inzigkofen which was dismantled in the mid 18th century and divided into fourteen separate panels Most of them are now in the Fürstliche Hohenzollernsche Galerie in the castle at Sigmaringen and were for many years attributed to the Master of Sigmaringen In 1913 Hebeisen first associated this artist with the Strüb brothers a hypothesis supported in Ingenhoff s monograph of 1962 in which the panels are individually attributed to the two brothers Ingenhoff distinguished two different styles in the panels a more conservative one that he attributed to Jakob the elder brother and a more energetic and vigorous one that he associated with Hans In all cases the fourteen panels reveal the influence of Bartholomäus Zeitblom active in Ulm and Bernhard Strigel who worked in Memmingen It would seem that the Strüb brothers specialised in large format carved wooden altarpieces although none have survived in their original form It is thought that they were also responsible for designs for sculptures which they may also have executed themselves The third brother Pieter who was much younger than Jakob and Hans has recently been identified as the Master of Messkirch Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/547 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Year ca 1795 97 Biography Listen Considered by his contemporaries to be the father of American portraiture Gilbert Stuart first trained under the Scottish born painter Cosmo Alexander with whom he travelled around America from 1769 and to Scotland in 1771 He returned to Britain in 1775 and settled in London where he worked as Benjamin West s assistant for five years In 1777 he began to exhibit his works at the Royal Academy and the success he enjoyed enabled him to establish himself independently in 1782 The year he married 1786 he and his wife went to live in Ireland During the five years he remained in Dublin he worked as a portraitist painting the Protestant minority Stuart returned to the United States in 1793 with the intention of painting the new nation s first president George Washington as the best means of earning a reputation as a portraitist For this purpose he settled in Philadelphia then the capital and achieved his aim in 1795 This first portrait was followed by many others both of the president and his family and of other prominent peopleWhen the capital was moved to Washington Stuart also went to live in the city in 1803 to remain close to his clientele However barely two years later he decided to travel to Boston where he lived until his death Stuart s art evolved from the linear style of the early years to looser brushwork under the influence of painters like Benjamin West Joshua Reynolds and George Rommey The portraits he painted after his years of training in Britain which made him the portraitist of the Revolution were widely copied and many young painters among them his sons and Charles Willson Peale were attracted and influenced by them Search Advanced search Featured Products Catalogue of

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/548 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Dead Miatlevskaia 1897 Saint Petersburg 1954 Date Works Author Nikolai Suetin Title Suprematism Year 1920 21 Biography Listen An artist affiliated with Russian Suprematism Suetin not only applied Kazimir Malevich s artistic theories to painting but was also interested in putting them into practice in everyday life From 1918 to 1922 he studied at the Vitebsk Art School run by Marc Chagall where he met Malevich Even during this formative period Suetin together with Ilya Chashnik became one of Malevich s closest collaborators and a faithful champion of Suprematism contributing to its dissemination through publications by organizing exhibitions and by establishing the Unovis Affirmers of the New Art group In 1922 Suetin and other followers accompanied Malevich to Petrograd now Saint Petersburg after he was removed from his post at the Vitebsk school There he began to work at the Institute of Artistic Culture Inkhuk where among other activities he collaborated with Malevich on Suprematist architectural designs for buildings that were never constructed This facet was complemented by his work as an exhibition designer exemplified by the Soviet Union s pavilion at the Paris Exposition Internationale of 1937 In parallel with these activities he began to create designs for the ware produced at the Lomonossov state porcelain factory of which he was made artistic director in 1932 Suetin survived his friend Chashnik and his master MalevichWhen Malevich died in 1935 Suetin decorated his coffin with Suprematist motifs and organised his funeral which became the last expression of the style that both had espoused In the 1930s he concentrated more on the applied arts and avoided explicit references to Suprematism which the Soviet Government apparatus regarded as an undesirable style of art Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/549 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Neroccio di Bartolomeo di Benedetto de Landi del Poggio was born into a Sienese aristocratic family There is a good chance that Neroccio received his early training with Lorenzo di Pietro also called Il Vecchietta for the latter had formed in his workshop nearly all the Sienese artists of the second half of the 15th century Neroccio s earliest work can be dated back to 1468 when he was commissioned by the Compagnia di San Gerolamo da Siena to produce both a panel and a polychrome terracotta sculpture Coor 1961 During his period of apprenticeship Neroccio met the architect painter and engineer Francesco di Giorgio Martini who married one of his cousins in 1469 and became his associate until 1474 Although Neroccio was strongly influenced by Trecento artists such as Simone Martini his art was also indebted to the Sienese contemporary artistic milieu with particular attention to Sassetta Vecchietta and Matteo di Giovanni During his earlier career the artist produced a variety of altarpieces including the Madonna and Child with Saints Siena Pinacoteca Nazionale and the lunette of the Annunciation Yale University Art Gallery both executed around 1475 By that same time Neroccio also painted one of his most remarkable works the Portrait of a Woman Washington National Gallery which is today considered a rare instance of Quattrocento Sienese portraiture Furthermore as an example of Neroccio s mature style it is worth mentioning the 1490s Madonna and Child with Saints Indianapolis Museum of Art Throughout his career Neroccio de Landi pre eminently executed small scale devotional paintings characterised by delicately outlined personages set in lyrical and idealised atmospheres His sophisticated forms and refined chromaticism together with his peculiar ability to work with different materials and supports led him to become one of most coveted artists of the Sienese area Dominique

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/431 (2016-02-13)
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