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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Lake Starnberger Year 1911 Biography Listen The son of a German jeweller and goldsmith the painter Wilhelm Trübner began studying painting at the Kuntschule in Karlsruhe in 1867 Two years later he moved to Munich where he visited the Akademie der Bildenden Künste After studying for a brief spell in Stuttgart he returned to Munich where in 1871 he made the acquaintance of Wilhelm Leibl a Naturalist painter who had met Gustave Courbet and Édouard Manet among others during his stay in Paris Encouraged by Leibl he dropped out of the academy together with his colleagues Carl Schuch and Albert Lang with whom he went to paint in the Lake Starnberg areaWith their new master they had the chance to become acquainted with the new painting trends of their French contemporaries and espoused pure painting in which priority was given to formal qualities The years he belonged to the Leibl Kreis Leibl Circle are regarded as the artistic peak in Trübner s career although his interest in formal questions during this period distanced him from critics and public During the following years Trübner lived in Munich made numerous trips to other European capitals and spent a period in London from 1884 to 1885 His painting came close to Impressionism and at the beginning of the 1890s he met Lovis Corinth and Max LiebermannHe was involved in establishing the Munich Secession in 1892 but soon left and founded the Freie Vereinigung the following year In 1896 he was appointed director of the Städelsches Kunstinstitut in Frankfurt and shortly afterwards founded a private art school He became director of the Kunstschule of Karlsruhe in 1904 He died in the city in 1917 before he could take up his new post as professor of the Berlin Akademie der Künste Search Advanced search Featured

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/567 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    working first for Duke Borso and then for his son Ercole In addition to his activities as a painter he produced designs for stained glass banners and tapestries Nothing is known of Tura s training but he may have studied in Venice or had contacts with artists from that city and he was familiar with the work of Pisanello Van der Weyden Jacopo Bellini and Piero della Francesca Tura was rarely absent from Ferrara with the exception of the years between 1453 and 1456 when he was away possibly in Padua where he could have studied the work of Donatello and Mantegna and in Venice Tura s dry linear style is comparable to that of Squarcione Zoppo and Bartolomeo Vivarini and his approach to landscape and colour also reveals the influence of the school of Ferrarese miniaturists Notable among Tura s early paintings are The Virgin and Child with Saint Jerome Musée Fesch Ajaccio and a Muse National Gallery London The Annunciation Saint George and the Dragon Museo del Duomo Ferrara and the Roverella Altarpiece can be considered three masterpieces by his hand The latter is now divided between various museums and collections The Pietà is now in the Louvre and The Virgin and Child with musical Angels in the National Gallery London Tura s most celebrated work is the series of mural paintings commissioned by Borso d Este for the Palazzo Schifanoia which conveys all the splendour of court life in Ferrara at that time Tura also executed numerous portraits most now lost They include Portrait of a young Man The Metropolitan Museum of Art New York His religious compositions are more dramatic in tone of which a representative example is Saint Jerome National Gallery London The last known work by his hand is Saint Anthony Galleria Estense Modena

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/568 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    also worked at Polling the popular village for American artists situated in the Bavarian Alps In 1877 Twachtman joined Duveneck and William Merritt Chase in Venice but he returned to Cincinnati in 1878 upon learning of the death of his father He exhibited at the first exhibition of the Society of American Artists in 1878 and became a member of the Tile Club In autumm 1880 Twachtman returned to Europe where he joined the staff of Duveneck s school in Florence Italy When the school closed Twachtman returned to Cincinnati and in 1881 married Martha Scudder the daughter of a prominent local physician The two went on a wedding trip to Europe where Twachtman met Anton Mauve and became familiar with the work of Jules Bastien Lepage The couple returned to Cincinnati where their son was born Twachtman was back in Europe from 1883 1885 where he studied with Clarence Rudolphe Boulanger and Jules Joseph Lefebvre at the Académie Julian Returning to America Twachtman travelled to Chicago to work on a cyclorama during the winter of 1886 1887 When he joined Weir at Branchville Connecticut in 1888 Twachtman was at the height of his popularity That year he exhibited with the Painters in Pastels and sent seven oils to the Society of American Artists In 1889 he and J Alden Weir each exhibited forty two oils at the Fifth Avenue Galleries of Ortgies and Company During the summer Twachtman taught classes at Newport and that winter became a popular instructor at the Art Students League Twachtman purchased a farm in 1890 on Round Hill Road Greenwich Connecticut In 1893 Twachtman received a silver medal at the World s Columbian Exposition and exhibited with J Alden Weir at the American Art Galleries in New York where a concurrent show of works

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/569 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    that Uccello trained in the workshop of Lorenzo Ghiberti between 1404 and 1407 and by 1415 was working as an independent master His career in particular the early part is difficult to reconstruct due to the lack of surviving documentation Around 1430 Uccello undertook the first of two fresco cycles for the Chiostro Verde of Santa Maria Novella Among his most famous works is the fresco of Sir John Hawkwood Duomo Florence painted in the manner of an equestrian statue Dating from 1436 it reveals his interest in the study of perspective and his geometrical approach to natural forms Between the 1440s and 1460s Uccello evolved a study that combines the late Gothic with the innovations of the Florentine Renaissance A clear example is his fresco cycle for San Miniato al Monte which reveals the influence of Donatello s sculpture and Alberti s theories on the depiction of space Between 1445 and 1446 Uccello moved to Padua to execute a decorative cycle for the Casa Vitaliani which is now lost but is considered of great importance for its influence on other painters such as Andrea Mantegna Among Uccello s most celebrated and characteristic works is the second cycle of frescoes in the Chiostro Verde in which the depiction of Noah is said to be a self portrait Also from this period are the three famous panels of The Battle of San Romano now Musée du Louvre Paris National Gallery London and Galleria degli Uffizi Florence in which Uccello s interest in the depiction of animals is reflected in the brilliantly foreshortened horses Among his late works are the two versions of Saint George and the Dragon National Gallery London and Musée Jacquemart André Paris Uccello was also an outstanding draughtsman and had a significant number of followers He was an

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/570 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    painter Nadeshda Udaltsova was affiliated with Cubism and later Suprematism She studied at the Moscow School of Painting Sculpture and Architecture from 1906 to 1909 She later attended the classes of Konstantin Yuon where she probably met Liubov Popova with whom she travelled to Paris in 1912 The classes taught by Jean Metzinger and Henri Le Fauconnier at the Académie de La Palette were decisive in steering her work towards Cubism After returning to Russia in 1913 Udaltsova began to work in The Tower Vladimir Tatlin s Moscow studio During these years she exhibited in numerous avant garde exhibitions such as Jack of Diamonds in 1914 or Tramway V and 010 The Last Futurist Exhibition of Paintings in Petrograd in 1915 Her participation in these last two shows heightened her interest in studying movement in her Cubist works Like Popova and other artists of the period at the end of 1916 Udaltsova embraced Kazimir Malevich s Suprematism and collaborated with him on the project for the magazine Supremus which was never published She also began to apply Suprematist designs in her new explorations of textile design Following the Revolution of 1917 Udaltsova was actively involved in various cultural initiatives such as the art department of the Proletkult Proletarian Cultural Organisations She taught classes first as Malevich s assistant and later alone She lectured on avant garde art and was a member of the Institute of Artistic Culture Inkhuk although she left the organisation in 1921 owing to a disagreement with the Constructive artists who advocated the end of painting as an artistic practice Following a return to figuration in the early 1920s in a style rooted in her Cubist origins Udaltsova gradually progressed towards a more descriptive art in which she depicted her travels to the Urals and Armenia Search

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/571 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in Germany for political and religious reasons The first reference to the artist dates from 1560 when he is registered as a painter in the guild of Saint Luke in Malines while four years later he accepted Jaspar van der Linden as an apprentice In 1566 Van Valckenborch fled first to Liège then to Aachen where his brother the painter Marten van Valckenborch was living He returned to Antwerp between 1574 and 1575 and in 1579 became court painter to the Archduke Matthias von Habsburg governor of the Spanish Provinces Around 1582 Van Valckenborch followed his brother to Linz after which both settled permanently in Frankfurt around 1592 93 From the large number of surviving works it would seem that Van Valckenborch established a flourishing studio in that city in which other members of his family probably also worked Van Valckenborch s style is close to that of Pieter Bruegel who was ten years his senior His most important works were landscapes although he also made significant contributions to the genre of portraiture His landscapes combine a use of traditional Flemish compositions with sweeping panoramas presented from a high viewpoint but they are based to a greater degree than those of his predecessors on a direct observation of nature and his landscapes include depictions of real places such as Liège Burschied Antwerp and Vienna Van Valckenborch often mixed invention and reality as can be seen in Spring Landscape with the Royal Palace at Brussels Kunsthistorisches Museum Vienna in which the palace is located in an imaginary setting and these combinations are frequently embellished with narrative elements derived from daily life According to Van Mander Van Valckenborch s talents as a portraitist brought him to the attention of the Archduke and six different portraits of him exist by the artist some

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/580 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in 1887 at the age of 17 to the École des Beaux Arts in Paris He also enrolled at the Académie Julian and met Bonnard and Albert André From 1893 he exhibited regularly in the Salon des Indépendants Already in 1895 he painted in Arcachon a series of studies which were exhibited the following year in the Indépendants and were noticed by Thadée Natanson Valtat already showed a taste for colour and a forceful style which would link him ten years later to the Fauves But he followed an independent career never really joining any of the various avant garde groups he had contacts with the neo Impressionists the Nabis the Fauves and the Cubists In 1898 Valtat spent some time in the Cà te d Azur in Agay a village on the Esterel hills where he painted a series of studies which were exhibited the following year in the Galerie Durand Ruel He was seduced by the region and ordered a house Roucas Rou The Red Rocks to be built in Anthéor not far from Agay where he would spend every winter until 1914 He regularly visited Signac who had settled in Saint Tropez and Renoir who lived in Cagnes sur Mer From 1900 to 1912 Valtat had a contract with the dealer Ambroise Vollard which enabled him to travel to Italy in 1902 and to Algeria the following year In 1905 he took part in the Salon d Automne where he exhibited six paintings including a sea view which when published in L Illustration associated him with the Fauvist group In 1914 he gave up the Midi and settled in a new studio in Paris He spent the summer mainly in Normandy and in the à le de France where in 1924 he bought a house in Choisel

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/633 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    independent master with his own studio His early works primarily consist of still lifes and religious compositions In 1622 Velázquez moved to Madrid where he was appointed painter to the king and settled permanently at court At this point he encountered the work of the great Venetian painters to be seen in the royal collection as well as the portraits of Sánchez Coello and Antonis Mor which would have an important influence on his subsequent evolution In 1627 Velázquez was appointed usher of the bedchamber and two years later travelled to Italy where he continued his studies and met Venetian painters as well as acquiring a knowledge of the artistic trends prevailing in Rome at that date After his return to Madrid in 1631 he was appointed gentleman of the wardrobe and at the same time worked on the decoration of the Buen Retiro palace Dating from this period are a series of royal portraits and others of leading members of the court In 1643 he was appointed gentleman of the bedchamber and superintendent of royal works taking part in the remodelling of the Alcázar in Madrid Velázquez returned to Italy in 1649 remaining there for two years and executing a number of commissions including the Portrait of Pope Innocent X Galleria Doria Pamphilj Rome During this time his portraits achieved a remarkable degree of perfection painted with a very loose brushstroke and characterised by a clear interest in realism and expressivity using an intense light that emphasises the volumes Velázquez returned to Madrid in 1651 where he spent the remainder of his life and was appointed palace chamberlain His celebrated painting Las Meninas Museo Nacional del Prado Madrid dates from this period Velázquez s activities as a court official frequently left him little time to paint He died in

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/582 (2016-02-13)
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