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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    de Velde I and his brother Willem van de Velde the Younger were celebrated marine artists Like his brother Adriaen van de Velde first trained with his father He then moved to Haarlem to complete his apprenticeship in the studio of Jan Wijnants a painter who specialised in dune landscapes In 1657 he settled in Amsterdam where he lived until his death Although his career only lasted around two decades Van de Velde was a highly prolific artist who produced a large number of paintings drawings and prints and signed works survive from almost every year between 1654 and 1671 Most of his oeuvre comprises landscapes of Holland as well as Italian views particularly after 1667 The latter are based on the works of Nicolaes Berchem and Karel du Jardin and there is no information to suggest that Van de Velde travelled to Italy They depict shepherds and animals in mountainous landscapes often with classical ruins and illuminated by a clear Mediterranean light Van de Velde was a versatile artist who also painted winter scenes portraits set in exteriors allegories and religious and historical compositions as well as a few genre paintings The figures in his compositions are notable for their large scale their individuality and the care with which they are painted As a result they can be considered more than anecdotal elements within the landscape Van de Velde was often commissioned to paint figures in compositions by fellow artists and his hand can be detected in works by Jacob van Ruisdael Hobbema Frederik de Moucheron Philips Koninck Jan van der Heyden and Jan Wijnants Van de Velde died in Amsterdam in 1672 at the early age of thirty five the same year that his father and brother left Holland to settle in England Search Advanced search Featured Products

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/583 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    of a second son Adriaen who also became a painter Willem II initially trained with his father completing his studies in the studio of Simon de Vlieger in Weesp according to the Dutch biographer Arnold Houbraken Father and son often went sailing making sketches from life that Willem the Younger would use as the basis for his paintings throughout his career His first known works date from the 1650s and represent clusters of boats at anchor in calm waters with an emphasis on silvery tones that recalls the work of Simon de Vlieger In 1652 Willem van de Velde II married Petronella le Maire in Amsterdam but eighteen months later they began divorce proceedings He married for a second time to Magdalena Walravens in 1656 The Van de Veldes worked in Amsterdam until 1672 when the war with England was renewed and the French invaded Holland at which point they moved to London In England they enjoyed the protection of the Duke of York and King Charles II who paid them both an annual salary of 100 pounds to Van de Velde the Elder for studying and drawing naval battles and to his son for colouring the above mentioned drawings The two artists produced these collaborative works in the Queen s House in Greenwich where Van de Velde ran a studio Van de Velde the Younger s pictorial motifs evolved on his arrival in England and he began to replace his groups of anonymous vessels with specific ships from the royal fleet or men of war while the calm waters of his early compositions were replaced by stormy seas and shipwrecks After his father s death Van de Velde II continued to run a large studio with numerous assistants and apprentices including his sons Willem III and Cornelis van de

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/584 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Van de Velde III was a Dutch still life painter whose biography is difficult to reconstruct due to the scant surviving information on his life Son of a printmaker named Jan van de Velde he was born in Haarlem His date of birth is not known but must have been in 1619 or 1620 according to various documents His first still life dates from 1646 but little is known regarding his training In 1642 he is documented in Amsterdam where he married lived and worked Van de Velde III died in Amsterdam or Enkhuizen at some point after 1663 the date of his last known work Van de Velde s still lifes are generally simple compositions with a glass of wine another of beer smoking implements and on occasions a deck of cards placed at the corner of a tabletop His most important contribution to the genre was the sensitivity with which he depicted a few humble objects and he is thus considered one of the leading figures of the domestic small scale still life Despite his limited repertoire of motifs Van de Velde s works exhibit considerable variety and he arranged and combined the elements in numerous different ways in order to avoid repetition The objects depicted are visually related to each other and the artist made use of the spaces between them Some depict a single glass of beer as the principal object deploying a sophisticated use of the pictorial space Van de Velde s work reveals the influence of Pieter Claesz s simpler compositions as well as that artist s preference for smoking implements particularly large white Gouda pipes spills and dishes with small embers His palette is however much warmer and brighter probably influenced by his contemporary the great still life painter Willem Kalf Search Advanced

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/585 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    1525 1530 Biography Listen This painter was active in the north of Italy during the early decades of the 16th century His place of origin and early years are difficult to reconstruct and the scant biographical information available is based on the signatures dates and inscriptions on his works It is thought that he trained in the workshop of Giovanni Bellini as his early compositions which are smallformat religious works reveal the marked influence of that master and his followers Examples from this period include The Virgin and Child of 1502 private collection Venice and The Virgin and Child of 1505 Bergamo Accademia Carrara Bartolomeo Veneto worked between 1505 and 1508 for the court of the d Este in Ferrara During this period his painting moved towards a more decorative mode and he began to specialise in portraiture In 1512 he may have visited Padua but around 1520 he was already in Milan where he achieved great fame and received numerous important commissions His best known works are half length portraits of richly and fashionably dressed young men such as the examples in the Palazzo Barberini in Rome and the Fine Arts Museum Houston These compositions are notable for the painstaking detailed manner of painting the draperies and the decorative details of the clothing In Portrait of Ludovico Martinengo London National Gallery of 1530 it is evident that his late works achieve a greater sense of volume depth and movement probably influenced by Titian Despite this they retain an interest in elaborate materials and a preference for dark red Documents record the artist s death in Turin in 1531 and the fact that he lived in that city for some years beforehand Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/50 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    his initial training and the first document that refers to his professional activities is a letter written to Piero de Medici from Perugia dated 1 April 1438 It can thus be assumed that by that date the artist had contacts with the most influential families in Florence and Umbria Early works include The Virgin and Child enthroned National Gallery London which reveals the influence of Masolino It has been thought thatthe two artists worked together in Rome between 1428 and 1433 or in Milan around 1433 35 A key element in Veneziano s style is the influence of the sculpture of Donatello and Luca della Robbia and their classical ideas on beauty although the principal foundation of his work was the application of perspective to painting in particularly to landscape The latter would be of major importance for Piero della Francesca who is documented as Veneziano s assistant on a now lost fresco cycle for the choir of San Egidio in Florence which was continued by Andrea del Castagno Also dating from this period is the tondo of The Adoration of the Magi Gemäldegalerie Berlin The importance of landscape in Veneziano s work has been the object of intense study and art historians continue to debate whether this element has its origins in Flemish art assimilated through a period of training in northern Italy or whether it simply derives from Donatello In the 1440s Veneziano executed his masterpiece The Saint Lucy Altarpiece now divided between the Galleria degli Uffizi Florence the National Gallery of Art Washington the Gemäldegalerie Berlin and the Fitzwilliam Museum Cambridge It reveals Veneziano s careful treatment of the settings which reflect his knowledge of Florentine Renaissance architecture and in particular the work of Brunelleschi The figures and colouring become more refined in his late works which

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/181 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    is available on the life of Lorenzo Veneziano whose career has been reconstructed through his various signed and dated works The artist was active in Venice Padua Vicenza Bologna Imola and Udine His fame extended beyond the Veneto and Lorenzo Veneziano was the most celebrated Venetian painter of the second half of the 15th century It is generally accepted that he trained with Paolo Veneziano although there is no documentation to support this assumption His work also reveals the influence of Guariento Tommaso da Modena and the young Altichiero The first reference to a work by the artist relates to an altarpiece of 1356 now lost Subsequent works include The Annunciation with Saints and Prophets known as the Lion Polyptych Gallerie dell Accademia Venice of 1357 to 1359 the Mystic Marriage of Saint Catherine also Accademia Venice of 1359 The Virgin Museo Civico Padua of 1361 the polyptych in Vicenza cathedral of 1370 the Annunciation Polyptych Accademia Venice of 1371 and The Virgin and Child enthroned Musée du Louvre Paris Veneziano s style features elements derived from Gothic art The proportions of his figures reflect the influence of Paolo Veneziano but the faces and draperies are more individualised and expressive Veneziano also included motifs derived from first hand observation and real life which was innovative within the context of Venetian art and in general his paintings reveal a particular interest in emphasising the relationships between the sweet gentle figures His use of light and chromatic contrasts indicate contacts with Paduan painting From the 1360s Veneziano s style evolved and his figures become less elongated and more compact modelled with great delicacy 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

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/352 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    a family of artists his father Jan Vermeer I was an art dealer and his brother Isaac and his nephews Jan and Barent were landscape painters The name Van Haarlem was added to their surname to distinguish them from the Vermeer family of Delft Jan Vermeer II trained for ten years in the studio of the Haarlem painter Jacob de Wet but did not absorb the notable influence of Rembrandt evident in his master s style In 1654 he entered the painters guild and married the same year Jan Vermeer van Haarlem II was influenced by the landscape painters of Haarlem particularly Jacob van Ruisdael He painted extensive views with a high viewpoint generally of the dunes at Overveen on the outskirts of the city His compositions are characterised by the use of an area of dune in shadow in the foreground from which opens out another area of dark zones that alternate with other brighter ones illuminated by small patches of clear sky among the clouds These works are notably comparable to those of Adriaen Verboom Jan van Kessel and Salomon Rombouts who were also followers of Ruisdael A second phase in the artist s work focuses on large panoramic views that are clearly influenced by Philips Koninck and Vermeer van Haarlem s paintings of this period make use of predominantly yellow and dark green tones On various occasions the artist worked with Adriaen van Ostade who painted the figures in his compositions Jan Vermeer van Haarlem II also painted marine views battles and pastoral scenes while his son and pupil Jan Vermeer van Haarlem III continued to use his father s motifs but deployed a more Italianate style 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/587 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Claude Joseph Vernet Title Night Mediterranean Coast Scene with Fishermen and Boats Year 1753 Biography Listen Member of a family of artists Claude Joseph Vernet initially trained in Avignon firstly with his father Antoine Vernet then with the history painter Philippe Sauvan After this early training Vernet studied in Aix en Provence with the painter of landscapes and marine views Jacques Viali His first project as an independent painter was a series of decorative paintings that he executed in 1731 for the hôtel of the Marquis of Simiani in Aix of which two are still in situ Sponsored by the Marquis of Caumont in 1734 Vernet travelled to Rome to complete his training He immediately associated with the community of French artists living in the city and with members of the French Academy in Rome By around 1738 Vernet was an established landscape and marine painter and received commissions from prestigious clients of various nationalities including the Duke of Saint Aignan French Ambassador in Rome and Isabella Farnese wife of Philip V of Spain He also had numerous clients among the British aristocrats making the Grand Tour From 1746 when he was admitted to the Académie Royale Vernet regularly exhibited at the Salon where his works were well received by critics Shortly after his return to France in 1753 Vernet embarked on a commission for Louis XV to depict fifteen large topographical views of ports known as The Ports of France Musée du Louvre Paris and Musée National de la Marine Paris This ambitious project which occupied the artist for more than ten years obliged him to travel around France until 1765 when he abandoned it unfinished For the rest of his career Vernet continued to execute paintings on his preferred themes Italianate landscapes ports and storms at sea Search

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/588 (2016-02-13)
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