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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Caroto Veronese s early works conform to artistic trends in his native city His first work outside the city was a series of frescoes painted for the Villa Soranzo in 1551 which reveals the influence of Giulio Romano and Parmigianino particularly in the figures Between 1553 and 1555 Veronese decorated the Sala del Consiglio dei Dieci in the Doge s Palace for which project he moved to Venice He began to achieve recognition following the execution of canvases for the Biblioteca Marciana including the Allegory of Music for which he received a prize Among his most notable portraits is A Woman with her Son and a Dog Musée du Louvre Paris In 1560 Veronese travelled to Rome where he studied the works of the Renaissance masters At this period he embarked on the fresco decoration of Palladio s Villa Barbaro in Maser near Treviso Among his masterpieces is The Marriage at Cana Musée du Louvre Paris which includes a series of portraits of Francesco Bassano Jacopo Tintoretto Titian and Veronese himself in the guise of musicians The complexity of the composition and the architectural setting in this work reveal the influence of Raphael s projects in the Vatican In 1573 Veronese executed another major canvas The Feast in the House of Levi Gallerie dell Accademia Venice During the last phase of his career he worked on the Doge s Palace in Venice in particular the Sala del Maggior Consiglio for which he painted The Triumph of Venice An interesting work from the viewpoint of its use of chiaroscuro is The Miracle of Saint Pantaleon in the Venetian church of that name Veronese ran an active studio in which his brother Benedetto and his two sons Carlo and Gabriele worked alongside other apprentices including Alvise dal Friso Together they continued the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/589 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    and Saint Petersburg like his two older brothers Leonid and Viktor with whom he worked on most of his architectural projects Vesnin also attended the classes of the Impressionist painter Konstantin Yuon and in 1913 14 experimented with Cubism in Vladimir Tatlin s workshop known as The Tower There he met Liubov Popova and Nadeshda Udaltsova among other artists In 1918 Vesnin was involved in the decoration of Moscow s Red Square for the May the First celebrations and around 1920 he began to work as a stage designer One of his most important sets was for Gilbert Keith Chesterton s The Man who was Thursday in 1923 From 1921 to 1924 he taught at the Higher State Art Technical Studios Vkhutemas where he again worked with Popova In parallel with these activities he collaborated in the Institute of Artistic Culture Inkhuk where he met other painters such as Alexander Rodchenko Together with Rodchenko PopovaVarvara Stepanova and Alexandra Ekster he took part in the 5 x 5 25 exhibition in 1921 Vesnin was first attracted by Suprematism at the end of the 1910s but gradually espoused the Constructivist principles which advocated an art that was bound to its constituent elements and to the new technological society that emerged after the Soviet Revolution He attempted to put these ideas into practice in some of his projects such as the design for the Moscow Palace of Labour not built which he worked on with his brothers in 1922 23 and the newspaper Pravda building in Leningrad In 1925 he and Moisey Ginzburg founded the OSA Union of Contemporary Architects and the magazine they began to publish became the vehicle for the dissemination of their ideas When around 1930 the authorities began to demand a return to historicism Alexander and Viktor Vesnin Leonid

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/590 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Antonio and nephew of Bartolomeo Alvise trained in the family workshop His style is based on the linearity compositional models and iconography used by other family members particularly at the outset of his career Alvise s style evolved and reveals his knowledge of the work of Giovanni Bellini Antonello da Messina and Andrea Mantegna and his early works look to Mantegna s clearly defined forms and definition of space Vivarini s figures became notably well modeled although he continued to use hard exaggerated outlines albeit softened by the interaction between the figures Following his training in Venice Vivarini s first work as an independent painter is a polyptych painted for the convent of Montefiorentino of 1476 Galleria Nazionale delle Marche Urbino Also from this period is Saint Jerome National Gallery of Art Washington a painting that reflects an evolution in his style as well as the work of Bellini in the treatment of the light and landscape In the 1480s Vivarini replaced his linear approach with a more volumetric style in which the light defines and models the figures During this period he focused on the theme of the Sacra Conversazione in which he was notably innovative using the traditional horizontal format to investigate Renaissance principles of spatial construction while the figures and light are imbued with a remarkably poetic quality From the 1590s onwards Vivarini focused his activities on Venice where he participated in the decoration of the Scuola di San Marco The Risen Christ of 1498 in the church of San Giovanni in Bragora in Venice is a clear example of his late style in which the figures are painted in a more dynamic manner Influenced by Antonello da Messina Vivarini also painted portraits including Portrait of a Man in the National Gallery London Search Advanced search Featured

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/592 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen Maurice de Vlaminck was born in Paris the son of musicians but grew up in Le Vésinet where the family moved in 1879 When he was sixteen he bought his first racing bike and decided to become a professional cyclist For two years he was able to support himself and his family he married in 1894 through his racing but then a bout of typhoid fever put an end to his sporting career In the meantime he had begun to draw but it was not until 1900 and a chance meeting with Derain while he was on leave from the army that Vlaminck decided to paint seriously His friendship with Derain lasted throughout his life First they shared a studio in Chatou and then in 1913 they went together to Marseilles and Martigues In the early 1940s they met again at the opening of Arno Breker s exhibition in Berlin There are at least two portraits of Vlaminck by Derain and one by Vlaminck of Derain Vlaminck made his first public appearance as an artist in 1905 when works of his were exhibited in the Salon d Automne together with works by Camoin Marquet Derain Manguin and Matisse In 1907 after seeing the Cézanne retrospective he joined the Fauves In 1911 he made his first trip to London Throughout the First Word War he lived in Rouen writing poetry at this period Vlaminck had already published two novels of a more or less overtly pornographic nature one in 1902 and the other in 1903 both of them illustrated by Derain After the war Vlaminck travelled throughout France although he produced most of his work around Paris near the Seine In the course of the Second Word War he painted mainly landscapes and still life paintings which were characterised

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    on 12 March 1638 was still living in Delft in the house known as Houttuyn On 19 July 1638 he was described in a document as an artist living in Amsterdam and probably moved to that city sometime between this date and the preceding 12 March when he was still residing in Delft De Vlieger executed two designs for decorations for the festivities honouring Queen Maria de Medici s entry into Amsterdam on 31 August 1638 On 2 December 1640 and 10 March 1641 he was paid for unspecified works by the city of Delft In 1642 he received a commission to paint organ doors for the Grote Kerk in Rotterdam for which he was paid the considerable sum of 2000 guilders on 7 January 1645 The doors depicting King David and other figures were destroyed in 1788 On 5 January 1643 he became a citizen of Amsterdam and on 17 September 1644 sold his house in Rotterdam On 4 January 1648 he was commissioned to decorate the windows on the south side of the Nieuwe Kerk in Amsterdam for 6000 guilders He was still living in Amsterdam on 20 November 1648 but on 13 January 1649 bought a house in Weesp His daughter Cornelia was married to the Amsterdam painter Paulus van Hillegaert the Younger 1631 1658 in that city in 1651 On 2 February 1652 he was again mentioned in Rotterdam as a widower but he died in Weesp probably early in March 1653 His death was lamented in verses by the poet Joost van den Vondel A varied artist Simon de Vlieger painted and drew seascapes beach scenes and landscapes as well as a few genre scenes and portraits His earliest dated works are of 1624 The early paintings are strongly influenced by Jan Porcellis 1584 1632

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/594 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Listen The German artist Friedrich Vordemberge Gildewart studied design and architecture at the Kunstgewerbeschule in Hanover His first pictures were notable for their geometry and tendency towards non figuration which would be a constant feature throughout his artistic career Vordemberge Gildewart s work was first shown in 1924 at the Kestner Gesellschaft in Hanover where it received critical attention That year he started on his typographic work and opened a workshop in the Kestner Gesellschaft building He met Kurt Schwitters and through him Hans Arp and also Theo van Doesburg who helped him join the Dutch Neo Plasticist group De Stijl in 1925 Following this Vordemberge Gildewart adopted a more reduced palette and published a few of his works in the magazine that had given its name to the group In 1927 he founded the group Die Abstrakten Hannover together with Schwitters Carl Buchheister Rudolf Jahns and César Domela and also collaborated with Ring Neue Werbegestalter an initiative of Schwitters bringing together designers and artists who worked in advertising He later joined the Abstraction Création group in 1932 The advent to power of the Nazis marked Vordemberge Gildewart s life and his artistic career After living in Berlin during 1936 and 1937 and passing through Switzerland he settled in the Netherlands of which he became a citizen after the Second World War ended During this time he was forced to paint in secret and produced works notable for their balance and luminosity which Hans Arp described as a counterpoint to the chaos of the period in the first monograph on the artist published in 1949 In 1953 he received an award at the São Paulo Bienal and the following year accepted a teaching post at the Hochschule für Gestaltung in Ulm Germany where he worked for the rest of his

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    to Antwerp where Cornelis and his brothers Jan and Paul began their studies in the studio of the local painter David Remeeus Having completed his apprenticeship in 1604 De Vos requested permission to study abroad but there is no documentary proof that he did so He is next mentioned in 1608 when he entered the guild of Saint Luke in Antwerp In 1616 he became a citizen of that city and appears in the records as an art dealer In 1609 he married Sussana Cock stepsister of the landscape painter Jan Wildens At this period De Vos worked with Rubens Jordaens and Van Dyck on the cycle of paintings for the church of Saint Paul in Antwerp In 1619 he was elected dean of the painters guild and that same year asked permission from the city authorities to travel to France in his capacity as art dealer in order to attend the Saint Germain market in Paris In late 1634 he again collaborated with Jordaens on the decoration of one of the triumphal arches to celebrate the entry into Antwerp of the Cardinal Infante Fernando and two years later worked with Rubens on the series of paintings for the Torre de la Parada in Madrid De Vos painted history and religious compositions but was most important within 17th century Flemish art for his portraits becoming the leading portraitist of the middle classes His works in this field are characterised by the painstaking detail used to depict both the setting and objects that accompany the sitters without detracting from the principal motif His style reflects the influence of Van Dyck but he was more interested in reflecting middle class values such as prosperity than imbuing his figures with aristocratic elegance De Vos distinctive style is evident in both his individual and

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/596 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    s childhood or training According to the 17th century architect and historian André Félibien at the age of fourteen Vouet travelled to England to paint a French noblewoman while in 1611 he accompanied the French ambassador to Constantinople in the capacity of portraitist From there he left for Italy in 1613 arriving in Venice where he remained until the following year when he moved to Rome remaining there until his return to France Vouet worked for many of the great patrons and in particular enjoyed the support of the Barberini family His early works of this period reveal the influence of Caravaggio and his followers but he was soon interested in other trends including north Italian Mannerism Titian and Veronese s lyricism and the works of the Carracci Guercino and Guido Reni Vouet s palette consequently became lighter and his compositions more harmonious In Rome he became a highly regarded painter and in 1624 was elected president of the Accademia di San Luca During his years in Italy Vouet had received a pension from the French crown and in 1627 was summoned back by Louis XIII who appointed him court painter and commissioned an ambitious project to decorate various royal residences including Château Neuf in Saint Germain en Laye Fontainebleau and the Royal Palace in Paris Vouet s return marked the arrival of the Baroque style in France and he introduced an entirely new artistic idiom that had a major impact on his contemporaries and on artists of the following generation Vouet soon became the leading painter in Paris and began to undertake major commissions to decorate aristocratic residences and churches His highly active workshop trained almost all the major artists of the mid century including François Perrier Nicolas Mignard Eustache Le Sueur and Charles Le Brun Search Advanced search

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/597 (2016-02-13)
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