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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Tom Wesselmann Biography and Works Author Tom Wesselmann Born Dead Cincinnati 1931 New York 2004 Date Works Author Tom Wesselmann Title Nude No 1 Year 1970 Biography Listen Famous for his large female nudes the painter Tom Wesselmann embraced the artistic sensibility that dominated the American art scene of the early 1960s and was known as Pop Art Wesselmann s first foray into the art world came when he was conscripted in 1952 during the Korean war and while serving in Kansas produced a series of comic strips criticising military life In 1954 he resumed his psychology studies at the University of Cincinnati and in 1956 after finishing his degree he decided to become a professional cartoonist and moved to New York There he studied at the Cooper Union School of Art and Architecture and finally after graduating he decided to take up painting Wesselmann s beginnings as a painter were marked by the influence of Willem de Kooning and his interest in creating a new approach to real objects His later work denotes the presence of certain aspects of Matisse Van Gogh and Modigliani The collages dating from this periodmade from cuttings of advertisements represented female nudes or still life scenes which foreshadowed the two major themes that were repeated throughout his lifetime In 1961 the year that the Tanager Gallery first exhibited his work he started on his Great American Nude series In these large intensely coloured female nudes Wesselmann eschewed detail in order to convert the image of the female body into a depersonalised sex symbol The eroticism of these images became increasingly marked as his career progressed In 1980 he wrote an autobiography which he signed under the pseudonym Slim Stealingworth Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/607 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    1464 Biography Listen Together with Jan van Eyck Rogier van der Weyden is the most important Flemish artist of the first half of the fifteenth century Given that he never signed his works Van der Weyden s oeuvre has been reconstructed on the basis of a number of stylistic similarities between a group of works which are all referred to in documents and thus provide reliable information about the execution of his paintings Trained at a fairly late age in the studio of Robert Campin he is documented in Campin s studio in 1427 and was designated a master in 1432 In 1435 he moved to Brussels where he was named official painter to the city and produced one of his first known works four panels of The Justice of Trajan and The Justice of Herkinbald now lost which formed an allegorical decoration in a room in the Town Hall Van der Weyden made only one documented trip to Rome in 1450 which he travelled to as a Holy Year pilgrim The representation of human sentiments such as pain and sadness and the moving expressions of his figures together with his remarkable technique were the artist s major contribution to fifteenth century Flemish painting Van der Weyden was famous in his own lifetime and his works were widely known partly through the versions and copies made by his own extensive studio Among his most splendid paintings are the Descent from the Cross in the Museo del Prado Madrid in which the artist used a gold ground The Miraflores Triptych in the Berlin Gemà ldegalerie The Columba Triptych in the Alte Pinakothek Munich and The Crucifixion in El Escorial Among his outstanding portraits is the head of a woman in the National Gallery Washington Search Advanced search Featured Products Catalogue of

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/608 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    documented works by his hand He trained at a relatively late age with Robert Campin in whose workshop he is documented in 1427 becoming a master in 1432 In 1435 Van der Weyden moved to Brussels where he was appointed official painter to the city and executed one of his first known commissions to paint four symbolic panels on The Justice of Trajan and Herkenbald now lost for the decoration of a room in the Town Hall Other early works include The Virgin and Child Kunsthistorisches Museum Vienna The Visitation Leipzig Museum der Bildenden Kunste and The Virgin and Child Museo Thyssen Bornemisza Madrid Unlike Van Eyck Van der Weyden did not receive a salary from the Duke of Burgundy but he executed numerous works for this patron and for other rulers of the day The only journey by the artist mentioned in literary sources was a trip to Rome in 1450 to where he travelled as a pilgrim during Holy Year Van der Weyden s ability to express human emotions such as suffering and sadness the highly expressive faces of his figures and his exquisite technique can be considered his principal contributions to 15th century Flemish art Celebrated during his own lifetime Van der Weyden s work was widely known partly through the copies made by his active workshop Among his most remarkable and impressive paintings are The Descent from the Cross Museo del Prado Madrid with its gold background The Miraflores Triptych Gemäldegalerie Berlin commissioned by Juan II of Castile The Columba Triptych Alte Pinakothek Munich with its marvellous depiction of The Adoration of the Magi in the central panel and The Crucifixion monastery of El Escorial Madrid A number of outstanding portraits by Van der Weyden have survived including Portrait of a Woman in the National Gallery

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/609 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    where he received his first drawing classes In 1848 he furthered his training in London where his brother in law Francis Seymour Haden acquainted him with the art of engraving In 1855 after living in the United States for a few years he decided to go to Paris to become a professional painter He studied at the École Impériale et Spéciale de Dessin and in the workshop of Charles Gleyre In the city he met the artists Henri Fantin Latour and Alphonse Legros with whom he formed the Société des Trois Like themWhistler greatly admired Velázquez seventeenth century Dutch painting and his contemporaries Gustave Courbet and Édouard Manet One of his works At the Piano Cincinnati Taft Museum was rejected by the Salon in 1859 A few years later he moved to London where the same work was exhibited at the Royal Academy and where Whistler spent most of his life thereafter He came into contact with the Pre Raphaelite circle and befriended Dante Gabriele Rossetti and the poet Algernon Swinburne as a result of which his work shifted from realism to a greater aestheticism Barely two years after his arrival in London his painting The White Girl Washington National Gallery of Art triggered a major controversy as it was rejected by the Royal Academy and the Salon and aroused great expectation at the Salon des Refusés in 1863 The bewilderment he caused among public and critics alike became evident again in 1877 when John Ruskin harshly criticized one of his nocturnes Whistler sued him for libel and although he won the case the legal costs forced him to declare himself bankrupt in 1879 Whistler s ever latent interest in graphic art grew after he married one of his students Beatrice Godwin in 1888 He travelled with her to Venice

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/610 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    patrons Whittredge travelled in 1849 to Europe He journeyed through Belgium and Germany to Paris where he spent the winter Whittredge visited the French village of Barbizon but at the time was not impressed with the painters working there In 1850 he was located in Düsseldorf Germany where he was joined by his pupil Benjamin McConkey who had also studied with Thomas Cole Whittredge stayed at the house of Andreas Achenbach for one year but did not become his student He became friends with Emanuel Leutze who asked that he pose for several figures in Washington Crossing the Delaware and participated in evenings at the artists club Malkasten In 1856 he left Düsseldorf with Leutze William S Haseltine and John Irving on a sketching trip to Switzerland where they were joined by Albert Bierstadt By 1857 he settled in Rome with Haseltine Bierstadt and Sanford Robinson Gifford Whittredge returned to New York in August 1859 spent a month at Newport Rhode Island and revisited Cincinnati Ohio By 1860 Whittredge was established in New York taking space at the Tenth Street Studio Building He was elected an associate of the National Academy of Design that year and the following year was elected a full academician He served as President from 1874 1877 during which time the organisation was in a period of turmoil Whittredge also became a member of the Century Association Lotos and Unjan League Clubs In 1866 on his first journey to the West he accompanied General John Pope to Colorado and New Mexico The following year at the age of forty seven he married Euphemia Foote at Geneva New York who was seventeen years younger than the artist Whittredge returned to the Platte River Colorado and Wyoming with John F Kensett and Gifford in 1870 the following year

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/611 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen Jan Wijnants was born in Haarlem His exact date of birth is unknown but must have been around 1635 His father was an art dealer of the same name Wijnants is mentioned in various municipal documents until around 1660 His first works depict brick farm buildings and country cottages and are clearly influenced by the work of Dirck Wijntrack who habitually collaborated with him Wijnants moved permanently to Amsterdam around 1660 and in 1661 married Catharina van der Veer His paintings of this period are inspired by the outskirts of his native Haarlem and he followed the tradition of dune landscapes of the type painted by Pieter de Molijn and Jacob van Ruisdael Wijnants paintings are essentially variations on a single theme that of the dune landscape in which each work focuses on a different motif He frequently selected dry or withered trees as the main element in the foreground and peopled his compositions with shepherds hunters and travellers at rest These figures were generally painted by other artists such as Johannes Lingelbach and Adriaen van de Velde the latter being Wijnants pupil according to Houbraken The Herengracht Amsterdam Cleveland Museum of Art is a topographical view of this famous canal and is exceptional within Wijnants oeuvre due to its subject matter Like many other 17th century Dutch painters Wijnants had a second profession and he owned an inn on the Looiersgracht in Amsterdam Despite this he frequently experienced financial problems and court cases involving his creditors are constantly referred to in city documents Wijnants work was of great importance to 18th century English landscape painting particularly the work of Thomas Gainsborough 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

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/612 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Ferdinand Wimar who was devoted to portraying the American Wild West was born in Germany and went to Saint Louis with his family at the age of fifteen Saint Louis then the centre of the American fur trade witnessed a constant stream of people and objects from the West and exuded a great fascination with everything that came from those distant lands Wimar began training at the workshop of Leon de Pomarede a painter of French origin and helped him execute some of his panoramas depicting scenes of the West Both his master and the atmosphere of his city of adoption were conducive to Wimar s decision to devote his oeuvre to this genre In 1850Wimar like other painters of his day decided to travel to Europe specifically to Düsseldorf to round off his training The German city was one of the most important art centres for American painters of the time because their countryman and colleague Emanuel Leutze was based there Wimar soon came into contact with other painters and carved out a place for himself in the local art scene His fame grew as he was the only artist to portray the American West in Germany despite the fact that he had almost certainly not yet visited the area and his scenes were based on tales and legends Wimar returned to the United States in 1856 It was then that he embarked on a trip along the Missouri River that took him to Yellowstone and at last allowed him to see for himself the customs and traditions of some of the Indian tribes he had depicted in Germany At the beginning of the 1860s he was commissioned to produce a set of mural paintings for Saint Louis Court House He died of tuberculosis in 1862 shortly after completing

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/613 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    1658 Author Emanuel de Witte Title Interior of a Gothic Church Year 166 9 Biography Listen Emanuel de Witte was born in Alkmaar around 1617 Son of a schoolteacher he trained in Delft with the still life painter Evert van Aelst By 1636 he was registered in the painters guild in Alkmaar and in 1639 and 1640 is mentioned in various municipal documents in Rotterdam He is again documented in Delft for the baptism of his daughter Jaquemyntgen in 1641 and is recorded in the painters guild of that city the following year De Witte remained in Delft for approximately the next ten years His early works comprise portraits history paintings and mythological compositions all of which reveal the influence of Gerrit Dou and the Utrecht school painters From 1650 onwards De Witte began to specialise in architectural paintings in particular church interiors Together with Gerard Houckgeest and Hendrick Cornelisz van Vliet he is considered one of the principal representatives of this genre in Delft His early paintings are inspired by Houckgeest but he soon developed his own style and technique producing paintings of great quality Around 1652 De Witte moved to Amsterdam where he married for the second time three years later The city s buildings including the Nieuwe Kerk and the interior of the Portuguese synagogue provided the inspiration for his paintings at this date but only a few offer topographically accurate depictions as De Witte tended to take different elements and rearrange them in purely imaginary interiors in contrast to Saenredam De Witte also executed genre paintings views of imaginary ports and from 1660 onwards scenes of markets The unequal and variable quality of his work has been interpreted as reflecting his unstable personality and his last years were troubled by debt De Witte s only pupil

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/614 (2016-02-13)
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