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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Naples Year ca 1700 1718 Biography Listen Known also as Gaspare Vanvitelli and nicknamed Caspare degli Occhiali Caspar Adriaansz van Wittel s work has been considered an important precedent to urban veduta painting which reached its highest point during the Settecento Trained by the genre painter Mathias Withoos Van Wittel is documented in Italy since 1675 His collaboration with the engineer Cornelis Meyer is from this year As a surveyor he illustrated a project for the navigation of the river Tiber this series of drawings would be a valuable record in the direction of his career In the 1680s he became interested in this genre as a subject matter for his works and he executed his first views of the Eternal City Galleria Nazionale in Rome His style would be fully formed in the following century when he made a number of trips through the north of Italy that took him to Bologna Florence Verona and Venice and of which drawings and oils remain View of Venice from the Island of San Giorgio Museo del Prado dated in 1697 In 1700 he visited Naples at the request of the Spanish viceroy the Duke of Medinaceli He returned to Rome around 1701 and in 1711 entered San Luca as an Academic he would occupy a number of posts there until 1721 He died in Rome on 13 September 1736 In his compositions of views a clear interest for transmitting aspects of daily life in the city can be observed more than for depicting famous corners and squares His designs which were based on exact and uncorrected preparatory drawings and on sketches made from nature were made to fit horizontal formats that allowed the artist to obtain panoramic perspectives and views Mar Borobia Search Advanced search Featured Products Catalogue of the Madrid

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/615 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in Nuremberg with Hans Pleydenwurff On the latter s death Wolgemut married his widow and took on Pleydenwurff s son Hans as an assistant Around 1470 71Wolgemut was in Munich working with Mälesskircher He returned to Nuremberg the following year where he remained active particularly in the production of altarpieces until around 1480 from which date he focused primarily on printing and printmaking Wolgemut s work conforms to some extent to the Nuremberg style with a preference for line over colour and a use of restrained gestures in the figures His early works are clearly influenced by Van der Weyden Dieric Bouts and Aelbert van Ouwater while his later output increasingly looks to Martin Schongauer s graphic oeuvre Wolgemut s paintings include the altarpiece for the Marienkirche in Zwickau dated 1479 which is his first documented commission as an independent painter Among his later altarpieces are those for the church of Saint Lawrence in Nuremberg of around 1485 and the famous Peringsdörfer Altarpiece now in the Friedenskirche of that city In addition to these religious works Wolgemut also executed portraits including Portrait of Levinus Memminger Museo Thyssen Bornemisza Madrid Portrait of Ursula Tucher Schloss Willhelmshöhe Kassel and Portrait of a young Man Detroit Institute of Fine Arts Wolgemut also produced designs for stained glass but he is best known for his activities as a printmaker and is particularly noted for his illustrations executed in collaboration with Wilhelm Pleydenwurff for the Schatzbehalter by Stephan Fridolin Nuremberg 1491 and the Liber Chronicarum also known as the Nuremberg Chronicle or World Chronicle of 1493 produced in collaboration with Hartmann Schedel The latter was a particularly important project in the context of printing and book illustration and had a profound impact on the work of Wolgemut s famous pupil Albrecht Dürer Search Advanced search

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/616 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen The German painter Wolfgang Schulze known as Wols has gone down in art history as one of the forerunners of Art Informel and one of the leading exponents of Tachisme The son of the chancellor of Saxony in Dresden as a child Wols was a gifted musician and violinist In 1930 he developed an interest in photography which he combined with drawing and painting after moving to Berlin in 1932 There he intended to enrol at the Bauhaus but László Moholy Nagy recommended he go to Paris where he met Amédée Ozenfant Fernand Léger Hans Arp and César Domela He also came into contact with Max Ernst Joan Miró and other members of the Surrealist movement whose influence is apparent in his drawings and photographs from this period In 1937 the year he adopted the pseudonym Wols he was appointed official photographer of the Pavillon de l Elégance at the Paris international exhibition Like other Germans when the Second World War broke out Wols was interned in a concentration camp and was later forced to flee from the advance of the German troops He finally found refuge in Montélimar where he remained until the war was over drawing and painting watercolours that were first exhibited in 1945 at the Galerie Drouin in Paris Compared to the scant repercussion of his first exhibition the show staged at the same gallery in 1947 marked the start of his recognition as a painter Around this time Wols met Jean Paul Sartre and existentialism left an imprint on his works Towards 1946Wols began to work with oils encouraged by his dealer René Drouin His gestural style greatly influenced artists like Georges Mathieu and critics such as Michel Tapié coined the term Art autre Other Art to describe this post war art form

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/617 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    his paintings are dated Baptised in Haarlem in 1619 Wouwerman was the eldest son of the painter Powels Joosten Wouwerman and his brothers Pieter and Jan were also painters He probably initially trained with his father and according to Cornelis de Bie continued his studies in the studio of Frans Hals In 1638 or 1639Wouwerman lived for a short period in Hamburg where he worked in the studio of the history painter Evert Decker During his time in Hamburg Wouwerman married Annetje Pietersz van Broeckhof In 1640 he returned to Haarlem and entered the painters guild of which he became vinder in 1646 Wouwerman painted numerous landscapes with religious themes as well as genre paintings battle scenes hunting parties and riding schools all of which included the depiction of horses and riders His work reveals the marked influence of Pieter van Laer an artist known for his street scenes of ordinary people which he developed and popularised in Italy during the ten years that he spent there before returning to Haarlem and continuing to work in this genre Wouwerman was a celebrated painter in his own lifetime and by the time of his death in 1668 had achieved a considerable degree of prosperity Wouwerman s scenes with horses were particularly appreciated and were imitated by numerous artists He also painted the figures in landscapes by Jacob Ruisdael Jan Wijnants and Cornelius Decker Wouwerman had a large number of pupils including Nicolaes Ficke Jacob Warnars and his own brothers His works had a notable influence on other painters including Adriaen van de Velde while in the 18th century he was among the most highly appreciated of the Dutch painters Between 1737 and 1759 the printmaker Jean Moyreau published eighty nine engravings after Wouwerman s paintings which decisively contributed to the dissemination

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/618 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    of the leading artists of the Dutch Mannerist school According to his contemporary Van Mander he trained in the studio of his father a Utrecht stained glass master He then travelled around France and Italy for four years in the company of his patron Charles de Bourgneuf de Cucé Bishop of Saint Malo Dating from this period is The Apotheosis of Venus and Diana private collection a work that reveals the artist s familiarity with the style of Parmigianino and the School of Fontainebleau In 1592Wtewael returned to Utrecht where he is registered as a painter in the painters guild His early works reflect the late Mannerism of Goltzius Cornelis Cornelisz van Haarlem and his mentor Karel van Mander In The Flood Germanisches Museum Nuremberg Wtewael used the same exaggerated muscular bodies to be found in Goltzius series of prints on The Disgracers while his first signed and dated work The Parnassus lost was a small painting on copper based on Goltzius drawing The Judgement of Midas Pierpont Morgan Library New York Wtewael s output is characterised by his use of a variety of different supports and formats and on occasions he painted the same subject in different ways depending on the support used One of his most frequently repeated compositions is The Adoration of the Magi which he painted on copper panel and canvas in different sizes from small to monumental Around 1600 both Wtewael and the Haarlem painters began to deploy a more restrained style in their compositions although retaining a sense of artificiality Wtewael was also a tradesman and politician and was elected a member of the Utrecht city council on various occasions He was also a founder member of the Utrecht guild of Saint Luke in 1611 One of his sons Pieter Wtewael followed his father

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/619 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    had on him prompted him to emulate the Old Master and to adopt watercolour as his favourite medium during his early years as a painter His work was first exhibited at The Wyeth Family a show organised by the Philadelphia Art Alliance in 1936 and his first one man exhibition took place the following year It was such a resounding success that it sold out on the first day Determined to devote himself to painting in 1943 he was offered a contract to produce the cover illustrations for The Saturday Evening Post as his father had done but turned it down Wyeth led a quiet life seldom travelled and spent most of his time in the states of Maine and Pennsylvania His style hardly varied throughout his career His fondness for expressing the instantaneous inclined him towards swift execution which was counterbalanced by his desire to capture the tiniest details His range of colour was characterised by a tendency towards austerity with predominant earth shades During the 1940s he incorporated the egg tempera technique learned from his brother in law which enabled him to create highly matte surfaces The equally changeless themes of his works are related to those of the painters of the American Scene who were interested in representing the essence of America In addition to Maine landscapes he also liked to depict the human figure Two female models played a prominent role in his career featuring in many of his works One was Christina Olson whom he portrayed until 1969 the year she died and who is depicted in the work that catapulted Wyeth to fame Christina s World 1948 New York The Museum of Modern Art The other was Helga Tesford a neighbour whom he secretly painted between 1971 and 1985 Andrew Wyeth was greatly admired

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/620 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Zehender Biography and Works Author Gabriel Zehender Born Dead Active ca 1517 35 Date Works Author Gabriel Zehender Title Portrait of a married Couple Year 1525 Biography Listen Zehender was a German artist active between 1517 and 1535 whose biography is difficult to reconstruct due to the scant amount of available information In 1529 he registered in the painters guild in Basel obtaining citizenship that same year Despite the lack of information to link him to that city documents mention that he was from Grossmausdorf a small town in northwest Germany now Poland In 1534 Zehender s name again appears in the city archives along with that of his wife in reference to the fact that his properties were confiscated He is last mentioned the following year among a list of fugitives Gabriel Zehender has been associated with the Master Monogrammist GZ an identification that is generally but not universally accepted The works by that master consist of woodcuts in publications printed between 1517 and 1521 in Basel Strasbourg and Hagenau indicating that he probably lived and worked in the Upper Rhine area This seems likely due to the nature of that master s style which combines clear influences of the work of Dürer but above all that of Hans Baldung Grien who was active in Strasbourg Zehender s corpus remains largely incomplete Portrait of a married Couple in the Museo Thyssen Bornemisza Madrid is his only known painting 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 the shop Recommended artists Hans Cranach Wittenberg ca 1513 Bologna 1537 Lucas Cranach Wittenberg 1515 1586 Hans Baldung Grien Schwäbish Gmünd 1484 85 Strasbourg 1545 Hans Maler Ulm ca 1480 Schwaz 1526

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/621 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Gerini Zocchi very probably studied perspective which he enriched with trips to Rome Bologna and to the North of Italy He was awarded the prize for young students in the painting class at the Accademia in 1737 and in 1741 was admitted to the first year Between 1739 and 1741 he must also have travelled to Venice where he was Joseph Wagner s student and where he learned the art of engraving Gabburri had encouraged him in this field by having him draw the paintings of various artists in the churches in Florence to be used as basis for engravings It must be emphasised however that although Zocchi is primarily known in the modern age as a draughtsman and view painter he was in his own time pre eminently a figure painter even in his architectural and landscape works Proof of this lies in Gabburri s own words when he mentions how Zocchi would pass from landscape painting after having painted figures in oil and architecture a fresco and in tempera In addition to his wonderful canvas of The Triumph of David 1739 private collection which evokes Pannini and his pair of Ruins with Figures both signed and dated 1746 and 1747 Great Britain private collection it is worth recalling his scenes of conversations Venice Museo Correr Florence private collection his frescoes for Gabriello Riccardi before 1740 as well as his mural paintings for the Palazzo dell Arcivescovado in Pisa Stories from the Bible 1751 and those in the Florentine Rinuccini 1756 1766 Gerini post 1759 and Serristori palaces In the early 1740s Zocchi was the guest of the Marchesse Gerini employed in painting in oils various views of the city of Florence inserting in them an infinite number of well placed and perfectly drawn figures in the style of the celebrated Canaletto though perhaps even softer than those in their colours This praise is not excessive if we bear in mind the quality of his seven surviving views View from outside the Gate of San Niccolò and Piazza della Signoria with Marco Grassi in New York The Arno River at Santa Trinità Bridge Madrid Carmen Thyssen Bornemisza Collection The Bridge at Santa Trinità and the Church of Santa Trinità and Piazza San Firenze now in a private collection with Christie s London 10 July 1981 Capriccio with the Ponte Vecchio private collection and Piazza Santissima Annunziata location unknown The artist had previously painted a day time and a night time Festivity in the Piazza del Campo in Siena held for the arrival of the Grand Dukes of Tuscany in 1739 today with the Monte dei Paschi bank Siena and a Regatta in Venice in 1740 London Sotheby s 19 July 1961 lot 159 Zocchi s most famous work is his two fold series of engravings published in 1744 promoted and paid for by the Marchese Gerini entitled Selection of XXIV Views of the principal Districts Squares Churches and Palaces of the City of Florence and of Views of Villas

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/622 (2016-02-13)
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