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  • Saenredam | Museo Thyssen-Bornemisza
    artist to devote himself to architectural painting but his importance lies in his innovative working method based on drawings and measurements of buildings made at first hand He would later perfect this material in his studio and produce construction drawings with the aim of achieving the most perfect depiction possible Years later the artist would transfer these drawings to other supports such as panel During the process Saenredam corrected the proportions and even omitted some details if he considered that they spoiled the harmonious beauty of the buildings In order to transfer his drawings Saenredam used squaring up or tracing The monumentality and simplicity of his work together with the spatial clarity and reduced palette of pale tones resulted in remarkable paintings and Saenredam was highly appreciated and financially successful during his own lifetime Saenredam spent most of his life in Haarlem but made regular trips to other cities to paint interiors and exteriors of buildings most of which were churches Dating from his early period is the magnificent Interior of the Sint Bavokerk St Bavo s Church Haarlem from the J Paul Getty Museum Los Angeles cat 2 In 1633 Saenredam returned to his native city of Assendelft where he made various drawings that he later used in the panel depicting the Interior of the Sint Odulphuskerk the Church of St Odulphus loaned by the Rijksmuseum Amsterdam cat 5 Later Saenredam visited Alkmaar represented in the exhibition by his View of a Chapel in the north Aisle of the Sint Laurenskerk the Church of St Lawrence loaned by the Museum Catharijneconvent in Utrecht cat 3 The twenty weeks that Saenredam spent in Utrecht in 1636 were particularly significant The city was one of the most important in The Netherlands and had a large number of churches The exhibition includes

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2008/Saenredam/index_ing.htm (2016-02-13)
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  • 1914! The Avant-garde and the Great War
    Apocalypse of our time 10 Artist and soldier 11 Cubism in the trenches 12 The stigma of damnation 13 C est la guerre Few historical events were of such crucial importance as the 1914 war to the development of the early avant garde art movements The years immediately prior to the outbreak of the conflict coincided with a period of outstanding creative vitality for these art movements in which the desire to rise up and overthrow what had gone before anticipated the militant aggression expressed by most of the protagonists of the new art In addition the experience of the war had a powerful influence on the work of artists not only because it became a subject within their output but particularly because it involved an undeniable reality that highlighted the internal contradictions within the discourse of modernity of which their works formed a part The exhibition looks at the development of the new international art in the time period from approximately 1913 to 1919 and offers an interpretation conditioned by the idea of war as the backdrop to culture It deals among other matters with the prophetic role adopted by avant garde art in relation to the events that

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2008/1914/index_ing.htm (2016-02-13)
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  • Miró: Earth | Museo Thyssen-Bornemisza
    region of Catalunya but the word also functioned for the artist as a key to certain ideas and values characteristic of rural culture such as fertility sexuality fable and excess In addition it is related to the quest for the ancestral and the primitive In pictorial terms the earthly can be seen as a mistrust of form and a tendency to experiment with material These stylistic features which the exhibition

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2008/Miro/index_ing.htm (2016-02-13)
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  • Arikha
    the terrible dum dum exploding bullets During his agony he experienced a strange out of body sensation He was given up for dead and his corpse was taken to a mortuary where a nurse read his name on a label and notified his sister Arikha s sister arrived and convinced a doctor to operate on him After the operation Arikha was in a coma for six days then came back from that land of no return The third resurrection was not a physical but rather a spiritual one and is to be seen in the realm of painting As the artist has explained on numerous occasions in late February or early March 1965 he visited the Louvre to see the exhibition Le Caravage et la peinture italienne du XVIIème siècle One painting by Caravaggio particularly struck him The Resurrection of Lazarus Arikha suddenly realised that modern art had become Mannerist just as in Rome in the time of Caravaggio He felt that his vocation as an abstract painter had come to an end A few days later on 10 March 1965 Avigdor Arikha got up in the morning and experienced an overwhelming desire to draw from life possessed as he put it by a tremendous hunger of the eyes Arikha asked his wife Anne to pose for him and attempted to draw her portrait The work was not a success and he felt discouraged but returned to try again and again with an unprecedented passion At the end of the day he had produced around thirty drawings in brush and sumi ink drawings that he would later destroy as unsatisfactory However his fever did not abate On the following day Arikha returned to drawing and the next day and the next and so on for weeks and months primarily in

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2008/Arikha/index_ing.htm (2016-02-13)
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  • Florian Maier-Aichen
    to July 27 2008 Florian Maier Aichen born Stuttgart 1973 began his studies in Essen and subsequently continued his artistic training in Los Angeles His working method is clearly different to a particular trend evident in recent German photography influenced by Bernd and Hilla Becher Maier Aichen does not follow a systematic programme or use a serial typological approach In contrast he tends to make each image individual in the manner of a unique project that requires a specific conceptual aesthetic and technical approach Among his preferred subjects are mountain landscapes a recurring theme in German Romantic painting whose greatest exponent was Caspar David Friedrich and the Californian coastline These images are notably indebted to 19th century panoramic painting and photography of a monumental type They offer a theatrical and Sublime representation of nature in which the landscapes are markedly stylised exploiting to the limit the pathos inherent in their contemplation To do so they use unusual and even extreme viewpoints taken from helicopters or from mountain peaks in the manner of the early topographical artists In addition these photographs reveal a remarkable control of formal aspects such as the framing of the composition and size of the image often

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2008/Photoespana08/museo/index_ing.html (2016-02-13)
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  • Modigliani and His Times
    Paris in 1906 up to his premature death at the age of 35 Although focusing on a single creator it includes not only Modigliani s most important works primarily paintings along with sculptures and drawings but also those by artists from his social and professional circles It has thus been structured into two principal sections devoted to Modigliani s relationships with his masters and with his friends Museo Thyssen Bornemisza

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2008/Modigliani/index_ing.htm (2016-02-13)
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  • OTTO DIX
    Otto Dix Hugo Erfurth with Dog 1926 Tempera and oil on panel 80 x 100 cm Museo Thyssen Bornemisza Madrid

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2008/otto_dix/index_ing.htm (2016-02-13)
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  • Dürer & Cranach
    are displayed in its two venues The World of Artists at the Museo Thyssen Bornemisza and A World in Conflict at Fundación Caja Madrid Museo Thyssen Bornemisza 1 Pride and Melancholy an image of the German artist 2 Nuremberg 3 Italy Here I am a gentleman 4 In the collector s cabinet 1 witches monsters nudes 5 In the collector s cabinet 2 new ideas of beauty 6 Dürer science

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2007/Durero_Cranach/index_ing.htm (2016-02-13)
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