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  • Richard Estes
    London Cordoba and Florence It is New York however to which he has devoted most time and attention Manhattan is the matrix of all the cities that Estes has painted just as Central Park is the model for all his rural landscapes and the Bay of New York the origins of all his views with water from the Grand Canal to the Sea of Marmara Estes city views include a wealth of signs that indicate a particular time and place the models of the cars the publicity awnings the shop windows even the clothes worn by passers by Beyond this ephemeral element however the city every city unfolds in Estes work like a crystalline structure of infinite facets both identical and always in the process of change Estes Realism is not the passive reproduction of what we see but rather a questioning of the visible hence the almost obsessive use of reflections Since 1967 when the artist painted the Flatiron building reflected in the bodywork of a car reflections appear throughout Estes work on cars and buses in window panes and shop windows and in water These reflective surfaces are not smooth and uniform but are filled with waves and eddies that alter and distort what is reflected in them As they unfold on these surfaces the real objects become fantastical and unrecognisable monsters like the female nudes in André Kertesz s photographs On occasions our only perception of the real world in Estes painting is via a reflection through which the world appears inverted fragmented and distorted At other times the world splits into two A glass wall traverses the pictorial space as it recedes into depth and divides it into two halves the inside and the outside of a bus or a shop window For much of his

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2007/Estes/index_ing.htm (2016-02-13)
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  • Van Gogh
    5 00 Combined ticket for the Permanent Collection and the Temporary Exhibitions 12 00 Combined ticket for the Temporary Exhibitions only valid in July and August from 7pm to 11pm 7 00 Students with proof of status and visitors aged over 65 Temporary Exhibition 3 50 Combined ticket for the Permanent Collection and the Temporary Exhibitions 8 00 Combined ticket for the Temporary Exhibitions only valid in July and August

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2007/Van_Gogh/info_ing.html (2016-02-13)
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  • Portraiture
    to be a dynamic force within modern art Not only is it clear that all the key artists of the 20th century experimented with this genre but in addition many of them made it the key theme within their work For the first time the period in question saw the portrait move away from its traditional function and types to bring about a break between the model and its faithful

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2007/retratos/index_ing.htm (2016-02-13)
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  • Arikha
    museum offering the visitor a place for contemplation Each of the exhibitions in the series to be held on an annual basis will comprise a selection of masterpieces from the permanent collections chosen by a great living artist The curator of the first exhibition is Avigdor Arikha a painter as well as a brilliant writer lecturer exhibition curator and maker of documentaries on painting Arikha has devoted himself to working

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2006/Arikha/index_ing.htm (2016-02-13)
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  • Rauschenberg. Express
    the same image of an eagle the official symbol of the USA appears in Kite and in Manuscript Rauschenberg s serigraphic paintings capture and freeze a moment of reality through the artist s images The increasing tension over the Vietnam War for example forms part of the background to many of these works and reflects Rauschenberg s pacifist stance Express combines a variety of viewpoints using frontal aerial and oblique perspective while also mixing and modifying the proportions The figure of the choreographer Merce Cunningham is reduced to a tiny patch while in contrast the photograph of Cunningham s trio comprising Carolyn Brown Viola Farber and Steve Paxton is enlarged The title of the painting seems to refer to a movement at high speed as well as to something more precise and exact perhaps the expression of a particular creative impulse Whatever the case both the title and the images in the painting suggest the idea of movement speed and co ordination These qualities are suggested in the rider repeated four times who seems to jump out of the canvas the sequence of photographs of a nude woman in movement recalling Marcel Duchamp s famous painting Nude descending a Staircase and various mountaineers climbing up vertically from the lower edge of the painting against a black background in an image adapted from a US army recruitment poster During a trip to Cuba in 1952 Rauschenberg experimented for the first time with transferring printed images onto paper By soaking images cut out of newspapers and magazines in solvent then rubbing them from behind with a blank pen he achieved an incomplete fragmented type of image It was from 1958 onwards however that he developed this technique most fully represented in the present exhibition by eight of the thirty four illustrations to

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2006/Rauschenberg/index_ing.htm (2016-02-13)
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  • Sargent / Sorolla
    each other and admired each other s works despite their great differences arising from birth education and personality Museo Thyssen Bornemisza Painting in a modern World Sargent s informal Portraits Painting in a modern World Social Issues in Sorolla Sargent early Spanish and Venetian Paintings Sorolla and the Sea Labours and Leisure Sargent the Portraits Years Sorolla single Portraits Fundación Caja Madrid Sargent and Sorolla group Portraits Sargent the Boston

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2006/SargentSorolla/index_ing.htm (2016-02-13)
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  • From Cranach to Monet. Master Pieces from the Pérez Simón Collection.
    works on paper and other objects Now shown to the public for the first time in Europe the Pérez Simón Collection aimed from the outset to be international in nature and to complement the holdings of Mexican museums The time span covered by the works in the collection is a broad one from the 14th to the mid 20th centuries with the latter period particularly well represented through outstanding works of modern and contemporary art The masterpieces from the Pérez Simón Collection on display at the Thyssen Bornemisza Museum have been assembled in order to offer the visiting public an idea of the richness of the entire collection of which this selection is representative The exhibition opens with several 14th century Italian paintings and concludes with a particularly interesting group of 19th century works one of the strongest areas within the collection The first section of the exhibition includes Italian and German paintings from the 14th to the 16th centuries by artists such as Spinello Aretino Benvenuto di Giovanni Bronzino and Lucas Cranach the Elder the latter represented by two panels one entitled Charity Among the 17th century Dutch and Flemish artists represented here are Pieter Brueghel II Rubens Anthony van Dyck David Teniers II Pieter Claesz and Ferdinand Bol with works depicting religious and allegorical subjects as well as portraits From the 18th century canvases by two of Italy s most celebrated vedutistas Gian Paolo Pannini and Canaletto are shown alongside paintings by Giambattista Tiepolo Jean Marc Nattier and Francisco de Goya the latter represented by an outstanding portrait on panel The 19th century section has been divided into three parts Academicism and Realism Victorian painting and Impressionism and Post Impressionism The subjects of many of these works indicate some of the guiding criteria behind the Pérez Simón Collection

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2006/CranachaMonet/index_eng.html (2016-02-13)
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  • Tintoretto. The Paradise.
    20 December 1577 the Doge s Palace was seriously damaged by a fire that affected some of the main rooms in this great building As a consequence the Senate decided to restore the building and summoned leading artists and craftsmen of the day to work on the reconstruction In order to replace the large fresco of around 1365 by the Paduan artist Guariento which had decorated the tribune wall of the Sala del Maggior Consiglio it was decided to convene a competition on the theme of the Glory and the Coronation of the Virgin surrounded by the celestial hierarchies The exact dates of this competition are not known but all available information suggests that it may have taken place in 1582 and have involved Palma Giovane cat 3 Veronese cat 7 Francesco Bassano cat 12 and Tintoretto cat 13 Prior to the dramatic fire of 1577 there had been an earlier but unsuccessful attempt in 1564 to replace Guariento s fresco which was by that time considerably damaged This commission was given to the painter from the Marches Federico Zuccaro and preparatory drawings by the artist for this unrealised project are known Various reasons have been suggest for the failure of this first project including the possible opposition of local artists who objected to a non Venetian painter working on the most important area within the Sala del Maggior Consiglio and Tintoretto may have been prominent among them As an alternative to Zuccaro s design Tintoretto presented the canvas now in the Musée du Louvre cat 13 X radiographs obtained during its restoration in 1994 have made it possible to study the original design of this canvas Visible in the x rays at the upper edge of the canvas is a vaulted ceiling corresponding to the ceiling of the Sala

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2006/Tintoretto/index_ing.htm (2016-02-13)
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