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  • Untitled Document
    imagination Through the works of great masters like Ferrer Bassa Pietro de Rimini and Luca di Tommè this exhibit is an evocative journey through the history and the iconography of the Three Kings from the thirteenth century to the eighteenth Monasterio de Pedralbes Baixada del Monestir 9 08034 Barcelona Organised jointly by the Thyssen Bornemisza Collection and the City History Museum Museum of the Pedralbes Monastery Opening times Tuesday to

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2001/ReyesMagos/king.htm (2016-02-13)
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  • KOKOSCHKA: Max Schmidt, Adolf Loos y sus amigos
    Oscar Kokoschka Max Schmidt 1914 Max Schmidt 1914 Oscar Kokoschka VEGAP Madrid 2001

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2002/Kokoschka/kokoccha-english.html (2016-02-13)
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  • COROT
    1875 Esta hermosa pintura que normalmente se exhibe en la sala 31 del Museo dedicada a la pintura europea del siglo XIX puede ahora contemplarse junto a otros cuadros que Corot pintó durante su visita al Château de los Leones en Port Marly propiedad de la familia Rodrigues Henriques Este grupo de obras nos acerca al estilo paisajístico de Corot y nos ofrece la oportunidad de estudiar la relación entre el artista y la familia Rodrigues Henriques a la que pertenecieron la mayoría de ellas Georges Rodrigues un adinerado coleccionista aficionado a la pintura se convirtió en su madurez en un aplicado discípulo del pintor como puede comprobarse en el paisaje suyo que presentamos junto a las obras de su maestro El Parque de los Leones en Port Marly pintado íntegramente del natural es una de las obras que Corot regaló a los Rodrigues Henriques como agradecimiento por su hospitalidad Dos altos abedules dividen la composición en dos mitades Junto a ellos podemos ver a los hijos del anfitrión Valentine y Henri este último subido en un burro Están dispuestos a emprender uno de sus cotidianos paseos por el parque que rodeaba el Château Junto a este cuadro vemos otro pintado como pareja suya Bacanal en la fuente Recuerdo de Marly le Roi que también perteneció a la colección de la familia Rodrigues Henriques y está hoy en el Museum of Fine Arts de Boston El tema cotidiano del primero se convierte en una composición con ninfas y sátiros una escena imaginaria en el mismo bosque En El recodo del Sena en Port Marly la obra de mayor tamaño el río al que ya se acercaban a pintar los jóvenes impresionistas cobra todo el protagonismo de la composición Monsieur Pivot a caballo Niños y reloj Madame Stumpf y su hija

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2001/corot/corot/corot.htm (2016-02-13)
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  • Canaletto
    three sections The first opens with 31 etchings by Canaletto made between 1740 and 1745 in which capriccios alternate with views of Venice and its surroundings The second larger section is devoted to oil paintings The capriccios selected here are bathed in poetic atmosphere juxtaposing Venetian and Roman classical architectural motifs In order to allow for comparisons the exhibition also includes the work of contemporaries of Canaletto such as Luca Carlevarijs Michele Marieschi Francesco Guardi Bernardo Canal the artist s father and his nephew Bernardo Bellotto The third section which concludes the exhibition is dedicated to etchings by Visentini which reproduce Canaletto s most famous vedute painted between 1725 and 1740 The 38 prints are divided into two series The first takes the form of a route along the Grand Canal from the Rialto Bridge to the Punta della Dogana and from Rialto to the North entrance the second crosses the city from the northern entrance to the Piazza San Marco The last 12 prints illustrating smaller squares in the city CANALETTO The Piazza San Marco looking towards the Basilica Ca 1736 1738 Oil on canvas 81 x 127 3 cm Private Collection CANALETTO The Jetty of the San Marco Basin Ca 1737 1738 Oil on canvas 53 4 x 70 8 cm Private Collectio CANALETTO The Bucintoro on Ascension Day 1743 1745 Oil on canvas 57 x 93 cm Barcelona Colección Thyssen Bornemisza Monasterio de Pedralbes CANALETTO La Libreria Ca 1740 1741 Etching Paper 144 x 208 mm Private Collection CANALETTO The Piazzetta looking towards the Salute 1722 1723 Oil on canvas 131 5 x 130 cm Private Collection da CANALETTO The Entrance of the Grand Canal with the Salute C 1740 Oil on canvas 71 x 112 cm Private Collection Exhibition Information Title Canaletto An Imaginary Venice Dates

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2001/canaletto/eng/canaletto.htm (2016-02-13)
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  • The Renaissance Mediterranean. The movements of artists and works of art between Italy, France and Spain in the XV Century.
    prevailing importance of Italian art at that time Among the works included are paintings by Gonçal Peris Gherardo Starnina Miguel Alcañiz Bernat Martorell Alvaro Pirez and miniatures by the Master of Boucicaut The exhibition continues with a central section entitled A Bi polar Mediterranean spanning the period 1440 to 1460 Works on display reflect the prevailing influences of Flemish naturalism on the one hand and Italian innovations in the field of perspective on the other These two approaches took hold in the Low Countries led by the city of Bruges and in a cluster of southern centres such as Barcelona Valencia Avignon Nice Marseilles Genoa Naples and Messina Another issue analysed here is the dissemination and influence of Flemish modes in the Iberian Peninsula and North and South Italy Among the artists featured are Robert Campin Rogier van der Weyden Jan van Eyck Petrus Christus Hans Witz Joan Rexach Barthélémy d Eyck Colantonio Antonello da Messina and Donato de Bardi Miniature painters include the Maestro de Peire Roig de Corella and Jean Fouquet The third section of the exhibition Artistic Centres and Regions of Southern Europe covers the years 1460 to 1500 and examines the Italian concept of space the Franco Flemish contribution to Italian art and the arrival of Northern artists in Italy Artists included in this section are Jaume Huguet Bartolomé Bermejo Pablo de San Leocadio Juan de Flandes Pintoricchio and Aine Bru Also included are illuminated manuscripts by Jean Bourdichon and various anonymous masters such as that of the Missal of Domenico della Rovere from Turin The exhibition has benefited from major international loans from some of the world s most important museums institutions and private collections such as the Metropolitan Museum New York the National Gallery of Art Washington the Musée du Louvre the Galleria degli

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2001/renacimiento/eng/renacimiento.htm (2016-02-13)
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  • Actividades
    Hudson River School who began to paint in the years following American Independence were the artists who definitively established American painting as a separate school and who broke away from the influence of English art which had until then predominated The celebration of the American natural world and its depiction as a sort of earthly Paradise and a virgin land undefiled by any trace of Man became widespread and established itself as the best way of expressing growing American nationalist sentiment The exhibition includes views of the landscape along the banks of the Hudson River Artists went there to make sketches which they would later work up into finished canvases in the studio Among the members of the school Asher B Durand stands out as the leading exponent of direct observation of nature His sketches made outdoors on show here are surprising for their modern and spontaneous qualities making Durand a true pioneer of plein air painting The pictorial representation of the spirituality of nature achieved its maximum expression in the style of painting known as Luminism In the paintings by Kensett Heade Lane and Suydam the simplification of form the refined and highly detailed technique the delicate tonal variations and the luminosity which these paintings exude all take on a spiritual significance After these small and tranquil Luminist paintings the exhibition moves on to show a group of works inspired by travel to the remote and unexplored American West and to the Tropics The impression which these locations had on artists such as Bierstadt and Church and the remarkable landscapes which they saw in these remote areas are reflected in a series of large scale views of limitless terrain painted with the aim of celebrating the marvels of the New World The exhibition closes with a room devoted to

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2000/eden/eng/eden.htm (2016-02-13)
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  • Michael Andrews
    of freeing oneself from the ideas which we have about ourselves About what we call the ego² Andrews painted the solitary progression of a balloon symbolising the journey of the soul in search of liberation across empty landscapes modern cities and agreeable coastal resorts before it arrives at the beach and the calm sea All these images charged with poetic and psychological meaning invite the spectator to reflect on the seemingly unavoidable precariousness of modern life To achieve a greater metaphorical emphasis Andrews wanted to endow the paintings with an ethereal quality and to achieve this he dusted the paint onto the unprimed canvas rather than applying it with a brush He thus succeeded in conveying the sensation of a mirage heightening the sense of distancing which he wanted to transmit through the image of the balloon suspended in the air The series of paintings makes up a sequence in which each image evolves from the previous one Lights I Out of Doors is the starting point and begins with an enjoyable and lighthearted experience floating across the English countryside in a balloon In Lights II The Ship Engulfed the balloon represents the individual conscience swallowed up by the agitation of urban life In Lights III The Black Balloon this feeling results in a rather more serious experience in which we see the balloon as a heavy leaden objects which acts as a metaphor for the effort required to liberate the ego The central part of the series consists of three works whose backdrop is the coastal landscape of southern England namely Lights IV The Pier and the Road Lights V The Pier Pavilion and Lights VI The Spa The pleasure pavilions which appear in these paintings symbolise the place in which the being liberated from its own ego can

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2000/mandrews/eng/mandrews.htm (2016-02-13)
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  • Victor Hugo. "chaos in the brush..." drawings.
    middle of the nineteenth century Hugo invented and used a number of processes which until now have been considered twentieth century innovations such as pochoir frottage grattage the various Surrealist printing techniques even abstraction and Informalism The exhibition opens the earliest drawings dating from 1825 consisting of some rather child like caricatures inspired by shadows on the walls cloud formations and the folds in his clothing and ends with his late abstract Blot drawings which are dated to the 1870s Hugo s drawings can be seen as an extension of his literary work and at times anticipating it acting as trial sketches with which the writer would work out a particular idea At other times the drawings were the result of impressions gained during his trips to Belgium Germany and Spain depicted in his landscapes of dark sombre and sometimes flooded locations such as the fortresses on the banks of the Rhine or the Spanish castles These drawings which are closely linked to the Romantic aesthetic seem to us like theatrical backdrops awaiting the arrival of the characters on stage The exhibition also includes some pieces of furniture and various preparatory drawings for the furniture which Victor Hugo designed to decorate his houses The poet created for himself an environment in harmony with his imaginary world filled with multi coloured floral decorations chinoiserie and numerous references to his own self in the form of his initials which appear hidden within most of his designs It was during the years of his exile in Jersey and Guernsey that Victor Hugo broke away from the descriptive vocabulary which predominated in figurative European art and developed a new imagery based on the free representation of his imagination taking advantage of the unfinished nature of the shapes and of the role of chance Hugo

    Original URL path: http://www.museothyssen.org/microsites/exposiciones/2000/victor/eng/victor.htm (2016-02-13)
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