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  • Pastoral Scene - Adriaen van de Velde | Museo Thyssen
    thirty five he was a prolific artist over the course of a career of almost two decades producing drawings prints and paintings Adriaen van de Velde is primarily known and appreciated for his landscapes in which the figures and animals frequently occupy an important position The present canvas is signed and dated 1663 At this period Van de Velde principally focused on scenes of the Italian countryside although there is no documentation to suggest that he visited Italy Pastoral scenes of this type would be his preferred subject matter during the last ten years of his career Inspired by the Italianate painters living in Amsterdam in the 1650s Van de Velde depicted landscapes bathed in an intense southern light in which shepherds and their animals are set within idyllic landscapes of green meadows and clear blue skies Pastoral Scene conforms to this type of work and depicts two peasants peacefully resting by a stream surrounded by cows sheep and other animals Van de Velde locates the principal motif in the foreground on the left while he used the right side of the canvas to open up a path that leads to the foot of a mountain and also included a secondary scene with another figure As Robinson noted this canvas and its related drawings allow us to reconstruct the artist s working methods with regard to the construction of the composition Van de Velde initially made an overall sketch of the composition This was followed by a second drawing in which he defined the forms and resolved compositional issues using this drawing as the basis for a third one in which the composition is presented almost in its final state Van de Velde also made sketches from life of the locations that he depicted and of animals which he later

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/144 (2016-02-13)
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  • View of the Binnenhof, The Hague - Gerrit Adriaensz. Berckheyde | Museo Thyssen
    in 1685 The Ridderzaal was the meeting place of the Knights of the Order of the Golden Fleece the home of the States General and the reception hall for ambassadors and other leading dignitaries during the 17th century This fine building an example of Gothic secular architecture was built around 1275 by Count Floris V in order to expand the palace complex The Ridderzaal is depicted here with a façade framed on either side by two delicate circular towers At the period when Berckheyde painted this work the towers were surrounded by various additional structures that concealed part of the original building With its steeply sloping roof to protect it from the weather the Ridderzaal s façade has a fine rose window with tracery large blind arches and circular windows decorated with Gothic motifs The interior courtyard in front of it is enlivened with a carriage located directly in front of the building and with numerous figures standing in circles groups or alone all conjuring up the bustle and activity of this location The canvas is signed but not dated It has been dated to around 1690 from the style of clothes worn by the figures and on the basis of a comparison with two other views of The Hague by Berckheyde both in private collections which are dated 1694 and 1695 Berckheyde constructed his view using precise draughtsmanship to define not just the principal forms of the façades but also the numerous architectural details such as the courtyard s paving the bricks of the buildings the stone walls of the Ridderzaal and the exterior woodwork In a manner typical of this artist s style the buildings are strongly outlined against a clear pale sky that serves to emphasise the volumes of the architecture Also typical of Berckheyde are the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/799 (2016-02-13)
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  • Woodland Pond - Meindert Lubbertsz. Hobbema | Museo Thyssen
    and he focused to a greater extent on woodland scenes which he repeated with numerous variants His landscapes lack the depth and spirit of Van Ruisdael s but they deploy a lively chromatic range of greens browns and greys used to illuminate a positive vision of nature constructed with delicate forms For these reasons Hobbema was one of the most highly appreciated landscape painters in the late 19 th century and his works achieved high prices on the art market Woodland Pond has been dated to the period when the artist was most dependent on Van Ruisdael s models and in fact as Nieuwenhuys revealed this composition is derived from a print by the latter entitled Marshy Woodland with Travellers on the Bank also known as The Travellers As with the present canvas in the print Van Ruisdael included a massive trees with twisted trunk and branches some of them dead and with its roots out of the water and another slanting tree on the right bank with its branches brushing the water Despite the compositional parallels Hobbema presented a less oppressive and dramatic vision of the wood by opening up the composition in the centre and thus allowing for a view into a brightly lit clearing in the background Other differences between the two artists approach included the right bank in which Hobbema here omits the stones tall grass and piles of leaves in the foreground in order to create a more human less aggressive mood This area of the painting is used by Hobbema to depict a narrow winding path with walkers positioned along its course They located in a clearing in the middle distance in the foreground and beside the trees in the middle ground all included with the intention of guiding the spectator s gaze into

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/309 (2016-02-13)
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  • Portrait of Henry VIII of England - Hans Holbein , the Younger | Museo Thyssen
    Fundación Colección Thyssen Bornemisza The Fundación Colección Thyssen Bornemisza permits the images to be downloaded in medium resolution 72 ppp from its website for private or educational purposes subject to the terms of use Use for educational purposes is defined as the non commercial use of images in presentations lectures school or university projects and academic or research publications of which no more than 1 000 not for profit copies are printed Inquiries regarding other uses should be directed to the Museum s Picture Library For other uses of the images please contact the Picture Library where you can purchase or lease photographic material of works from the Collection that can be used in publications available for commercial use Terms of use 1 If the image is to be reproduced the work must be reproduced in full Users may only reproduce a detail or cropped section of the work after obtaining written permission from the Fundación Colección Thyssen Bornemisza In such cases the image credits must clearly indicate the word detail 2 The image may not be manipulated changed modified or altered in any way In particular the reproduction may not be superimposed with any other images or text 3 Permission to reproduce an image is granted solely for private or educational purposes Use for educational purposes is defined as the non commercial use of images in presentations lectures school or university projects and academic or research publications of which no more than 1 000 not for profit copies are printed 4 If the images are being used for purposes other than those described above prior written permission from the Fundación Colección Thyssen Bornemisza is required 5 When an image owned by the Fundación Colección Thyssen Bornemisza is reproduced all reproductions or the list of photographic credits must include the

    Original URL path: http://www.museothyssen.org/en/thyssen/zoom_obra/313 (2016-02-13)
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  • Museo Thyssen-Bornemisza. Inicio
    The body of work that the artist left in England is most notable for the portraits painted in oil or drawn on paper Holbein also executed miniature portraits of circular format on parchment partly painted in watercolour In 1536 he was once again in the service of Henry VIII who appreciated his ability to reproduce faces in a lifelike manner rather than his aesthetic skills and who used him to paint portraits of possible new wives to succeed Jane Seymour who was painted by Holbein in 1537 That portrait of Jane Seymour Kunsthistorisches Museum Vienna was followed by one of Christina of Denmark Duchess of Milan in the National Gallery in London and of Anne of Cleves in the Musée du Louvre in Paris Henry VIII Greenwich 1491 Westminster 1547 was a monarch of the Tudor dynasty succeeding his father Henry VII in 1509 When his first wife Catherine of Aragon daughter of the Catholic Kings failed to provide him with a male heir he requested an annulment of the marriage from Clement VII but this was denied For this reason and other equally significant ones Henry decided to break from the Catholic Church dissolve his marriage and marrying Anne Boleyn The Church of Rome responded by excommunicating him and Henry in turn responded with the Act of Supremacy of 1534 through which the Church of England broke away from Rome and made the monarch its head The present portrait previously in a private English collection has been dated in the 1530s It depicts Henry in an almost frontal pose similar to one used by Holbein in various other portraits The head with its distant gaze has an almost architectural solidity and strength as Pope Hennessy noted It has been related to a fresco painted for a private room in

    Original URL path: http://www.museothyssen.org/en/thyssen/imprimirFicha/313 (2016-02-13)
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  • Portrait of a Boy. Guidobaldo da Montefeltro (?) - Piero della Francesca | Museo Thyssen
    and in the London collection of Leopold Hirsch In 1934 it was acquired for the Thyssen Bornemisza collection Both the identity of the sitter and the attribution have been debated since Crowe and Cavalcaselle drew the panel s attention to a wider group of experts in 1870 In Dennistoun s day the panel had an inscription on a parapet whose authenticity was widely questioned It stated that the image was a portrait of Raphael aged six painted by his father Giovanni Santi When the painting was restored in 1963 it was determined that this inscription was later and it was removed The painting was however published as a work by Giovanni Santi by Raimond van Marle when it was in the Hirsch collection and by Melozzo da Forlì in two catalogues of the Thyssen Bornemisza collection following its acquisition Berenson suggested that it was by Evangelista da Pian di Meleto a pupil of Santi then later attributed it to Santi In 1964 Hendy considered it to be by Piero della Francesca an attribution that various other authors accepted With regard to the sitter the only hypothesis to date is that of Brinton published by Hendy and in the catalogues of the Thyssen collection but with reservations Brinton based his identification on the similarity between this painting and the medal of Guidobaldo by Francesco di Giorgio of 1483 Guidobaldo di Montefeltro who was born in 1472 and died in 1508 was the son of Battista Sforza and Federigo da Montefeltro Dukes of Urbino whose portraits by Piero della Francesca are in the Uffizi in Florence Heir to the dukedom Guidobaldo is depicted as a child in his mother s arms in The Communion of the Apostles by Justus de Ghent in the Galleria Nazionale delle Marche and holding the ducal sceptre

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/148 (2016-02-13)
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  • Portrait of a Man - Antonello da Messina | Museo Thyssen
    to the next generation of painters including Giorgione and Titian It is now generally accepted that Antonello trained in the workshop of the Sicilian painter Colantonio and Vasari s proposal of a trip to the north is no longer considered likely but was probably an invention designed to explain the northern influence evident in Antonello s work The circulation of styles that took place in southern Italy in the 15th century in which Italian Spanish Provençal and Flemish influences were combined has been borne in mind by modern authors when attempting to establish the nature of Antonello s connections with the Low Countries Nonetheless it is still not fully understood how he learned and assimilated the northern aspects evident in his works His knowledge of the work of Van Eyck and Van der Weyden has been explained by reference to the works by these artists to be found in Naples in the collection of Alfonso I With regard to his dependence on models by Petrus Christus it is still not decided whether Antonello may have trained with that artist The present panel has an inscription on the parapet in capital letters that reads ANTONELLUS MESSANUS PINX It was formerly in the collection of Sir George Houston Boswell in Caulderhaugh Scotland where it arrived by inheritance Later it was owned by Lady Houston Boswell in Windsor and Mrs Phoebe Timpson in Goring on Thames its third British owner and the last prior to its entry into the Thyssen Bornemisza collection The panel entered that collection in Lugano in 1964 While the panel was in England it was exhibited once in London at the Burlington Fine Arts Club between 1934 and 1935 and its first reference in the literature dates from 1964 when it entered the Thyssen Bornemisza collection This first commentary was by Philip Hendy who included it in his study of various Italian Renaissance paintings in the Collection Three years later Pallucchini wrote a text on the panel which was included in Antonello s oeuvre from that point on This portrait of an unknown sitter is one of around a dozen surviving autograph portraits by Antonello da Messina and its format and typology conform to other known works The sitter is located against a dark background his face emerging forcefully He is arranged in three quarter profile and looks at the viewer with a penetrating gaze The solidity of the head in which the details such as the hair and stubble are rendered with great precision are softened by delicate outlines and a modelling that gives the features a gentler air and suggests Italian art The portrait is signed at the lower edge on the parapet that leads into the composition This device was used by Antonello in other portraits such as the ones in the Museo Civico in Turin and in the Louvre The artist also favoured the parapet for the location of a cartellino with his name and the date of the work as found in the above

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/432 (2016-02-13)
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  • Flowers in a Jug (reverse) - Hans Memling | Museo Thyssen
    Memling s finest The nature of the original overall ensemble to which this panel belonged has also been the subject of debate and it may have formed part of a diptych or triptych The position of the man shown in prayer and the presence of a loggia opening onto a landscape with an oriental rug on the ledge make it seem likely that to the right of this figure there would have been a second panel with an image of the Virgin and Child and that the landscape would have continued in that second space If the work had formed part of a triptych there would have been a figure of a female donor on the right wing The exterior images of this hypothetical triptych in addition to the present Flowers in a Jug would have consisted of another still life or the coat of arms of the depicted couple If the panel had formed part of a diptych this image would have been combined with a depiction of the Virgin and Child Both diptychs and triptychs of this kind appear in Memling s oeuvre However in surviving diptychs by the artist such as the Maarten van Nieuwenhove Diptych in the Hans Memlingmuseum in Bruges or the one in the Chicago Art Institute the male image is on the right and the Virgin on the left The orientation of the present sitter thus suggests that this panel did not form part of a diptych In contrast Memling s triptychs locate the man on the left and the woman on the right as we see in the Portraits of Willem Moreel and his Wife in the Musées Royaux des Beaux Arts Brussels and those of Tommaso Portinari and his Wife in The Metropolitan Museum of Art New York On the basis of their compositions and backgrounds these examples which have survived without their central image have been considered to be parts of triptychs whose lost central panel would have been an image of the Virgin and Child Although neither a female image forming a hypothetical right wing nor a central Virgin have been identified the present panel must have belonged to an ensemble of that type It has been thought that the donor and patron might have been a member of the Italian community living in Bruges This idea is based on the type of clothes and hairstyle although other authors have suggested a Spanish client Memling s portraits are among his most interesting and appealing works but their chronology is difficult to establish We find depictions of members of the Bruges middle classes as well as sitters from other European countries who were in Bruges for reasons of commercial activities This is the case with the Italian and Spanish clients for whom the artist worked Memling used plain backgrounds for his portraits following the style of his predecessors He also used open landscape backgrounds and although not the first artist to do so contributed in a crucial manner to disseminating

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/69 (2016-02-13)
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