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  • Portrait of a Man - Attributed to Rogier van der Weyden | Museo Thyssen
    der Weyden s portraits deploy a degree of idealisation that corresponds to his particular canon of beauty and which he harmoniously combines with a highly specific depiction of the sitter s features From 1898 onwards the present portrait was considered to be an autograph work until Colin Eisler modified this attribution on the basis of a technical study undertaken in 1979 NR More information about this work Listen Portraits constitute an important chapter within Rogier van der Weyden s oeuvre including images of donors in his religious compositions as well as independent heads and bust length presentations A significant number of these images can be related to the Burgundian court and are datable to the last phase of his career One exception however is the remarkable Portrait of a Woman in the Berlin Gemäldegalerie which is earlier Individual portraits such as that of Francesco d Este The Metropolitan Museum of Art New York and Antoine Grand Bâtard of Burgundy Musées royaux des Beaux Arts de Belgique Brussels or Portrait of a young Woman National Gallery of Art Washington were all executed between 1455 and 1464 the year of the artist s death All these images conform to a single type with a use of plain backgrounds sometimes light in colour as in Francesco d Este or dark as in the female portraits in Berlin and Washington Individual sitters are usually depicted bust length with the face in three quarters The forms of the face are precisely defined and their hands if included are shown as linked or holding an object The artist makes use of a rigorous draughtsmanship that both conveys the appearance of the heads and simplifies their forms These heads reveal a degree of idealisation that has been seen to conform to Van der Weyden s particular canon of beauty but they also convey the individual features of the model in question The present panel was considered an autograph work by Van der Weyden from the time it was first exhibited in an exhibition Berlin in 1898 when it was in the collection of Richard von Kaufmann Panofsky commented that it was one of his most revealing portraits and that it glows with a sublime humanity bordering on the saintly The current attribution as a work attributed to Van der Weyden is based on the recent study by Colin Eisler who made use of the technical examination of the painting carried out by Périer d Ieteren in 1979 at the Institute royale du Patrimoine artistique Eisler s opinion was not however accepted by a number of other art historians who studied the work before and after the technical study was carried out Wilhelm Stein suggested that the sitter is Pierre de Bauffremont on the basis of the similarity between the present sitter and a drawing of Bauffremont in the Recueil d Arras Nonetheless most authors rejected this idea due to the physical differences between the two models which are particularly evident in crucial elements such as the nose

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/54 (2016-02-13)
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  • Swaying Dancer (Dancer in Green) - Edgar Degas | Museo Thyssen
    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 following

    Original URL path: http://www.museothyssen.org/en/thyssen/zoom_obra/356 (2016-02-13)
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  • Museo Thyssen-Bornemisza. Inicio
    changing poses of ballerinas He depicted them in all kinds of positions rehearsing or in mid performance on stage dressing or tying their shoes and his works bear witness to their huge physical effort and concentration Ronald Pickvance publishes an interesting testimony by Louisine Havemeyer Mary Cassatt s American friend and an enthusiastic collector of Degas who reported that when asked why he painted so many ballerinas the painter had replied because madame it is only there that I can rediscover the movements of the Greeks In the Museo Thyssen Bornemisza Swaying Dancer also called Dancer in Green Degas presents us with a stage performance for an audience who is not depicted but shares the same position as the viewer Our gaze falls on the scene as if we were viewing it through opera glasses from one of the side boxes that provide privileged views of the stage and a glimpse of the backstage The use of a high slanting viewpoint was a device employed by the artist to capture his subjects in unexpected poses Of the group in the foreground only one of the ballerinas is shown full length raising her arms and left leg in a fast complicated pirouette The other figures are shortened and we see only fragments of their legs or parts of their tutus for Degas leaves the rest of them and the steps they perform up to our imagination In the background depicted frontally a few orange clad dancers in a relaxed position await their turn or have just finished performing The stage set is a blurred image of what appears to be a rocky landscape with trees which lacks significance in the overall composition This manner of shortening the figures which Degas used in all his ballet scenes is derived from the influence

    Original URL path: http://www.museothyssen.org/en/thyssen/imprimirFicha/356 (2016-02-13)
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  • Gaston Bonnefoy - Henri de Toulouse-Lautrec | Museo Thyssen
    adoption The sitter here is Gaston Bonnefoy who posed for the artist in 1891 Successful independent and modern he conforms to the idea of the boulevardier Lautrec painted Bonnefoy and four other friends with the intention of showing these portraits at the Salon des Indépendants that year The sitter is shown full length in profile dressed in a long overcoat and hat as if just returning home or on the point of going out The horizontal position of his walking stick has been interpreted as a joke on his sexuality Bonnefoy s appearance contrasts with the bare intimate setting of the artist s studio which is very lightly sketched in on the cardboard support Lautrec had already executed male portraits in a similar format possibly influenced by those by Whistler CM More information about this work Listen In a letter of 1891 to his mother Toulouse Lautrec wrote I have just finished the portrait of Gaston Bonnefoy and am going to start that of Louis Pascal I hope they are not too unsightly The artist refers to the series of portraits of standing male figures which he showed at the Salon des Indépendants that March In all of them Lautrec seeks to emphasise the verticality of the figures which is heightened by the stark interior of his studio on the rue Coulaincourt and presents us with a new type of portrait that reflects modern life in the manner of Baudelaire s writings In this portrait of the physician Gaston Bonnefoy belonging to the Thyssen Bornemisza collection the figure of the painter s friend and regular companion between 1883 and 1899 is silhouetted against a neutral sketched background As Richard Thomson has pointed out Lautrec depicts him as the prototype of a the boulevardier masculine prosperous sexually independent attuned to the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/577 (2016-02-13)
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  • Street in Rouen - Paul Gauguin | Museo Thyssen
    an Impressionist style with broken brushstrokes applied with very uniform touches in which the influence of Cézanne and Pissarro is still apparent it shows a solitary street in the outskirts of the town and not a purely country landscape as might seem at first sight According to the recent catalogue raisonné by Daniel Wildenstein the trees on the right of the composition could be identified as those of Rouen s monumental cemetery located very close to the districts of Bihorel and Sapins where the artist lived The perspectival treatment of paths and streets was one of the Impressionists chief concerns in 1884 but as Ronald Pickvance points out Gauguin plays a piquant variation on the potential cliché by selecting a motif with a sharp turn in the road that destroys the inevitable sweep into depth helping to close off the deeper space Anchored to this vanishing point are the lofty black poplars which provide a vertical contrast to the accentuated oblique line of the path and next to which a group of houses can be made out According to Guillermo Solana Gauguin uses this manner of not looking at the city from the country to emphasise the bucolic solitude of this female figure with her back to the viewer the only human in the scene This manner of conveying solitude through the handling of the landscape particularly in the wide open space in the foreground is interpreted by Sarah Whitfield as a first step towards the more expressive and Symbolist painting of the subsequent years The painting s size subject matter and style lend plausibility to the hypothesis that it is the work Gauguin showed at the eighth and last Impressionist exhibition of 1886 entitled Street in Rouen Gauguin exhibited nineteen paintings and a small relief that had been a

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/94 (2016-02-13)
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  • Yvette Guilbert - Henri de Toulouse-Lautrec | Museo Thyssen
    Events Press Tourism Professional Channel About Thyssen History Staff Jobs Transparency h Home Yvette Guilbert Thyssen Bornemisza Collection Autor Henri de Toulouse Lautrec Título Yvette Guilbert Fecha 1893 Técnica Gouache and charcoal on paper Medidas 54 x 37 5 cm Úbicacion Museo Thyssen Bornemisza Madrid Numero de inventario INV Nr 772 1974 27 Museo Thyssen Bornemisza Madrid Print Request Image The work in context More information about this work Listen Henri de Toulouse Lautrec always harboured a keen fascination with the world of the theatres and cafés concerts of Paris which he depicted in numerous works exhibiting his impressive powers of observation The famous singer Yvette Guilbert 1867 1944 a genuine star of the Divan Japonais Ambassadeurs and Moulin Rouge cabarets in fin de siècle Paris had met Toulouse Lautrec at the beginning of 1893 through the writer Maurice Donnay and had become one of the painter s favourite vedettes In this portrait which was used to illustrate Gustave Geffroy s article on cafésconcerts in Le Figaro Illustré in 1893 Yvette is depicted on the edge of the stage in a stiff pose haughty even about to perform the de rigueur curtsey between rounds of applause According to the singer s memoirs he had copied her chignon and pale makeup from a wax head in the Musée de Lille and her long V necked dress from Albert Besnard s Portrait of Mme Roger Jourdain For a time the work belonged to the French silent film actor Max Linder Maximilien Gabriel Leuvielle 1883 1925 Paloma Alarcó 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 Paul Serusier París 1864 Morlaix 1927 Paul Gauguin Paris 1848 Atuona Marquesas

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/795 (2016-02-13)
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  • La Rousse in a White Blouse - Henri de Toulouse-Lautrec | Museo Thyssen
    viewed merely as a chronicle of the anecdotal but as a quest for timeless values for as Baudelaire had written the painter of modern life should capture the fugitive the contingent the half of art whose other half is the eternal and the immutable In La Rousse in a White Blouse in the Museo Thyssen Bornemisza collection Lautrec depicts Carmen Gaudin a girl of working class origin whom he had discovered in the avenue Clichy in 1884 and with whom he had felt immediately fascinated With her red hair and white skin which enhanced her helpless and melancholic appearance she was exactly the type of young woman he was keen to portray and she therefore became the subject of several painting executed during those years These include Carmen Gaudin Carmen the Redhead Carmen the Redhead with Lowered Head The Washerwoman and Carmen in which the painter immortalised her likeness in a host of poses and costumes in his characteristic repetitive and insistent manner Lautrec who generally shunned the plein air painting of the Impressionists executed these works in the studio he shared with Henri Rachou on the rue Ganneron In the painting in the Thyssen Bornemisza collection the studio background is sketched in order to make it go unnoticed and focus all attention on the sitter Despite the simple pose in which the sitter is rendered the melancholic atmosphere conveyed by the composition makes it a masterpiece The technique of slight touches and very spontaneous brushwork is inherited from Impressionism With this intentionally crude and unfinished execution the artist succeeds in imbuing with poetry an image that is otherwise very real thanks to his acute powers of observation that are evidenced particularly by the hair which he paints with extreme care both the wisps of hair that tumble over the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/976 (2016-02-13)
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  • The Race Track (Piazza Siena, Borghese Gardens, Rome) - Maurice Prendergast | Museo Thyssen
    print on demand The work in context More information about this work Listen The work of the American painter Maurice Prendergast is closely linked to the European Post Impressionist movement During his formative years in Paris he was influenced by the oeuvre of Paul Cézanne and developed in interest in Édouard Vuillard and Pierre Bonnard whose influence led him to adopt a flat colourful and decorative type of painting featuring outdoor urban scenes In 1898 having attained a certain amount of prestige in Boston where he lived at the time Maurice Prendergast again travelled to Europe This time he toured Italy visiting Venice Siena Florence and Rome among other cities Although his Italian paintings do not evidence stylistic changes they display a greater fluidity of colour and cohesion between the figures The Race Track a watercolour painted in the Borghese gardens in Rome is executed using his personal technique of small patches of colour pieced together in the manner of a mosaic Despite the very high horizon line that gives the composition a flat appearance here Prendergast wishes to emphasise depth by means of the curved lines that delimit the racing track The cold tone of the different shades of green is broken only by the tiny dots of colour of the clothing worn by the passers by This watercolour like most of the works painted during Prendergast s trip to Italy was shown at his solo exhibition at the Macbeth Gallery in New York early in 1900 In its chronicle of the show The New York Times detected a slight suggestion of Japanese art in his tiny figures in their gay attire and parasols and ended by stating that the work of Mr Prendergast shows abundant promise The watercolour belonged to the artist s brother Charles Prendergast who regarded

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/759 (2016-02-13)
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