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  • Thirty-three Little Girls Set out for the White Butterfly Hunt - Max Ernst | Museo Thyssen
    Ernst Título Thirty three Little Girls Set out for the White Butterfly Hunt Fecha 1958 Técnica Oil on canvas Medidas 137 x 107 cm Úbicacion Museo Thyssen Bornemisza Madrid Numero de inventario INV Nr 537 1971 8 VEGAP Madrid Print Request Image More information about this work Listen Max Ernst obtained French nationality in 1958 He and his fourth wife the American painter Dorothea Tanning had returned to France five years earlier and from 1955 to 1964 they lived in Huismes near Chinon where Ernst executed the present oil painting entitled Thirtythree Little Girls Set out for the White Butterfly Hunt which has belonged to the Thyssen Bornemisza collection since 1971 In this explosion of light Ernst returns to grattage a technique he had employed since the 1920s Using a palette knife he applies short broken strokes that cover practically the entire surface of the canvas and create an abstract effect As Werner Spies has stressed when using this procedure now the artist places more of an accent on texture which shows that from the 1950s his painting succumbed to the influence of the automatic techniques of Tachisme and Art Informel For his exhibition at the Galerie Creuzevault in Paris in 1958 where this painting was shown Max Ernst published five poems in prose including one entitled Présence d Alice containing an explicit reference to the symbolic content of the painting At the junction of two signs one for a school of herrings and the other for a school of crystals thirty three little girls set out for the white butterfly hunt the blind dance in the night princes sleep badly and the black crow is to speak Paloma Alarcó Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the Madrid

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/1142 (2016-02-13)
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  • La piazza San Marco in Venice - Canaletto | Museo Thyssen
    the 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

    Original URL path: http://www.museothyssen.org/en/thyssen/zoom_obra/450 (2016-02-13)
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  • Museo Thyssen-Bornemisza. Inicio
    Bornemisza collection two years apart in 1956 and 1958 In 1948 prior to their acquisition for the Collection they were exhibited in Lucerne in an exhibition on the Liechtenstein collection Art historians had previously shown interest in The Grand Canal from San Vio Venice which was included in Ferrari s text of 1914 on Canaletto and Bellotto Considered among the earliest known views by the artist Canaletto depicts Venice s most famous square from the viewpoint of the old church of San Geminiano destroyed during the French occupation of the city in order to build the so called Napoleonic Wing or Fabbrica Nuova now occupied by the Museo Correr The background is occupied by the façade of San Marco and part of the façade of the Doge s Palace with the impressive bulk of the belltower in front of it breaking the horizontality of the background with its pronounced vertical On either side emphasising the pictorial recession are the Procuratie Vecchie on the left and the Procuratie Nuove on the right The canvas already features some of the most notable characteristics of Canaletto s style including the choice of a high viewpoint to create the composition the precision with which the buildings are depicted with all their ornamental details and the painstaking depiction of the numerous elements that create the overall atmosphere of the work all devices that can be considered among the innovations that the artist brought to this genre Canaletto s accuracy in depicting the buildings of Venice albeit with some artistic licence has enabled his canvases to be correctly dated In the case of The Piazza San Marco in Venice the paving of the square is in the process of being replaced with a new one which was undertaken between 1723 and 1734 and was designed by

    Original URL path: http://www.museothyssen.org/en/thyssen/imprimirFicha/450 (2016-02-13)
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  • The Grand Canal with Santa Maria della Salute - Michele Marieschi | Museo Thyssen
    are also problematic including the dating of his works as well as the nature of his collaboration with his closest assistant Francesco Albotto who on Marieschi s death continued to imitate his style a fact that has made the latter s work more difficult to attribute Marieschi may have decided to focus on capriccios and views of Venice as a result of Canaletto s success in this genre considering that he would enjoy the patronage of the same group of clients who purchased works by the great Venetian master In addition to making a close study of Canaletto s work Marieschi also looked to Luca Carlevarijs and Marco Ricci particularly their capriccios Among his patrons was Marshal Von Schulenburg an important patron of Ceruti for whom Marieschi painted a series of views The present The Grand Canal with Santa Maria della Salute entered the Thyssen Bornemisza collection in 1970 It was previously in the collection of Dimitri Tziracopoulo in Athens and had been studied by Constable who included it in his monograph on Canaletto of 1962 before it entered the Collection The painting has been dated to Marieschi s last phase around 1738 40 and is considered to be an autograph work by the artist Marieschi depicted this stretch of the Grand Canal on various occasions and in several versions In this work the artist presents a frontal view dominated by Santa Maria della Salute one of the city s most celebrated buildings together with the Piazza San Marco and the Doge s Palace The church designed by Baldassare Longhena was consecrated in 1687 and was erected in thanks to the Virgin for the end of an outbreak of the plague that had affected the city between 1629 and 1630 In the present canvas Marieschi emphasizes the church s great

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/260 (2016-02-13)
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  • The Grand Canal with Santa Lucia and Santa Maria di Nazareth - Francesco Guardi | Museo Thyssen
    as the figures and other elements to be seen in his panoramic compositions During the 1770s Guardi evolved his own style in which colour and light were crucial elements becoming a fully mature artist in the 1780s Guardi also chronicled major events in the Venetian Republic such as his paintings of the visit of the Condi dei Nord the Grand Duke Paul of Russia and Maria Feodorovna commissioned by the Republic to commemorate the visit now divided between the Alte Pinakothek Munich and various private collections Other comparable series depict the visit of Pope Pius IV in a set of four canvases and the fire at San Marcuola of 1784 The present pair of canvases was in the Danbuz collection on the Isle of Wight then belonged to Leonard Gow in Dumbartonshire The two views entered the Rohoncz collection in 1934 and are first recorded in the literature in 1937 by Rudolf Heinemann in the catalogue of the Collection Both paintings were included in the monographic exhibition on the Guardi held in Venice in 1965 whose catalogue was written by Pietro Zampetti The two canvases depict part of the Grand Canal seen from one bank In San Simeone Picco and Santa Lucia the water of the canal occupies a large areas of the canvas extending across the entire lower edge and into the distance where the two banks appear to come closer together as they recede The line of buildings on the left is dominated by the great dome with its lantern of San Simeone Piccolo a central plan church inspired by the Pantheon in Rome and designed in the 18 th century by Giovanni Scalfarotto Guardi emphasised the large flight of entrance steps of the church and its portico Next to it on our left is the palazzo Foscari Contarini while on the right bank is the church of Santa Lucia located on an area of the canal that was redeveloped in the 19 th century The church was demolished with some of its surrounding buildings to make room for the railway station A number of other versions of this view are known including one in the Akademie in Vienna and another in the Philadelphia Museum of Art as well as a drawing that appeared at auction in New York in early 1990 consigned from a private collection In the second canvas which is the pendant to this one and completes the view the pronounced line of the bank on the left leads us into the composition The first building is the church of Santa Lucia followed by a series of constructions of similar height including the now demolished palaces of Lion Cavazza and Bragadin Vescovi leading the eye to Santa Maria di Nazareth better known in the present day as Santa Maria degli Scalzi The church was designed by Baldassare Longhena with an ornate façade completed by Giuseppe Sardi Among the versions of this canvas one of the best is again in the Akademie in Vienna There is

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/296 (2016-02-13)
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  • Capriccio with a River and Bridge - Bernardo Bellotto | Museo Thyssen
    canvas was in the Viennese collection of Camillo Castiglione and was auctioned in Amsterdam in 1925 It entered the UK art market with Thomas Agnew Sons where it was to be found in 1926 The canvas was acquired for the Thyssen Bornemisza collection 1934 and is first mentioned in the literature by Rudolf Heinemann in his entries in the catalogues of the Collection Pallucchini studied the painting in 1960 and published it in his text on 18th century Venetian painting Traditionally dated to around 1740 42 in recent studies the painting has been given a date of 1745 after Bellotto s time in Lombary The traditional title of Paduan Capriccio has also been modified due to the identification of some of the elements and the revised identification of others For example the country residence on the left is similar to those on the banks of the Brenta while the tower was previously identified as the one in Ezzelino leading to the original date of around 1740 when Bellotto was in Padua However these Paduan elements are combined with others suggestive of Venice as well as the misty mountains in the background and an innovative treatment of the tower on the right which recalls the tower in the principal courtyard of the Castello Sforzesco in Milan This has suggested that the painting dates from after the artist s trip to Lombardy According to Marini the painting also contains compositional elements that Bellotto used in his celebrated view of the Ponte delle Navi in Verona The present Capriccio has been related to a drawing attributed to Bellotto in the Boijmans Van Beuningen Museum in Rotterdam In the drawing a bridge spans a canal from one side of the composition to the other while the right side has a similar building to the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/773 (2016-02-13)
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  • The South Façade of Warwick Castle - Canaletto | Museo Thyssen
    and the City of London seen from Richmond House belonging to the Trustees of Goodwood House views of the area around Saint James Park and Westminster Abbey are among the scenes depicted during this new phase in the artist s career Among the artist s distinguished clients in addition to the Duke of Richmond were Prince Lobkowicz the 1st Duke of Northumberland the 4th Duke of Bedford and Francis Greville 1st Earl of Warwick The present canvas was commissioned by Greville together with four more canvases while also related to this commission are three drawings of Warwick Castle and two of the city of that name The group which is one of the most extensive by the artist devoted to a building in England depicts the castle from different angles with the intention of reproducing the interior courtyard and the exterior façade The present canvas may have been painted in Canaletto s studio in London in Silver Street From there it entered the collection of Francis Greville who subsequently became the 1st Earl of Warwick The canvas passed down by inheritance through the family until it was acquired for the Thyssen Bornemisza collection in 1978 The South Façade of Warwick Castle belonged to the descendents of Francis Greville including George and Henry Greville and was displayed in various rooms in the castle including the billiard room in 1853 and the breakfast room in 1893 The principal element in the composition is the great mound of the castle depicted from the south side with its façade arranged on a slight diagonal that crosses the picture surface and is emphasized by the line of the river Avon and its bank that run parallel to the building Seen from a hill the far left of the painting features a garden while on the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/551 (2016-02-13)
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  • The Grand Canal with San Simeone Piccolo and Santa Lucia - Francesco Guardi | Museo Thyssen
    figures and other elements to be seen in his panoramic compositions During the 1770s Guardi evolved his own style in which colour and light were crucial elements becoming a fully mature artist in the 1780s Guardi also chronicled major events in the Venetian Republic such as his paintings of the visit of the Condi dei Nord the Grand Duke Paul of Russia and Maria Feodorovna commissioned by the Republic to commemorate the visit now divided between the Alte Pinakothek Munich and various private collections Other comparable series depict the visit of Pope Pius IV in a set of four canvases and the fire at San Marcuola of 1784 The present pair of canvases was in the Danbuz collection on the Isle of Wight then belonged to Leonard Gow in Dumbartonshire The two views entered the Rohoncz collection in 1934 and are first recorded in the literature in 1937 by Rudolf Heinemann in the catalogue of the Collection Both paintings were included in the monographic exhibition on the Guardi held in Venice in 1965 whose catalogue was written by Pietro Zampetti The two canvases depict part of the Grand Canal seen from one bank In San Simeone Picco and Santa Lucia the water of the canal occupies a large areas of the canvas extending across the entire lower edge and into the distance where the two banks appear to come closer together as they recede The line of buildings on the left is dominated by the great dome with its lantern of San Simeone Piccolo a central plan church inspired by the Pantheon in Rome and designed in the 18 th century by Giovanni Scalfarotto Guardi emphasised the large flight of entrance steps of the church and its portico Next to it on our left is the palazzo Foscari Contarini while on the right bank is the church of Santa Lucia located on an area of the canal that was redeveloped in the 19 th century The church was demolished with some of its surrounding buildings to make room for the railway station A number of other versions of this view are known including one in the Akademie in Vienna and another in the Philadelphia Museum of Art as well as a drawing that appeared at auction in New York in early 1990 consigned from a private collection In the second canvas which is the pendant to this one and completes the view the pronounced line of the bank on the left leads us into the composition The first building is the church of Santa Lucia followed by a series of constructions of similar height including the now demolished palaces of Lion Cavazza and Bragadin Vescovi leading the eye to Santa Maria di Nazareth better known in the present day as Santa Maria degli Scalzi The church was designed by Baldassare Longhena with an ornate façade completed by Giuseppe Sardi Among the versions of this canvas one of the best is again in the Akademie in Vienna There is a drawing

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/297 (2016-02-13)
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