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  • Jesus among the Doctors - Albrecht Dürer | 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/459 (2016-02-13)
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  • Museo Thyssen-Bornemisza. Inicio
    printer and publisher Anton Koberger ca 1445 1513 In a letter from the artist to Pirckheimer of 23 September 1506 Dürer comments without false modesty on his advances in painting This letter has been associated with the present oil of Jesus among the Doctors Dürer comments You should know that I have finished the panel and also another painting different to anything I have painted up to now The work mentioned first has been identified as The Virgin of the Rose Garlands now in Prague Commissioned by the German community in Venice for one of its altars in San Bartolomé it was exhibited on completion and aroused enormous admiration on the part of leading members of Venetian society The other work different to anything I have painted up to now to which Dürer refers in his letter has been identified either as the Madonna of the Greenfinch in the Gemäldegalerie Berlin or the present Jesus among the Doctors Bearing in mind the subject the technique and the artist s approach to the depiction of this episode it is however more likely to be the present work Dürer depicts six rabbis forming a circle in which the central figure is that of the young Christ The hands of one of the rabbis and those of Christ create the visual focus of the composition due to their position and their highly dynamic and volumetric nature The half figures and the location of the heads against an almost non existent background relate this work to 15th century Italian painting but the caricatural distortions of the face of the rabbi with the white cap on the right suggest Leonardo and even Bosch and it could be said that Dürer combined Italian and northern elements in this work with great originality Beauty and ugliness youth

    Original URL path: http://www.museothyssen.org/en/thyssen/imprimirFicha/459 (2016-02-13)
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  • Christ bearing the Cross - Derick Baegert | Museo Thyssen
    worked as did Jan Joest Baegert s most important works were executed in Wesel and Kalkar for clients of elevated social status The present five panels formed part of a Crucifixion that was dismantled into separate scenes and groups at an unknown date The entire ensemble was commissioned by the Nikolauskirche in Wesel which was near Baegert s house The artist was paid a total of 370 Rhenish guilders To judge from the size of the surviving fragments and from other similar surviving works by Baegert the entire composition may have measured more than 200 cm high by 400 cm wide The document that records payment to the artist dated 1477 has been used to determine the date of the work Stange suggested that a sixth panel of the head of Saint John in the Karlsruhe Kunsthalle formed part of the Crucifixion but it is difficult to fit it into the compositional scheme due to its proportions although Lübbeke suggested that it may have belonged to a secondary scene on one of the wings The five panels entered the Thyssen Bornemisza collection at different dates and with different provenances The first to arrive was the fragment with The good Centurion which was in the collection by 1929 and was included in the major exhibition in Munich in 1930 The group of Knights and Soldiers playing Dice for Christ s Robe arrived in 1934 followed two years later by Saint Veronica which fits perfectly below the fragment acquired in 1937 from a private US collection depicting Christ bearing the Cross Finally in 1952 the panel with Mary Magdalen was acquired The fragments of this large Crucifixion have frequently been used as examples of the dedication of the Thyssen Bornemisza family as collectors given that four of the panels were purchased by Heinrich Thyssen Bornemisza and the fifth and last by Hans Heinrich Thyssen Bornemisza The entire composition of the Crucifixion painted for the church of Saint Nicholas has been hypothetically reconstructed on two occasions using three other remarkable works by Baegert as reference points The first reconstruction was by Hans Kisky and the second with some minor corrections was by Ferdinand Köhler If we focus on the latter the fragments in the Museo Thyssen Bornemisza should be arranged in the following manner Saint Veronica and a Group of Knights occupies the left side of the composition the fragment with The good Centurion would be located between Christ s cross and that of the Bad Thief Mary Magdalen would be kneeling next to the cross of the Bad Thief and the composition would terminate on the right with Knights and Soldiers playing Dice for Christ s Robe Similar arrangements are to be found in the painting of the same subject by the artist in the Propsteikirche in Dortmund and the large Crucifixion that was lost in World War II of which photographs survive formerly Deutsches Museum Berlin The Dortmund painting is the oldest of the three and has been dated between 1470

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/642 (2016-02-13)
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  • Saint Veronica and a Group of Knights - Derick Baegert | Museo Thyssen
    did Jan Joest Baegert s most important works were executed in Wesel and Kalkar for clients of elevated social status The present five panels formed part of a Crucifixion that was dismantled into separate scenes and groups at an unknown date The entire ensemble was commissioned by the Nikolauskirche in Wesel which was near Baegert s house The artist was paid a total of 370 Rhenish guilders To judge from the size of the surviving fragments and from other similar surviving works by Baegert the entire composition may have measured more than 200 cm high by 400 cm wide The document that records payment to the artist dated 1477 has been used to determine the date of the work Stange suggested that a sixth panel of the head of Saint John in the Karlsruhe Kunsthalle formed part of the Crucifixion but it is difficult to fit it into the compositional scheme due to its proportions although Lübbeke suggested that it may have belonged to a secondary scene on one of the wings The five panels entered the Thyssen Bornemisza collection at different dates and with different provenances The first to arrive was the fragment with The good Centurion which was in the collection by 1929 and was included in the major exhibition in Munich in 1930 The group of Knights and Soldiers playing Dice for Christ s Robe arrived in 1934 followed two years later by Saint Veronica which fits perfectly below the fragment acquired in 1937 from a private US collection depicting Christ bearing the Cross Finally in 1952 the panel with Mary Magdalen was acquired The fragments of this large Crucifixion have frequently been used as examples of the dedication of the Thyssen Bornemisza family as collectors given that four of the panels were purchased by Heinrich Thyssen Bornemisza and the fifth and last by Hans Heinrich Thyssen Bornemisza The entire composition of the Crucifixion painted for the church of Saint Nicholas has been hypothetically reconstructed on two occasions using three other remarkable works by Baegert as reference points The first reconstruction was by Hans Kisky and the second with some minor corrections was by Ferdinand Köhler If we focus on the latter the fragments in the Museo Thyssen Bornemisza should be arranged in the following manner Saint Veronica and a Group of Knights occupies the left side of the composition the fragment with The good Centurion would be located between Christ s cross and that of the Bad Thief Mary Magdalen would be kneeling next to the cross of the Bad Thief and the composition would terminate on the right with Knights and Soldiers playing Dice for Christ s Robe Similar arrangements are to be found in the painting of the same subject by the artist in the Propsteikirche in Dortmund and the large Crucifixion that was lost in World War II of which photographs survive formerly Deutsches Museum Berlin The Dortmund painting is the oldest of the three and has been dated between 1470 and 1475

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/4 (2016-02-13)
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  • Portrait of a Woman - Bartholomäus Bruyn the Elder | Museo Thyssen
    lighting that enters from the left All these characteristics have led to the suggestion that the two sitters are a man and wife while the coat of arms on the man s ring bearing a black trefoil identifies him as a member of the Weinsberg family Bruyn s virtuoso technique is still more evident in the figure of the woman particularly in the details of the jewels and accessories and in the magnificent foreshortening of the hand that holds the pinks The woman is also more strongly lit and is defined through more pronounced contrasts of light and shade The man who has been inconclusively identified as various members of the house of Weinsberg is depicted using a more muted light but is powerfully characterised and has a notably realistic face MGA More information about this work Listen Barthel Bruyn s oeuvre focused on religious painting and portraiture and he was particularly renowned in his own time for his work in the latter genre He was also the founding figure of a school of portraiture in Cologne a city that had not previously been particularly active in this field Bruyn depicted his sitters in a realistic manner initially influenced by Netherlandish models particularly the work of Joos van Cleve and later from the 1530s by Hans Holbein the Younger one of Germany s greatest portrait painters In contrast to his religious compositions Bruyn s portraits are neither documented nor signed and his corpus has been established on the basis of comparison with his religious paintings Not only did Bruyn capture the physical appearance of his sitters who belonged to the highest ranks of society but he also included details referring to their personalities and professions His images offer veiled allusions to the interior world of these individuals who are depicted in half length format usually against a neutral background although on occasions Bruyn incorporated landscapes and interiors These two panels depict a couple using the traditional format in which the man is on the left and the woman on the right The two panels are almost identical in size with arched tops identical blue backgrounds and the light falling from the left projecting heavy shadows on the right They also share a marble ledge in front of them which terminates in the right hand panel The two oils were in the Rohoncz collection in 1930 and were exhibited at the Neue Pinakothek in Munich Prior to that they were in a private collection in St Petersburg and in the Mandl collection in Wiesbaden Bruyn depicted all the elements with precise detail achieving rich soft nuances in the woman s face characterised by a slight smile In the male portrait the attention focuses on the face and hands which stand out against the hat and the dark clothing respectively In his left hand he holds a delicately pierced pomander and has a ring with a coat of arms on his index finger This bears three black leaves of clover and has

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/609 (2016-02-13)
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  • Saint Jerome as a Cardinal - Master of Grossgmain | Museo Thyssen
    of monumental volume and which falls down to occupy all the lower part of the composition The figure of Jerome has been compared to paintings of Saint Ambrose and Saint Augustine in the Österreichische Galerie in Vienna and to one of an Abbot Saint in a collection in Regensburg NR More information about this work Listen The Master of Grossgmain who remains unidentified is an artist of the Austrian School The name Master of Grossgmain relates to the body of work that has been attributed to him comprising four panels of religious scenes painted for a church in Grossgmain near Salzburg His style however reflects the marked influence of one of the leading Austrian 15th century painters Rueland Frueauf the Elder with whom the present artist may have trained Despite these similarities art historians have detected certain distinguishing features between the two such as the intense way in which the present artist used colour the freedom with which he inserted the figures into the spatial setting and more specific details such as a simplification of the folds of the draperies that notably differs from Frueauf s style Saint Jerome as a Cardinal was in the Figdor collection in Vienna and was auctioned Berlin in 1930 It entered the Rohoncz collection two years later in 1932 The panel which was first published at the start of the 20th century was attributed to Rueland Frueauf and was recorded as such in the catalogues of the Thyssen Bornemisza collection until the late 1960s Its current attribution was first proposed in 1929 by Otto Pächt who was the first to associate it with the Master of Grossgmain an attribution adopted by Christian Salm in the 1969 catalogue of the Thyssen Bornemisza collection This suggestion has been upheld by other authors who have studied the painting Saint Jerome is depicted as a cardinal and Doctor of the Church He can be identified by his cardinal s hat the red colour of his garments and the open book on the desk that refers to his labours In addition the lion refers to the legend of the saint as well as being the symbol of the Evangelist Mark The story of Saint Jerome and the lion was promoted through The Golden Legend It narrates how one afternoon Jerome and various monks were outside the monastery reading and listening to holy texts when a lion arrived with a wounded paw Saint Jerome approached the animal which stretched out its paw and the Saint instructed the monks to wash and examine it resulting in a thorn being extracted After it was cured the lion remained in the monastery as a pet and Jerome placed it in charge of the monks donkey The artist presents Saint Jerome as he pauses in his labours which are referred to in the open book on the desk He strokes the tame lion which rests its front paws on the saint s knees Jerome s figure is constructed in a volumetric manner and the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/267 (2016-02-13)
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  • The good Centurion - Derick Baegert | Museo Thyssen
    did Jan Joest Baegert s most important works were executed in Wesel and Kalkar for clients of elevated social status The present five panels formed part of a Crucifixion that was dismantled into separate scenes and groups at an unknown date The entire ensemble was commissioned by the Nikolauskirche in Wesel which was near Baegert s house The artist was paid a total of 370 Rhenish guilders To judge from the size of the surviving fragments and from other similar surviving works by Baegert the entire composition may have measured more than 200 cm high by 400 cm wide The document that records payment to the artist dated 1477 has been used to determine the date of the work Stange suggested that a sixth panel of the head of Saint John in the Karlsruhe Kunsthalle formed part of the Crucifixion but it is difficult to fit it into the compositional scheme due to its proportions although Lübbeke suggested that it may have belonged to a secondary scene on one of the wings The five panels entered the Thyssen Bornemisza collection at different dates and with different provenances The first to arrive was the fragment with The good Centurion which was in the collection by 1929 and was included in the major exhibition in Munich in 1930 The group of Knights and Soldiers playing Dice for Christ s Robe arrived in 1934 followed two years later by Saint Veronica which fits perfectly below the fragment acquired in 1937 from a private US collection depicting Christ bearing the Cross Finally in 1952 the panel with Mary Magdalen was acquired The fragments of this large Crucifixion have frequently been used as examples of the dedication of the Thyssen Bornemisza family as collectors given that four of the panels were purchased by Heinrich Thyssen Bornemisza and the fifth and last by Hans Heinrich Thyssen Bornemisza The entire composition of the Crucifixion painted for the church of Saint Nicholas has been hypothetically reconstructed on two occasions using three other remarkable works by Baegert as reference points The first reconstruction was by Hans Kisky and the second with some minor corrections was by Ferdinand Köhler If we focus on the latter the fragments in the Museo Thyssen Bornemisza should be arranged in the following manner Saint Veronica and a Group of Knights occupies the left side of the composition the fragment with The good Centurion would be located between Christ s cross and that of the Bad Thief Mary Magdalen would be kneeling next to the cross of the Bad Thief and the composition would terminate on the right with Knights and Soldiers playing Dice for Christ s Robe Similar arrangements are to be found in the painting of the same subject by the artist in the Propsteikirche in Dortmund and the large Crucifixion that was lost in World War II of which photographs survive formerly Deutsches Museum Berlin The Dortmund painting is the oldest of the three and has been dated between 1470 and 1475

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_obra/1018 (2016-02-13)
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  • Young Knight in a Landscape - Vittore Carpaccio | 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/556 (2016-02-13)
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