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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    ca 1460 Augsburg 1532 Date Works Author Ulrich Apt Title The Lamentation Year ca 1510 Biography Listen Apt was a German artist son of the painter Peter Apt He was born around 1460 and is documented as an independent master in Augsburg in 1481 He ran a prosperous workshop in that city together with his three sons receiving numerous commissions The collaborative nature of the workshop has made it difficult to distinguish the hands of the various artists that worked there due to the similarity of their styles Apt s eldest son Jacob became an independent master in 1510 and died in 1518 The second Ulrich Apt the Younger was active as a painter in 1512 and continued until 1520 The youngest Michael became a master in 1520 and is documented working as a painter until 1527 Without doubt Ulrich Apt the Elder was the head of the workshop dying in Augsburg in 1532 It has been suggested on various occasions that Apt travelled to the Low Countries His style was considerably influenced by Netherlandish painting and Apt became one of the principal channels for the diffusion of that school in Germany In comparison to other flourishing workshops in Augsburg such as those of Hans Holbein the Elder and Hans Burgkmair which looked to Italian and in particular Venetian art Apt s studio opted for the Netherlandish manner and tradition Among works that have been attributed to him albeit tentatively due to the stylistic issues arising from the nature of his workshop are the Portrait of an old Man Liechtenstein collection which is a signed work and the Crucifixion Altarpiece commissioned by the Rehlinger family in Augsburg Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the Madrid Realists exhibition Spanish

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/36 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    was a versatile artist who devoted himself to painting sculpture printmaking and book illumination Vasari described him as an eccentric painter who worked so rapidly that he could paint a façade in a single day Aspertini is now considered an artist with a complex and eclectic style and one of the forerunners of Mannerism His chronology is difficult to establish largely due to the fact that none of his painted façades have survived a field in which he was the most active painter in Bologna The first reference to Aspertini s career relates to his trip to Rome between 1500 and 1503 where he made contact with the school of Pinturicchio Aspertini was passionately interested in antiquity and during his time in Rome produced one of his sketchbooks of drawings of classical motifs known as the Wolfegg Codex VonWaldburg collection which is a document of primary importance for a knowledge of classical art and architecture in the Renaissance In 1504 Aspertini returned to Bologna where one year later he worked with Lorenzo Costa and Francesco Francia on the fresco decoration of the recently restored oratorio of Santa Cecilia in the church of San Giacomo Maggiore His next major commission was in Lucca in Tuscany where he executed the decorative programme for the chapel of Sant Agostino in the church of San Frediano Particularly outstanding is his depiction of Saint Frediano diverting the course of the River Serchio based on a scene on Trajan s Column From 1510 to 1530 Aspertini focused exclusively on sculpture and among his works in this medium is part of the façade of San Petronio in Bologna In 1529 Aspertini was one of the artists responsible for the decoration of the triumphal arch that celebrated the entry into Bologna of Pope Clement VII and the Emperor

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/37 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    In 1609 on the death of his father the merchant Hans van der Ast Balthasar went to live with his sister Maria and her husband the painter Ambrosius Bosschaert with whom he trained as a painter until the age of around 21 The Bosschaert family moved to Bergenop Zoom in 1615 and one year later to Utrecht Van der Ast probably went with them although he is not documented in Utrecht until 1619 when he is registered in the guild of Saint Luke in that city He remained in Utrecht for fifteen years and his first known works date from this period They reveal the marked influence of his master Bosschaert During this period Van der Ast was active in the city s artistic life and became close friends with Roelandt Savery who also lived there and with whom he shared an interest in flowers and animals In 1632 Van der Ast moved to Delft where he is registered in the painter s guild from 22 June The following year he acquired citizenship and married Margrieta Jansdr van Beuren with whom he had two daughters Van der Ast remained in Delft until his death in 1657 Like those of his master Bosschaert Van der Ast s floral still lifes are characterised by their vertical structure and the symmetrical form of the bouquet Van der Ast introduced a new element in the form of shells that reflect the contemporary interest in collecting exotic objects Another distinctive feature is the realism of his compositions and the importance that he placed on the depiction of animals and insects such as lizards grasshoppers toads and butterflies probably inspired by Savery s work He also experimented with other compositions organised around a single flower in a vase or isolated flowers on a table top that

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    1959 Author Frank Auerbach Title Head of J Y M Year 1978 Biography Listen Frank Auerbach was a member of the so called School of London a group of artist friends with a keen interest in representing the human figure among them Francis Bacon Lucian Freud and Leon Kossoff Of Jewish origin Auerbach was born in Berlin and was sent to England in 1939 to escape from Nazi GermanyHe grew up in Kent in a boarding school for Jewish refugee children that was moved to Shropshire during the Second World War In 1948 he enrolled at Saint Martin s School of Art and attended the night classes taught by David Bomberg at the Borough Polytechnic During these formative years in which he became friend with Kossoff he learned the importance of representing forms in an organic unitary manner From 1952 to 1955 he studied at the Royal College of Art and the following year the Beaux Arts Gallery in London staged his first one man showHis impastoed technique which emphasised the gestural nature of his brushwork and gave his work a three dimensional quality was heavily criticised by those who judged it to be closer to sculpture than painting but he found major support in the critic David Sylvester From 1965 onwards his work was shown at the Marlborough Gallery and in 1978 the Hayward Gallery held a solo exhibition of his work Auerbach has remained constant in the themes of his paintings over the decades His interest in portraiture has been centred on depicting people he knows well indeed most of his portraits are of three sitters his wife Julia the professional model Juliet Yardley Mills JYM and his friend Estella West EOW His landscapes usually show the area around his Camden Town studio where he has worked since

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    drawing classes at the Connecticut League of Art Students and the Art Society School during the free time his work at various factories and firms left him From the outset he was especially interested in the landscape genre He captured the area around Hartford in his paintings in which he applied large quantities of brightly coloured pigment to the canvas In 1925 Avery moved to New York and married the painter Sally Michel the following year During this period his palette became more muted as did his way of applying colour in fine flat layers in the manner of European artists such as Henri Matisse and Pablo Picasso Avery s work was first shown in a group exhibition at the Opportunity Gallery in 1928 and his first one man show was staged by the Valentine Gallery in 1935 Thenceforward he began to exhibit his works regularly and his use of colour was copied by younger artists like Mark Rothko Adolph Gottlieb and Barnett Newman who accompanied him to Gloucester and Vermont his favourite summer destinations on several occasions during the 1930s Avery suffered a severe heart attack in 1949While recovering in Florida he began to produce monotypesWhen he took up painting again he adopted an even more schematic style applying paint in fine superimposed layers to create veils of colour While he was spending the summer of 1957 in Provincetown his works came close to pure abstraction in their simplification though they never completely severed links with nature These works painted in a larger format were well received by critics as a result of which his entire artistic career began to be re evaluated However his health took a turn for the worse and he was unable to attend the opening of his one man exhibition at the Whitney Museum

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    her Maid Year ca 1615 1621 Biography Listen Dirck van Baburen was born in Wijk bij Duurstede around 1595 Around 1599 his family moved to Utrecht where the artist is registered as an apprentice in the studio of Paulus Moreelse in 1611 Having completed his training he travelled to Italy where he is first documented in Parma and later in Rome In 1617 he took part along with Davis de Haen in the decoration of one of the chapels in the church of San Pietro in Montorio for which he painted a Burial of Christ still in situ In Italy Dirck van Baburen enjoyed great prestige and received commissions from important patrons such as Vicenzo Giustiniani and Cardinal Scipione Borghese for whom he painted Christ washing the Disciples Feet Berlin Gemäldegalerie and The Taking of Christ Rome Galleria Borghese respectively The exact date of his return to Utrecht is unknown but is thought to be around 1621 Van Baburen is associated with the Caravaggisti and one was one of the leading members of this school Despite the short time between his return to the Low Countries and his early death in 1624 he soon became one of the most innovative artists in Utrecht introducing and establishing new stylistic and iconographic models that were soon imitated by other artists both in genre scenes and history painting Dating from this period is The Procuress Boston Museum of Art a modern version in a Caravaggesque mode of an old moralizing subject Van Baburen was also one of the first painters to execute a painted version of the popular theme of Granida and Daifilo based on the famous play Granida by Pieter Cornelisz Hooft The moralising content of some of his compositions such as The Procuress and The Backgammon Players New York private collection

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    disturbing artists of the post Second World War period His personal tormented and decomposed vision of the human being is the best testament to the crisis that afflicted mankind during the second half of the twentieth century Born in Dublin albeit of English parents in 1925 Bacon went to live in London where he started out as an interior decorator He began painting as a self taught artist in the early 1930s after visiting a Picasso exhibition at the Galerie Rosenberg in Paris Although Herbert Read published one of his paintings Crucifixion 1933 LondonMuderme in the book Art Now as early as 1933 his works were not initially well received The few successes he reaped during his first years as a painter led him to destroy most of his early work in 1942 After being declared unfit for active military service in the Second World War he served as an Air Raid Patrol officer during the first part of the war and did not take up painting regularly until 1944 In 1946 the New York Museum of Modern Art acquired his Painting executed that year and from this point onwards his work began to enjoy a reputation In 1956 he was invited to represent Great Britain in the Venice Biennale together with Ben Nicholson and Lucian Freud Bacon was always interested in the more bitter side of existence and his works are metaphors for man s struggle with his environment His personal pictorial language shows the most mysterious and disturbing aspects of the human condition his portraits are not intended as physical likenesses of the sitters but seek to capture their spiritual selves As to technique Bacon was a perfectionist and displayed an unrivalled mastery at blending chance and order simultaneously His works combine interest in photography with his admiration

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    painters who worked in the Rhineland area in Germany during the last third of the 15th century and the first third of the 16th Baegert organised a productive workshop in Wesel with his son Jan and Jan Joest who was possibly his nephew He also worked in Dortmund Cologne and Kalkar His date of birth and place of training are unknown although stylistic similarities between his work and that of the Utrecht school suggests that he trained there In 1476 he is recorded in Wesel a city where his son worked as an independent master in 1490 Father and son travelled together to the Low Countries in 1482 a fact that is crucial for the evolution of their art particularly that of Jan Although he borrowed elements from Netherlandish art Derick s style always remained close to that of the late Gothic His spatial organisation is a characteristic feature of his work and is somewhat awkward with regard to the recession into depth He tended to locate his figures in a narrow zone that acts as an intermediary point between the foreground and background adding distant landscapes with views of cities in the latter Baegert s first known work dated between 1468 and 1476 is the high altar of the Dominican church in Dortmund now in the Propsteikirche commissioned by Johann I von Kleve This is a very large triptych of around 2 x 8 metres with the city of Dortmund depicted in the background of the lateral wings Among his documented works is an altarpiece of 1477 painted for the church of Saint Nicholas of Mathena Wesel some of the panels for which are now in the Museo Thyssen Bornemisza Between 1493 and 1494 Baegert painted a judgement scene for the Town Hall of Wesel now in the Städtisches

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