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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    and stained glass designer He trained in Strasbourg and completed his studies in Dürer s workshop where he is documented around 1503 His nickname of Grien green in old German dated from his youth when he was known for his preference for that colour When Dürer made his second trip to Italy between 1505 and 1507 Grien remained in charge of the studio in Nuremberg as he was considered his best pupil In 1509 he is again documented in Strasbourg where he became a citizen and ran his own workshop Grien and Dürer enjoyed a relationship of friendship and mutual admiration that would last until Dürer s death This is evident from the fact that during his trip to the Low Countries Dürer made gifts and exchanged prints by Grien Between 1512 and 1517 Grien moved to Freiburg im Breisgau to execute the most important project of his career namely the decoration of the high altar of the cathedral in the form of a monumental altarpiece with 11 paintings of which the central element was a Coronation of the Virgin This altarpiece still in situ is considered one of his masterpieces In 1517 he returned to Strasbourg where he remained until his death in 1545 Grien was a highly prolific and versatile artist and his large output includes religious works portraits and mythological and allegorical compositions His allegories can be considered his most important contribution in which erotic female nudes transmit messages related to the concept of death Among his finest paintings are The Seven Ages of Woman Museum de Bildenden Künste Leipzig The Three Graces and The Ages and Death both in the Museo del Prado Madrid His paintings and prints were influenced by the work of other German Renaissance artists such as Lucas Cranach Grünewald and Dürer Search

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/44 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    he studied for a time at the Accademia Albertina in Turin and moved to Rome in 1895 In 1900 he lived for a few months in Paris where he visited the Exposition Universelle He was impressed by life in the great metropolis and studied the Neo Impressionist paintings of Georges Seurat Paul Signac and Henri Edmond Cross On returning to Rome he spread the Divisionist technique among young artists such as Umberto Boccioni Gino Severini and Mario Sironi In 1910 Balla joined the Futurist movement by signing La pittura futurista Manifesto tecnico but his works were not shown in the group s exhibitions until 1912 In the works produced in this period Balla strove to represent movement and speed based on the chrono photographs of Étienne Jules Marey From 1913 onwards his compositions became more abstract and representation of the breakdown of motion gave way to new spiral structures and the study of movement was replaced by an analysis of the deconstruction of light In 1915 he and Fortunato Depero signed the Futurist Reconstruction of the Universe manifesto extending the Futurist principles to all aspects of daily life Like the other members of the Futurist group Balla was a convinced active nationalist In 1915 he and Filippo Tommaso Marinetti were arrested for taking part in a demonstration calling for Italy to join in the war and during this period Balla s studio became a meeting place for artists Thenceforward Balla developed an interest in constructing mobile objects from paper cardboard fabric and wire which he called plastic complexes and in 1917 he began to work as a set designer for Stravinsky s Feu d artifice performed by the Ballets Russes of Serge Diaghilev who had sought refuge in Rome during the war In the 1930s he returned to a Fascist

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    intellectual and artistic environment in Paris During the First World War he and his family took refuge in Berlin and after his parents split up he moved to Switzerland where his father s place was taken by Rainer Maria Rilke a friend of his mother s Until his death in 1926 the poet was not only a second father to Balthus but also his main mentor In 1920 Rilke published a collection of watercolours by Balthus in the book Mitsou quarante images par Balthusz at which point what had previously been his family nickname became his artistic name Encouraged by André Gide Balthus returned to Paris in 1924 to devote himself to painting Although he rejected the teachings of any other painter the family friend Pierre Bonnard guided him at the start of his career as a result of which his style was initially Post Impressionist However what really interested him was studying the Old Masters such as PoussinMasaccio and Piero della Francesca whose works he copied at the Louvre Balthus was already firmly established as an artist by the end of the 1940s Between the 1950s and 1960s he moved to the Château de Chassy in Morvan and for a time concentrated chiefly on landscape In 1961 André Malraux appointed him director of the Académie de France at the Villa Medici in Rome In Italy he returned to representing the human figure using a technique that recalls Renaissance frescoes After leaving his post at the Académie in 1978 he divided his time between Italy and Switzerland Balthus developed a figurative style that defies any label His personal pictorial language of robust forms and heavily defined outlines combines the procedures of the Old Masters with certain aspects of Surrealism Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/45 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    An intense interest in the idea of a synthesis of the arts a legacy of Russian Symbolism would remain with Baranov Rossiné all his life In 1910 he left for Paris where aside from frequenting Russian émigré circles he was particularly friendly with Hans Arp and Robert and Sonia Delaunay His colourful paintings of the period show an assimilation of Cubism Futurism and Orphism and he exhibited regularly at the Salon des Indépendants At the same time he experimented with sculpture executing two large openwork assemblage sculptures constituted of fragments of painted metal wood and found objects One of these sculptures exhibited at the 1914 Salon des Indépendants provoked such consternation and ridicule that he later threw it into the Seine Only the French critic Guillaume Apollinaire understood its radical and prescient expressive idiom comparable to Alexander Archipenko s early sculpto paintings of the same years At the outbreak of the World War First Baranov Rossiné moved to Norway where he would remain until 1917 when he went back to Russia Between 1917 and 1925 his production was prolific he exhibited alongside Marc Chagall Nathan Altman Yurii Annenkov and other representatives of the Soviet avant garde and he taught painting in a studio in Petrograd At the same time he explored his earlier interest in a synthesis of the arts inventing a colour clavier and presenting optophonic concerts in Moscow theatres in which as the piano s keys were played the music was translated by coloured disks projected on a screen Baranov Rossiné returned to settle in Paris in 1925 He continued to paint in a more Surrealist manner made a few sculptures and experimented with materials colours and sounds exhibiting regularly in the Parisian Salons His works may be found in many public collections including those of the Russian

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/48 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Universitá dei Calzolai in the Duomo in Siena executed in collaboration with his father and Luca di Tommè During the 1380s Andrea di Bartolo worked in his father s workshop where he was noted for his skills in painting small format works One example of this type is the panel of The Massacre of the Innocents Walters Art Gallery Baltimore from the Presentation in the Temple Altarpiece painted for the church of San Agostino in San Gimignano It would seem that after 1390 Andrea di Bartolo worked as an independent painter and from this period dates the signed Annunciation Triptych Buonconvento Museo d Arte Sacra Val d Arbia Having established himself as an independent painter Andrea di Bartolo became one of the most successful artists in Siena He also executed frescoes now lost for the chapel of San Vittore in the Duomo in Siena as well as carved wood sculptures and designs for stained glass Andrea di Bartolo s only dated works are the four panels of 1413 of Saint John the Baptist Saint Francis Saint Peter and Saint John the Evangelist painted for the Santa Petronilla Polyptych church of the Osservanza Siena The influence of Taddeo di Bartolo is evident in the figures from the polyptych for the Duomo in Tuscania and in those for the Sant Angelo Altarpiece in Vado The latter comprise fragments of The Coronation of the Virgin Saint Catherine of Alexandria Saint Peter Sant Augustine Saint Paul all Milan Pinacoteca di Brera Saint Michael and Saint John the Baptist Urbino Palazzo Ducale All these works have been tentatively dated to between 1420 and 1425 While Andrea di Bartolo remained faithful to the Sienese tradition and was slow to update his figurative repertoire his work reveals a clear evolution that led to a softening of his

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the workshop of Cosimo Rosselli as an apprentice Berenson maintained that Rosselli s assistant Piero di Cosimo was responsible for Della Porta s training transmitting to the young painter his interest in German art and the technique of the Flemish painters According to Vasari it was also in Rosselli s studio that Della Porta met the painter Mariotto Albertinelli with whom he became friends and with whom he would work years later in a partnership Their first documented collaboration is the Annunciation for Volterra cathedral of 1497 and they worked together on various projects until 1513 the year when their compagnia was dissolved Della Porta s works from the late 1490s such as The Virgin and Child and Saint John the Baptist New York The Metropolitan Museum of Art and The Adoration Rome Galleria Borghese reveal his profound interest in the art of Leonardo in their composition and tonality In 1500 influenced by the preaching of Savonarola the artist entered the convent of San Domenico di Prato taking on the name of Fra Bartolommeo and renouncing painting Four years later he returned to his artistic activities accepting a commission from Bernardo de Bianco for whom he executed The Vision of Saint Bernard Galleria degli Uffizi From that point onwards until 1516 all his works are recorded in an inventory drawn up by Fra Bartolommeo Cavalcanti From the time of his trip to Venice in the spring of 1508 Fra Bartolommeo s work reveals the influence of Bellini and his paintings acquire a greater luminosity in their colouring Years later he undertook another journey this time to Rome an experience that is also reflected in his style which reveals a greater sense of movement and interest in description while his compositions became more monumental Fra Bartolommeo is also considered one of

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    from his father Francesco da Ponte the Elder then continued his studies in the Venetian workshop of Bonifazio de Pitati during the first half of the 1530s Around 1540 he moved to Bassano where he lived and worked for the rest of his career and where he ran his father s workshop with great efficiency becoming one of the most influential figures in the art world of the Veneto around the mid century Bassano s first works date from a year before his arrival in Bassano and include a Flight into Egypt Museo Civico Bassano in which the influence of Bonifazio and Titian is evident His canvases also look to the work of Pordenone particularly between 1535 and the early 1540s while between 1543 and 1560 they reveal an interest in Mannerism For the composition of some of his paintings Bassano made use of prints after works by the great masters of his day particularly Dürer Raphael and Parmigianino although he was primarily interested in the innovations to be seen in contemporary Venetian art Around 1560 he focused more actively on pastoral scenes with broad landscapes of a type that became increasingly popular and sought after During that decade the influence of Tintoretto becomes more pronounced in the manner of applying the paint the chromatic contrasts and the effects of light Bassano s success was largely based on his way of interpreting his pastoral and religious compositions and he presented the latter in the manner of genre scenes His sons Francesco Leandro Giambattista and Gerolamo along with a series of imitators all repeated his models and compositions All Bassano s biographers describe him as a modest man who lived in a simple manner in his small city turning down the numerous invitations that he received to work for foreign courts

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/51 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    and Works Author Pompeo Batoni Born Dead Lucca 1708 Rome 1787 Date Works Author Pompeo Batoni Title Portrait of the Countess Maria Benedetta di San Martino Year 1785 Biography Listen Son of a distinguished goldsmith from Lucca Pompeo Girolamo Batoni began his apprenticeship in that trade In 1727 he left the family workshop and moved to Rome to study painting During his early years in the capital he furthered his studies by copying antique sculptures in the Vatican as well as frescoes by Raphael and the Carracci Batoni s ability to draw and copy ruins and classical sculpture came to the attention of British antiquarians and collectors in the city and he began to receive commissions from them From the outset of his career Batoni opted for the classicising manner of painting admiring and studying the work of Raphael and other 17th century painters such as Guido Reni and Domenichino He evolved a distinctive and unusual style in comparison to that of his contemporaries and one that anticipates Neo classicism By around the mid century Batoni had become one of the most highly sought after painters in Rome receiving numerous commissions for religious and mythological compositions The most important of these was the decoration of one of the altars in Saint Peter s in 1746 for which the artist produced a monumental painting of The Fall of Simon Magus now in the church of Santa Maria degli Angeli the execution of which required ten years of work Batoni was also a celebrated portraitist and was particularly appreciated and admired by the British aristocracy His most typical portraits includes elements of classical art or a view of Rome in order to record the presence of the sitter in that city and emphasise their status as a cultured art lover Search Advanced

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