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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    England on 26 July 1779 In 1793 when he was fourteen his family came to Philadelphia then settling at Neshaminy Bridge Bucks County Pennsylvania before returning to Philadelphia Father and son worked on a series of Views of Philadelphia which were published in 1800 Thomas studied nature sketching scenes along the Schuylkill River in Philadelphia with the painters John Wesley Jarvis Samuel Seymour and Thomas Sully Although he painted a few portraits at the beginning of his career by 1807 Birch was concerned primarily with marine and landscapes views He knew the work of the French painter Claude Joseph Vernet one of whose paintings he copied and more importantly the Dutch paintings in his father s collection which included works by or after Jacob van Ruisdael Jan van Goyen and Jan vas Os He painted over a dozen paintings depicting various naval engagements of the War of 1812 Birch was Keeper of the Pennsylvania Academy of Fine Arts from 1812 1816 He was elected an Honorary Member Professional of the National Academy of Design in 1833 a distinction reserved for artists living outside of New York City and vice president of the Artists Fund Society in Philadelphia when it was organised in 1835 Birch also exhibited at the Art Unions in Philadelphia and New York and the Boston Athenaeum Among his artist friends were the portraitist John Neagle and the genre painter John Lewis Krimmel By at least 1811 until the early 1840s Birch frequently painted winter landscapes based upon the Dutch tradition He lived in Philadelphia until his death on 13 January 1851 A short eulogy in Thomas S Cummings Historical Annals of the National Academy Design extolled the freshness of his atmospheres and the clearly painted waves of his marine views Kenneth W Maddox Search Advanced search Featured

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/73 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Pier Matteo Boccati was born in Camerino in The Marches around 1420 In 1445 he became a citizen of Perugia It is thought that he died after 1480 the year when his presence is recorded in that city receiving payment for two altarpieces Boccati lived and worked in Camerino Padua Perugia and Urbino His first documented work is the Madonna del Pergolato in the Galleria Nazionale dell Umbria in Perugia of 1447 His style combined the influences of leading painters of the day such as Fra Angelico and Filippo Lippi along with that of Domenico Veneziano during that artist s period in Perugia where Boccati seems to have trained The Madonna dell Orchestra Perugia Galleria Nazionale dell Umbria reflects the innovative spirit that prevailed in Paduan art at that period due to the presence of leading artists who introduced Renaissance ideas This context left a permanent mark on Boccati s work which reveals an evident interest in naturalism and perspective as well as in a new treatment of light These features are also to be detected in the fresco that he painted in the Palazzo Ducale in Urbino with its largescale figures and a clear sense of monumentality In his late works such as the Orvieto Altarpiece of 1473 and The Pietà Perugia Galleria Nazionale dell Umbria of 1479 Boccati used a softer more serene style with less monumental more uniform images and a more linear handling of the drapery although his distinctive treatment of light and his sense of lyricism are still to be seen Despite not being a pioneering painter Boccati assimilated the artistic innovations of his day adapting them to his own manner Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the Madrid Realists exhibition Spanish Paperback

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/75 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    a crucial role in disseminating the Italian Futurist movement in the visual arts through both his works and his theoretic writings He grew up in various Italian cities and expressed his fondness for literature in a novel that was not published In 1900 he settled in Rome where he met Gino Severini with whom he began to frequent the studio of Giacomo Balla Under Balla s guidance they learned the Divisionist technique and the use of complementary colours In 1906 he travelled to Paris and from there to Russia At the end of 1909 Boccioni met the poet Filippo Tommaso Marinetti who had just proclaimed the birth of literary FuturismMonths later in 1910 Boccioni published the Manifesto dei pittori futuristi followed by La pittura futurista Manifesto tecnico which he signed together with Carlo Carrà Luigi Russolo Gino Severini and Giacomo Balla The manifesto criticised old art and laid the foundations for a new art in keeping with the dynamism of the contemporary age Their first group exhibition was held in Milan in 1911 In 1912 Boccioni began to experiment with sculpture and published a manifesto entitled La scultura futurista in defence of dynamism and the simultaneity of forms His knowledge of the Cubist theories is evident in both his sculptures and the rest of his works Around 1913 Boccioni became increasingly involved in political issues and his interest in artistic creation waned as he became interested in the idea of combining nationalism and technology In 1914 he took part in the demonstrations to demand that Italy join in the First World War and he and Marinetti were imprisoned for burning an Austrian flag However shortly after the outbreak of war he changed his mind about its supposed advantages which caused a rift with many of his friends He died on

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/76 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Listen Arnold Böcklin a painter of Swiss origin was one of the most famous and influential artists of nineteenth century Germany His works which lie midway between reality and fantasy and are related to Romanticism and Symbolism were greatly admired in his own day and rescued from oblivion by Giorgio de Chirico and other Surrealist artists After training initially in Basel Böcklin studied from 1845 to 1847 at the Kunstakademie in Düsseldorf where he met Carl Friedrich Lessing and Anselm Feuerbach He then spent a year in Belgium and visited Paris In 1850 he went to live in Rome where he came into contact with the circle of German artists to which Oswald Achenbach and Feuerbach belonged As a result of the impression classical culture caused him his landscapes became settings for mythological themes in which the figures were depicted as mysterious beings that appeared to personify the forces of nature After seven years he returned to Basel with his Italian wife and showed some of his works at the Kunstverein in Munich The interest King Ludwig I expressed in his work contributed significantly to making him one of the most famous artists of the period Also around this time he came into contact with Count Von Schack one of his most faithful collectors who secured him many commissions After working at the Kunstschule in Weimar in the early 1860s Böcklin lived in Rome Paris Basel and Munich In 1874 he settled in Florence where he frequented the circle of the writer Adolf von Hildebrand and the painter Hans von Marées Following a contract signed with the dealer Fritz Gurlitt in 1880 his work began to enjoy great success in Berlin and Dresden Finally after spending five years in Zurich he settled in Italy In 1894 he moved into the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/639 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    period in Utrecht as his first known work Vertumnus Cevat collection London of around 1635 reveals the influence of the Utrecht style In 1637 at the age of 20 he moved to Amsterdam to study in Rembrandt s studio becoming one of his most outstanding pupils It is not known how long he remained there and no works are known from this period until 1642 when he probably became an independent master Bol s style depended to such an extent on Rembrandt s that some of his works have been erroneously attributed to his master in the past In 1649 he received his first important commission to paint The Regents of the Leper Hospital in Amsterdam Historisch Museum Amsterdam In the 1650s Bol s career prospered and his style began to move away from that of Rembrandt becoming softer more elegant and influenced by Flemish painting In 1652 he became a citizen of Amsterdam having already lived in that city for many years He may have been motivated to apply for citizenship in order to present himself as a candidate for the decoration of the city s new Town Hall which was only open to residents of Amsterdam In 1653 he married Lysbeth Dell from a prominent Amsterdam family In 1656 and together with Govert Flink he was awarded the commission to decorate the Burgomaster s Hall in the new Town Hall executing a large history painting on Fabritius and Pyrrhus in situ Among his most important projects was a series of portraits of Admiral Michiel de Ruyter painted between 1661 and 1663 In 1669 the artist married Anna van Arckel the wealthy widow of the Admiralty treasurer He seems to have abandoned painting following his marriage as no work is known from after that date Like Rembrandt Bol focused

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/77 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    of the life of the painter and goldsmith Giovanni di Salamone di Ser Albertino da Bologna He is documented in Treviso from 1377 to 1379 and again in 1382 1383 and 1385 In addition he is recorded as a painter living in Venice from 1383 to 1385 where he again appears in a document of 1389 From his style it would appear that he trained in the Veneto region Among Giovanni da Bologna s paintings are four signed works The Virgin and Child with Saints Gallerie dell Accademia Venice The Virgin and Child with Angels Pinacoteca di Brera Milan Saint Christopher Museo Civico Padua and The Coronation of the Virgin Denver Art Museum The first two are considered to be earlier and reveal the influence of Lorenzo Veneziano and Guariento In the 19th century the painting in Denver belonged to Michelangelo Gualandi in Bologna and it seems likely that it came from a church in that city This has led to the suggestion that Giovanni da Bologna also occasionally worked there although there is no documentary evidence to prove this idea None of his works are dated but the Saint Christopher in Padua has been identified as the painting commissioned in 1377 for the Scuola dei Mercanti in Venice Giovanni da Bologna s work reflects the contact he must have had with the Bolognese painter Jacopo degli Avanzi whose realistic style he adopted and with Altichiero da Verona both of whom were active in Padua at the same time as Giovanni da Bologna His late work particularly the triptych in the Pinacoteca in Bologna deploys a classicism and monumentality derived from Giotto 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

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/233 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    was probably born in Bologna around 1300 During his training he must have assimilated the Bolognese Gothic style of which he is the leading exponent The first reference to his activities dates from 1330 when he received a payment for the decoration of a chapel in San Francesco in Bologna Vitale da Bologna s early works reveal the influence of the Rimini school with regard to iconography the gestures of the figures and the use of a colour range based on olive green and dark red tones However his style evolved and became more complex and expressive reflecting the influence of Giotto in the architectural settings perspective and vitality of the figures This is evident in The Last Supper Pinacoteca Nazionale Bologna of 1340 Vitale da Bologna s work was also influenced by the work of the Bolognese manuscript illuminators The decorative richness of his style indicates that he was familiar with the work of Simone Martini and with that of Pietro Lorenzetti in the drama of the faces Among Vitale s most notable works are the panels painted for the Oratory of the Virgin at Mezzaratta Bologna including La Madonna dei Denti which is signed and dated 1345 and the frescoes in Santa Apollonia in Mezzaratta now Pinacoteca Nazionale Bologna In 1349 Vitale painted frescoes for the presbytery of Udine cathedral now lost One year later he returned to Bologna and in 1351 executed a cycle of frescoes for the abbey at Pomposa on The Life of Saint Eustace Vitale s style combines different influences and looks forward to late 14thcentury Gothic opening the way for subsequent generations of Bolognese painters His most talented pupil Tommaso da Modena developed his iconographic and technical innovations while Andrea da Bologna and Cristoforo di Jacopo Biondi continued to work in his style

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/591 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    painting without economic restraints He trained in the workshop of Leonardo da Vinci which he must have entered shortly after Leonardo arrived in Milan remaining as an assistant and collaborator until the end of the 15th century His first works depend to such an extent on Leonardo that it has been suggested that the latter was partly responsible for them for example the Madonna in the Museo Poldi Pezzoli Milan Boltraffio soon however developed his own style and his skills as a portraitist are particularly outstanding In 1500 he travelled to Bologna where he painted an altarpiece of The Virgin and Child with Saint John the Baptist Saint Sebastian and two Donors for the church of Santa Maria della Misericordia Paris Musée du Louvre This work reveals his new interest in the work of other artists such as Pietro Perugino and Francesco Francia Shortly afterwards in 1502 is again documented in Milan where he was commissioned to paint a Saint Barbara for the congregation of Santa Maria presso San Satiro Berlin Gemäldegalerie a work that combines his Bolognese style with other new influences derived from artists such as Bramantino and Andrea Solario Boltraffio s permanent residence in Milan is confirmed in a document of 1503 in which he appears as one of the members of the jury that selected the projects for the door of the north transept of the cathedral Boltraffio s last documented work is The Virgin and Child with Saint John the Baptist and a Donor Budapest Szépmüvészeti Múzeum which was commissioned in 1508 for the Da Ponte chapel in Lodi cathedral His activities between that date and his death in 1516 are difficult to reconstruct although his residence in Milan in the San Paolo in Compedo quarter is documented This has led to the assumption that

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/78 (2016-02-13)
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