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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Guilds Institute in 1905 and began studying at the Westminster Art School under Walter Sickert in 1908With the intermediation of John Singer Sargent and the assistance of the Jewish Education Aid Society he furthered his studies at the Slade School of Art in 1911 As a result of the contemporary art exhibitions held in London and a trip to Paris in 1913 during which he met Picasso and Modigliani among others Bomberg began to embrace the new experimental ideas that were brewing on the continent His art became angular and he came into contact with Wyndham Lewis whose oeuvre had developed in the same direction However although his interest in the industrial world and his style affiliated him with the members of the Vorticist movement he resisted becoming one of them He was a guest artist at the Vorticist Exhibition of 1915 but did not allow his works to be reproduced in the Blast magazine In June 1914 the Chenil Gallery staged a one man show of his work that was a success with critics and attracted the interest of young avant garde artists This situation was interrupted by the outbreak of the First World War and after it ended Bomberg returned to figuration a path on which he had already embarked in the works commissioned from him by the Canadian Government during the war Disillusioned by the destructive power of machines which had previously fascinated him he developed a more organic style as a result of which he and Lewis went their separate ways In 1923 he travelled to Palestine and concentrated on executing almost topographical landscapes of the places he visited Towards the end of the decade his style became more expressive in the works produced during his numerous trips to Scotland and Spain Although this stylistic change

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/79 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in his region up to the time of Perugino His work reveals the influence of Fra Angelico and Domenico Veneziano particularly in his early works while the style of Filippo Lippi subsequently interested him It has been suggested that he made a trip to Florence and other Italian cities studying and absorbing the style of Mantegna and of Netherlandish painting influences that are evident in his late works The first documented reference to Bonfigli s activities dates from 1445 the date when he was commissioned to paint a Virgin and two angels for the chapel for the church of San Pietro in Perugia now lost A year later he was summoned by Pope Nicholas V to decorate various rooms in the Vatican confirming his elevated reputation as an artist Dating from this period are The Adoration of the Magi Galleria Nazionale dell Umbria Perugia and The Annunciation Museo Thyssen Bornemisza Madrid A key date in Bonfigli s career is that of 1454 when he received the important commission to execute frescoes for the chapel in the Palazzo dei Priori Although now in a poor state of conservation these are Bonfigli s most ambitious works Among the scenes in that cycle are The Crucifixion with Saints Francis and Herculano and episodes from the life of Saint Louis of Toulouse The latter scene reveals the influence of Piero della Francesca in various details and in the depiction of the cities of Rome and Perugia From 1465 onwards Bonfigli devoted his activities to producing banners or gonfaloni typical of the city of Perugia These were generally painted on canvas and were used by the city s confraternities including that of the Virgin della Misericordia in San Francesco al Prato In the 1460s Perugian art assumed a new direction with the arrival of Andrea

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    towards a personal style linked to Impressionism He studied law and began to work as a lawyer in 1889 combining this activity with drawing and painting classes at the Académie Julian from 1887 There he came into contact with Maurice Denis and also with Paul Sérusier whose painting The Talisman executed in 1888 ParisMusée d Orsay in accordance with the Synthetism of Paul Gauguin was a revelation for Bonnard The application of colour distributed into broad areas and the symbolism of Gauguin s art coupled with a taste for Japanese art were adopted as a reference by the Nabis SérusierMaurice Denis Paul Ranson Henri Gabriels Ibels Ker Xavier Roussel and Édouard Vuillard took part along with Bonnard in their first joint exhibition in 1891 When Bonnard s France Champagne poster appeared on the walls of Paris that year he decided to take up painting permanently and rented a studio in Montmartre The Nabis contacts led him to establish close ties with the theatre and together with other members of the group to design sets and costumes for plays such as Alfred Jarry s Ubu roi in 1896 Bonnard also designed stainedglass windows furniture and textiles and illustrated books newspapers and magazines such as La Revue Blanche He met many writers and prominent people of the day at the magazine s offices among them Misia the wife of the publication s editor Thadée Natanson who became one of his favourite models At the beginning of the new century Bonnard made numerous trips around Europe often accompanied by Édouard Vuillard Away from the new Parisian trends in painting he adopted a personal style that appeared to reinterpret the Impressionism of Renoir and Monet and on which the light and colour of the French Midi left a powerful imprint from 1909 10 onwards

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/81 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Gerard ter Borch the Elder and was a precocious child who had already produced drawings and studies of fine quality by the age of eight including the Knight in the Rijksmuseum Amsterdam Ter Borch completed his training in Haarlem with the landscape painter Pieter de Molijn in whose studio he is documented in 1634 and in 1635 his name is registered in the painters guild in that city That same year Ter Borch travelled to London to work in the studio of his uncle Robert van Voerst returning to Holland in 1636 During the second half of the 1630s he travelled to Germany Italy France and Spain arriving in the latter in 1639 In late 1645 he travelled to Münster in the company of Adriaen Pauw He returned there in 1648 and witnessed the ratification of the Peace of Westphalia an event that he depicted in his painting The Swearing of the Ratification of the Treaty of Münster London National Gallery In 1653 Ter Borch was in Delft and in 1654 in Deventer here he married Geertruyt Matthys remaining there until his death in 1681 Ter Borch s first paintings depict soldiers in the Haarlem style He then moved on to small format full length portraits and above all to depictions of domestic interiors These include The paternal Admonition of around 1655 56 now identified as a brothel scene Berlin Gemäldegalerie The Concert of around 1661 62 also Berlin and The Letter of the early 1660s British Royal Collection These works which are almost all of small format like his portraits are composed using a limited number of figures and a painstaking treatment of the light Ter Borch paid particular attention to the depiction of the different materials and textures of the clothes and even his most everyday subjects have

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in 1500 but moved to Venice as a child He trained in that city with Titian remaining in his workshop until around 1516 By the early age of 18 he was already established as an independent master According to Vasari Bordone s premature departure from Titian s workshop accounts for the strained relations between the two artists to the point where Titian managed to appropriate Bordone s first commission for the altarpiece of the church of San Niccolò dei Frari in Venice From the outset Bordone s work reveals not only the marked influence of Titian but also that of Giorgione and later of Pordenone Bordone achieved public recognition in 1534 when he won the competition for the Scuola di San Marco to depict The Presentation of the Ring to the Doge of Venice Now in the Accademia in Venice this is considered the artist s most important painting Over the following years and probably until 1538 he was away from Venice According to Vasari Bordone travelled to the court of François I in Fontainebleau where he was extremely active While there he made contact with Luca Penni Francesco Primaticcio and Rosso Fiorentino who were also working for the French monarch Following this experience Bordone s art combined the Venetian approach with elements from central Italian and French Mannerist painting Over the following decades he made another important trip this time to Bavaria where he worked for the Fugger in Augsburg and for other influential families Neither the date of this trip nor the chronology of the works that Bordone produced there have been established From 1560 onwards the artist is documented in his studio in Venice where the majority of the commissions that he received were from Treviso Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/83 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    ca 1921 Author Sándor Bortnyik Title The Twentieth Century Year 1927 Biography Listen Sándor Bortnyik played an important role in the development of the Hungarian avant garde He began studying in Budapest in 1913 and was attracted by the style of the Fauves until 1915 when he met Lajos Kassák the editor of MA who invited him to become a contributor to the magazine In 1919 following the collapse of Béla Kun s short lived communist regime and the invasion of Romanian troops Bortnyik and other artists connected with MA were forced to flee Budapest He settled in Vienna and went on to live in Weimar from 1922 to 1924 His close contact with the Bauhaus and the Constructivist movements of the time gave rise to non figurative works with a strong architectural component Even so Bortnyik refused to be identified with the Bauhaus During this period he also worked in Kassa now Kosice Slovakia and Berlin where the Der Sturm gallery staged an exhibition of his work in 1922 In 1924 he began to develop an interest in depicting satirical scenes featuring figures framed in strange architectural settings retaining his earlier geometric emphasis Bortnyik returned to Hungary in 1925 There he resumed his initial activity as a poster designer and set up a workshop which was attended among others by Victor Vasarely and which he closed down in 1938 due to financial problems In the mid 1930s Bortnyik again took up painting influenced by a group of socialist artists established in Budapest in 1934 During the following years he promoted the publication of various books and magazines and taught at and directed the Budapest Academy of Fine Arts At the end of his life the National Gallery of Budapest organised a retrospective of his work as a tribute to

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/84 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    family fled in fear of religious persecution and moved to Middelburg Little information is known regarding his early years other than that in 1593 he is registered for the first time as a painter in the guild of Saint Luke in Middelburg His first known signed work dates from much later in 1605 and it has thus been suggested that he was initially more active in his other profession that of art dealer Bosschaert married Maria van der Ast sister of the painter Balthasar van der Ast in 1604 The latter went to live with Bosschaert in 1606 following his father s death and received lessons from him Between 1597 and 1613 Bosschaert held the position of dean of the guild of Saint Luke in Middelburg on three occasions while continuing to be active as an art dealer We know that he was involved in the purchase and sale of art from Antwerp Frankfurt England and Ireland and was the intermediary for artists such as Veronese and Georg Flegel In 1615 Bosschaert is documented in Bergen op Zoom while in 1616 he acquired citizenship in Utrecht and was registered in the painters guild there From 1620 he continued his activities in Breda Bosschaert died one year later during a trip to The Hague to deliver a work that had been commissioned from him Three of his sons Ambrosius Abraham and Johan followed him as painters A leading painter of floral still lifes Bosschaert is considered one of the founding figures of this genre and the creator of a format that survived in Middelburg until the mid 17th century His floral still lifes are realistic depictions of tulips roses and other cultivated flowers arranged symmetrically with a marked emphasis on the vertical axis and crowned at the top by an exotic

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Year ca 1470 Biography Listen Botticini was a Florentine artist whose real name was Francesco di Giovanni di Domenico and whose father was a painter artisan Francesco Botticini learned his profession from Neri di Bicci who had inherited a flourishing workshop and for whom the young Botticini began to work in January 1459 at the age of only 13 On 24 June 1460 he left his master s workshop and by 1469 was already an independent master as it is documented that he acted as a mediator during that year From 1471 onwards he was a member of the confraternity of the Archangel Raphael of the church of Santo Spirito and one year later a member of the confraternity of Saint Luke Botticini s style is characterised by his ability to combine elements from the art of his day notably the work of Botticelli Andrea del Castagno Domenico Ghirlandaio Filippino Lippi Cosimo Rosselli and Verrocchio for which reason some of his works were incorrectly attributed in the past Among his early works is The Three Archangels with Tobias Galleria degli Uffizi Florence of 1470 considered his masterpiece Also important is The Assumption of the Virgin commissioned by Matteo Palmieri National Gallery London and dated to around 1474 75 The artist s first dated work is the Sacrament Tabernacle commissioned in 1484 and installed in 1491 in Empoli cathedral now in the museum in that city Also attributed to Botticini are The Virgin and Child with Saints the tondo of The Virgin and Child with Saint John the Baptist and two Angels both Musée du Louvre Paris and The Virgin and Child enthroned National Galleries of Scotland Edinburgh of around 1495 Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the Madrid

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