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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    dedicated himself professionally to painting nor was he a member of the guild of Saint Luke Together with his brother Louis Van der Cappelle owned a prosperous dying workshop that they had inherited from their father and his comfortable economic situation allowed him to devote himself to painting as a hobby Van der Cappelle s will reveals that in addition to the family business he owned numerous properties and a large art collection of more than 200 paintings and 7000 prints considered one of the most important of its day His other great passion was boats and sailing and he owned a sailing boat that he took out along the Dutch coastline and rivers during which excursions he made sketches and drawings Van der Cappelle was associated with an extensive circle of artists scholars and poets and his portrait was painted by Rembrandt Frans Hals and Gerbrand van den Eeckhout His oeuvre largely consists of marine views but he also painted beaches and winter landscapes His marine views reveal the influence of Simon de Vlieger the Elder with whom he shared a passion for sailing Most of Van der Cappelle s works depict river estuaries and tranquil inland harbours in which large vessels and smaller sailing boats are grouped together Van der Cappelle introduced a new type of composition within this genre namely that of maritime parades in which boats and ships at anchor are depicted during an official event In such works we see sailing ships arranged in orderly lines and peopled with elegantly dressed dignitaries and nobles The ships fire their cannons and fly their ensigns with their sails unfurled Van der Cappelle s output decreased notably in the 1660s and his last known paintings date from 1663 fourteen years prior to his death The artist s work

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Monte for whom he painted a number of works including The Head of Medusa Galleria degli Uffizi Florence and The Fortune Teller Pinacoteca Capitolina Rome Caravaggio s first important commission was for the canvases on the life of Saint Matthew in the Contarelli chapel in San Luigi dei Francesci 1599 1600 followed by those for Santa Maria del Popolo 1600 1 The pronounced realism of these series and their use of an intense chiaroscuro made a profound impression on the Roman art world due to their highly innovative nature During his time in Rome Caravaggio painted The Burial of Christ Pinacoteca Vaticana The Virgin of Loreto church of Sant Agostino The Virgin of the Palafrenieri Galleria Borghese and The Death of the Virgin Musée du Louvre Paris The artist worked for some of the most important patrons of the day including the Marquis Vincenzo Giustiniani Cardinal Scipione Borghese and the banker Ottavio Costa However many of his works were not well received and were rejected In general Caravaggio was not held in high esteem probably due to his supposed lack of decorum and his constant problems with the legal authorities In 1606 following a serious incident the artist was condemned to death He fled from Rome and moved to Naples where his work made a profound impact From then on Caravaggio lived as a fugitive from justice In 1607 he is documented in Malta where he was protected by Alof de Wignacourt Grand Master of the Order of the Knights of Malta While in Malta Caravaggio painted The Decapitation of Saint John the Baptist which is his only signed work He then moved to Sicily where he lived from 1608 to 1609 and painted The Raising of Lazarus in Messina and The Burial of Saint Lucy in Siracusa In late

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Carpaccio ran a prestigious workshop in which his sons Pietro and Benedetto were employed as painters His work reveals the influence of Antonello da Messina Giovanni Bellini and Ferrarese painting Carpaccio s fame was fully established with his large cycles painted for Venetian scuole and confraternities The first of these dated between 1490 94 Gallerie dell Accademia Venice was painted for the Scuola de Sant Orsola and depicts scenes from the life of that saint It consists of eight large format canvases that reveal typical features of Carpaccio s style such as his taste for detail and anecdotal incident integrated into the narrative in a natural manner One canvas from this series depicting The Arrival of Saint Ursula in Cologne is his first signed and dated work 1490 The second major commission among his decorative cycles was the one for the Scuola Grande di San Giovanni Evangelista for which the artist painted The Miracle of the Relic of the True Cross Gallerie dell Accademia Venice Between 1502 and 1508 Carpaccio worked in San Giorgio degli Schiavone illustrating The Lives ofSaint George and Saint Jerome in situ Among his last cycles of 1511 to 1520 was that of Saint Stephen now divided between various museums and collections Carpaccio was a pioneer in the use of canvas as a support forpainting and used it both in his narrative cycles and altarpieces With the dawn of the new century his work became somewhat outdated as a consequence of the innovations introduced in Venice by Giorgione and Titian Among Carpaccio s easel paintings is The Virgin and Child with Saint John the Baptist Städelsches Kunstinstitut Frankfurt The Presentation of Christ in the Temple Gallerie dell Accademia Venice Saint Thomas Aquinus enthroned Staatsgalerie Stuttgart and the famous Two Venetian Women Museo Correr Venice Carpaccio was

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    born in 1613 probably in Venice He is first documented in 1630 the date when he began his training as a painter in the workshop of Alessandro Varotari known as Il Padovanino From the outset his style reveals a quest for realism an objectivity in the manner of Saraceni Jean Leclerc and other Venetians and interest that probably resulted from his trip to Bergamo in 1631 in the company of his teacher and where he became familiar with Lombard painting Carpioni s first documented works The Glorification Museo Civico Vicenza and The Martyrdom of Saint Catherine Vicenza date from 1647 and 1648 His work also reveals the influence of the bamboccianti in particular Pietro Vecchia From 1638 he is documented in Vicenza the city in which he permanently settled and Carpioni was influenced by the colourful elegant style of Francesco Maffei that prevailed there Together they collaborated on the decoration of the Zitelle and San Nicola oratorios also in Vicenza Following Maffei s departure from the city in 1657 Carpioni embarked on his most productive phase Over the following decades he produced numerous religious compositions among them the paintings for the Oratorio of Santa Clara the Palazzo Trissino Baston and an important cycle for SS Filippo e Fortunato His most original works are undoubtedly his small format paintings on mythological themes such as bacchanals notably The Triumph of Silenus Gallerie dell Accademia Venice and The Kingdom of Hypnos Kunsthistorisches Museum Vienna Between 1669 and 1673 Carpioni is documented in Verona in the company of the painter Bartolomeo Cittadela During his time in that city he executed various religious works for the churches of San Leonardo and SS Nazaro e Celso In his last years Carpioni also produced prints Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography and Works Author Samuel S Carr Born Dead Inglaterra 1837 Brooklyn 1908 Date Works Author Samuel S Carr Title Children on the Beach Year ca 1879 1881 Biography Listen Very little is known regarding Samuel S Carr He was born in England on 15 October 1837 and studied at the Royal Academy of Design at Chester In 1863 he emigrated to the United States where in 1865 he attended a class in mechanical drawing at Cooper Union From 1870 to 1907 he lived with his sister and brother in law at 461 Twelfth Street in Brooklyn New York and shared a studio with the painter Clinton Loveridge He exhibited at the National Academy of Design New York the Brooklyn Art Association and the Brooklyn Art Club of which he had been president Most of his canvases with the exception of a number of his Coney Island scenes which were painted between 1877 and 1881 are undated Beach scenes were also exhibited at the Brooklyn Art Club from 1882 to 1896 In the 1880s Carr frequently painted rural genre subjects reminiscent of Eastman Johnson and Winslow Homer that often feature children on their way home from school Sheep grazing in the meadow of Prospect Park Brooklyn near where his studio was located was also a favorite subject of the artist Carr died in Brooklyn on 25 February 1908 Only a brief obituary in the Brooklyn Daily Eagle appears to have noticed his passing mentioning that Carr was a member of several Masonic lodges Kenneth W Maddox 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 to the shop Recommended artists Winslow Homer Boston 1836 Proust Neck 1910 William Tylee Ranney Middletown

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    was taught by Prospero Fontana Carracci travelled to Florence Mantua Parma and Venice In 1585 he and his cousins Agostino and Annibale founded the Accademia degli Incamminati whose major innovation was the promotion of a direct study of nature and life through drawing to which they conceded primary importance These artists interpreted the human figure in a warmer more simple and natural manner endowing it with a more expressive character The result was a change of direction and a move away from late Mannerism Ludovico s style however combines echoes of Mannerist art with an innate religiosity and a naturalism derived from his activities at the Accademia Among works from his early period are Saint Vincent Martyr collection Credito Romagnolo Bologna and the Bargellini Altapiece of The Virgin and Child Pinacoteca Nazionale Bolgona the latter revealing his evolution and newfound artistic maturity Portraits constitute an important part of Ludovico Carracci s oeuvre Portrait of the Tacconi Family Pinacoteca Nazionale Bolgona reveals his interest in psychological interpretation and the emotional states of his sitters The artist collaborated with his cousins on the frescoes in the Palazzo Fava and in 1590 on the decoration of the Palazzo Magnani At that point Agostino and Annibale left for Rome while Ludovico remained in Bologna where he came to occupy a prominent position He continued to direct the Accademia whose pupils included some of the most important painters of the day such as Francesco Albani Domenichino Guercino and Guido Reni In 1602 Ludovico travelled to Rome where he became acquainted with classical antiquity and the decorations by Annibale in the Palazzo Farnese In 1604 he painted frescoes for the monastery of San Michele in Bosco which are works of outstanding quality Ludovico s last phase was characterised by an eccentric mystical style in which his

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    and miniaturist from 1823 to 1829 and enjoyed such success that by 1824 he had been elected a member of the Pennsylvania Academy of Fine Arts In 1826 Catlin decided to document the native population of the United States For this purpose he travelled to the Saint Louis area in 1830 and was the first painter to join General William Clark s expeditions to unexplored regions of the continent such as Wisconsin in 1830 the river Missouri in 1832 and the Falls of Saint Anthony in 1835 where he came into contact with many tribes Using the sketches made during these travels he depicted scenes of the life and customs of the tribes and painted portraits that are almost anthropological in nature He also produced a series of publications on the customs and ways of life of the North American Indians the first of which came out in 1841 In addition he became a collector of all kinds of objects which he grouped together with his paintings in his Indian Gallery The first exhibition of the Indian Gallery was held in New York in 1837 and was subsequently shown in other cities around the United States In 1840 after a failed attempt to sell it to the state Catlin travelled to Europe showing it in London and Paris Two of his works were later displayed at the Paris Salon of 1846 where they caught the attention of Charles Baudelaire and Eugène Delacroix Catlin s debts led him to spend some time in prison and forced him to sell the Indian Gallery to the American businessman Joseph Harrison who stored it in a warehouse It was finally presented to the Smithsonian Institution Catlin travelled to South America in the mid 1850s On returning to Brussels where he was living at the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/124 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Cavallino s works The difficulties that abound in any attempt to order in a plausible manner the many existing works mostly of a smaller format also make it difficult to accept without question earlier chronological suggestions If one accepts as works of his youth those pictures with a more elusive organisation fascinating in their strong chiaroscuro and barely marked by formal individuation such as the Communion with the Apostles in a private collection in Milan the Esther and Ahasuerus in the Istituto Suor Orsola Benincasa in Naples and if one further assigns to the artist s early career as work of a less dynamic Ribera the Martyrdom of Saint Bartholomew in the Museo di Capodimonte it still does not seem legitimate to insert a larger work like the Visitation of Anna and Joachim in the Szépmüvészeti Múzeum in Budapest into this chronology The date of the Florentine Saint Cecilia suggests that Cavallino was in his thirties when he painted The Dream of Saint Joseph now in the Múzeum Narodowe in Warsaw the Immaculate Conception in the Pinacoteca Brera the Judith in Stockholm as well as Christ Bearing the Cross in the Chrysler Museum in Norfolk and the Adoration of the Shepherds in the Cleveland Museum of Art Whereas virtually every work by Cavallino merits mention it still seems useless to attempt to characterise all of his output in which he maintained levels of remarkable quality Just as Ribera had ultimately taken a Titianesque and Van Dyckian turn so this Neapolitan artist had by this time grafted onto his ever present naturalistic roots the bright blues greens oranges and almost acid greens derived from the neo Venetian tendencies of Flemish painters above all Van Dyck but also of the Genoese painters passing through Naples such as il Grechetto It is the

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