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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the Holy Father the Holy Spirit and the twelve Apostles Year ca 1375 80 Biography Listen There is little surviving information or documentation regarding this Florentine painter In one document the artist is registered in the Arte dei Medici e Speziali in Florence in March 1369 Stylistically Cenni di Francesco is considered an eclectic painter His first works such as the San Cristofano Polyptych in Perticaia Rignano sull Arno of 1370 are indebted to Orcagna and in general make use of gold backgrounds According to Boskovits the artist must have collaborated with Giovanni del Biondo at a time when he was most interested in issues of perspective Also evident is the influence of Agnolo Gaddi Cenni di Francesco s figures have delicate elegant features and elongated proportions as evident in The Adoration of the Magi in San Donato in Polverosa Florence His work as an illuminator had a profound influence on his style particularly in his marked sense of narrative interest in detail and bright colouring Cenni di Francesco s late works combine Gothic elements with other more traditional ones as can be seen in The Virgin and Child with Saints ca 1400 in the Museo d Arte Sacra di Montespertoli and in his only signed work namely the frescoes in the oratory of the church of San Francesco in Volterra of 1410 depicting The Legend of the True Cross Other late works include the frescoes in San Lorenzo in Ponte San Gemignano Cenni di Francesco was not part of the new innovating movement in art that arose in Florence during his lifetime He was registered in the Compagnia di San Luca in that city in 1415 which is generally considered the year of his death Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/126 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Giacomo Ceruti Title Group of Beggars Year ca 1737 Author Giacomo Ceruti Title Portrait of a Woman Year ca 1740 42 Author Giacomo Ceruti Title Portrait of a Man Year ca 1740 42 Biography Listen Ceruti s life was reconstructed by art historians in the 20th century and much still remains unknown including his years of training and his early works It is known that his family was from Brescia where the artist is documented in 1711 and 1721 His first commission was for various works for the parish church of Rino di Sonico completed in 1723 The following year he signed a group of portraits of leading dignitaries of Brescia the city in which he lived from 1726 to 1728 in order to work on the decoration of the governor s residence in the Palazzo Broletto This period also saw his works for the Avogadro family as well as paintings of beggars Ceruti s approach to the latter was innovative within the context of his day Some of these paintings are now in Brescia and are considered the most significant and striking works within his oeuvre They include The Washerwoman and Two Beggars Pinacoteca Tosio Martinengo Ceruti travelled around the Veneto between 1734 and 1739 In 1736 a document records that he was paid by Marshal Schulenburg whose collection included Ceruti s painting The Three Beggars now in the Thyssen Bornemisza collection Between 1737 and 1738 the artist was working in the church of Santa Lucia in Padua returning to Padua the following year Between 1742 and 1743 he lived in Milan where he continued to paint religious works and portraits Despite his large output of religious episodes and saints Ceruti s principal focus of interest lies in his depictions of beggars Search Advanced search Featured Products Catalogue of

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/127 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Savoy in Full Armour and Maria Antonieta of Bourbon Queen of Spain These are chiaristi masterpieces of an austere almost threatening realism overwhelmed by a wide number of accessories fabrics curtains half way between the style of Solimena and De Mura s own extremely purified genre If on the one hand Cestaro s paintings clearly show his relationship with Domenico Mondo another of Solimena s followers with whom he shares the neo baroque brightness in his compositions and the marked pictoricism Cestaro probably reaches the degree of naturalism which constitutes the best part of his figurative legacy thanks to the example set by Giuseppe Bonito between the fourth and fifth decades of the century The biography of Cestaro a difficult artist as he is scarcely documented at least with regard to the works which have reached us can be reconstructed mainly from the year 1757 when the painter was already forty years of age Between that year and 1759 he painted on canvas The Martyrdom of Saint James Saint Philip Destroying the Idol with Words for the presbytery and did some frescoes The Four Evangelists in the lunettes of the dome the Assumption of the Virgin on the vault for the Neapolitan church of Santi Filippo e Giacomo The fresco with the Glory of the Virgin in the church of the Assunta in Bagnoli Irpino the painter s birthplace is from 1761 and the oils Annunciation and Virgin of the Rosary and Saints for the church of the Annunziata in Angri date from 1764 In 1770 Cestaro worked on the frescoes walls two lunettes and vault of the Berio chapel in the church of San Giorgio dei Genovesi in Naples while working at the same time on other interventions at Villa Campolieto in Ercolano 1769 1771 Fiengo 1976 p 211

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/128 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    He started out studying law at Aix but moved to Paris in 1861 to become a painter In the French capital he enrolled at the Académie Suisse copied many paintings in the Louvre and befriended Camille Pissarro with whom he began to paint outdoors He showed his work with the Impressionists in the first exhibition held in Nadar s studio in 1874 and in the group s third show in 1877 The critics reviews led Cézanne to decide not to show his works in the group s subsequent exhibitions and to distance himself from the art circuits in order to find his own path In 1878 the year he went to live with his companion Hortense in L Estaque near Marseilles he began to drift apart from the Impressionist aesthetic and to develop a personal style Throughout his life he divided his time between Paris and the south of France until retiring permanently to Aix en Provence his city of birth in 1900 Cézanne considered form and colour to be inseparable His pictorial language is characterised by the use of flat areas of colour applied with geometric brushstrokes that gradually shape the surface of the painting His landscapes still lifes and portraits break with the traditional conception of depth as defined by successive planes and strive to capture in painting the inner structure of things For most of his life Cézanne was misunderstood a failure even like Claude Lantier the main character in Émile Zola s novel L Oeuvre in whom Cézanne recognised himself causing him to fall out with his childhood friend Only in the last years of his life did he again show his works at Ambroise Vollard s gallery in 1895 in what was his first solo exhibition Thenceforward his work was shown in other exhibitions and

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/129 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    popular traditions of the Russian Jewish community He combined certain elements of the Cubist avant garde Fauvism and Robert Delaunay s Orphism to create a personal style that defies classification The eldest of nine siblings he trained as an artist in the city of Saint Petersburg under Léon Bakst In the summer of 1910 he travelled to Paris and was deeply impressed by the galleries and Salons of the French capital During the following years he showed his work at the Salon d Automne and Salon des Indépendants Guillaume Apollinaire introduced him to the Berlin dealer Herwarth Walden who showed three of Chagall s works at the first Herbstsalon held in Berlin in 1913 and whose gallery Der Sturm staged his first one man show in 1914 From Berlin Chagall travelled to Vitebsk his hometown where the war took him by surprise In 1915 he married Bella Rosenfeld and held the post of director of Vitebsk Art School after the Russian Revolution He was forced to leave the academy owing to differences of opinion with Kazimir Malevich and became director of the Jewish State Theatre in Moscow in 1919 Chagall abandoned Russia for good in 1922 and after a short stay in Berlin settled in France in 1923 He lived there for the rest of his life except for the period from 1941 to 1948 when he resided in the United States to avoid being deportedWhile he was in America The Museum of Modern Art in New York held a retrospective of his work which established his reputation internationally Throughout his lengthy career he also worked in the field of illustration and experimented with all kinds of supports such as ceramic relief and mosaics He created the stage sets for various plays and operas and was intensely involved in designing

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/153 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Pitcher and copper Cauldron Year ca 1728 32 Biography Listen Following his apprenticeship with the history painter Pierre Jacques Cazes Chardin spent time in the studio of Noël Nicolas Coypel studying 17th century Dutch and Flemish painting whose influence is evident in his early still lifes In 1728 he participated in the Exhibition of Young Artists in the Place Dauphine showing works that included The Rayfish Musée du Louvre Chardin s work was praised by Largillière and that artist was influential in Chardin s admission to the Académie that year Chardin entered as a painter of animals and fruit presenting his famous Rayfish and The Sideboard also in the Louvre The artist again took part in the Exhibition of Young Artists in 1732 and 1734 From the 1730s he began to produce his first compositions with figures depicted at home and engaged in their everyday tasks These simple but dignified scenes offer a record of the life of one sector of French society Among them are The Governess Galerie Nationale du Canada Ottawa The Scullery Maid and The Tavern keeper both Hunterian Art Gallery Glasgow With the reopening of the Salon in 1737 Chardin regularly exhibited his work there In 1755 he was unanimously elected as treasurer of the Académie a position he occupied until 1774 In 1756 he returned to still life painting In 1770 and as a result of his failing sight Chardin began to focus on pastel a technique in which he produced various portraits among them those of his wife and a Self portrait They were exhibited in the Salon in 1775 and are now in the Louvre Chardin s work was a reference point for artists such as Manet Cézanne and Morandi Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/154 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    to inherit the family business However his interest in art spurred him to go against his parents wishes and he became a prominent painter on the American art scene on account of his intense teaching work and involvement in many groundbreaking initiatives Chase first trained as a painter in 1867 under Barton S Hays and carried on studying two years later at the National Academy of Design under Lemuel PWilmarthWhen he moved to Saint Louis in 1871 his fame as a painter of still life scenes attracted the attention of a few local patrons who offered him financial support to further his training in Europe His destination was the Königliche Kunstakademie in Munich where he coincided with a large group of American artists He travelled for nine months with two of them Frank Duveneck and John Twachtman On returning to New York in 1878 Chase began to teach at the Art Students League Not long afterwards he also collaborated as a teacher at the Brooklyn Art Association the Pennsylvania Academy of the Fine Arts and the New York School of Art which he founded His fame spread among students and he became the most highly acclaimed educator of his day During this time Chase remained active as a painter He was involved in the establishment of the Society of American Artists which rebelled against the rigid authority of the National Academy of Design and became its president in 1880 In 1886 Chase married Alice Gerson The birth of his nine children brought about a gradual shift in the themes of his paintings towards domestic scenes showing his own family or parks near New York Although his growing interest in light effects is already apparent in these scenes his espousal of the French Impressionist aesthetic became more evident in the 1890s

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/155 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen Despite his early death the Russian artist Ilya Chashnik was one of the foremost disciples of Kazimir Malevich and espoused the Suprematist principles advocated by the latter He was born into a humble Jewish family in Latvia and spent his childhood in Vitebsk where he was introduced to the world of painting by a local artist Chashnik moved to Moscow in 1919 to further his artistic training at the Higher State Art Technical Studios Vkhutemas in Moscow but his attraction for the work of Marc Chagall spurred him to return to Vitebsk after a few months to attend the art school he directed However after he met Malevich who taught at the same school his art underwent a radical change of direction and he became one of the most talented and faithful followers of his Suprematist master During the winter of 1919 20 Malevich and a group of students formed the group known as Unovis Affirmers of the New Art Among those involved in the initiative were Ilya Chashnik and Nikolai Suetin who became close friends and went on to collaborate in various projects Chashnik developed his own style within the Suprematist idiom evolving from Malevich s white compositions to paintings in which black was the predominant element In these works geometric shapes form crossing planes with a tendency towards rhythm and symmetry After graduating in Vitebsk in 1922 he moved to Petrograd now Saint Petersburg where Malevich and other artists belonging to Unovis were already living During this period Chashnik concentrated on exploring the possible applications of Suprematism in daily life he designed textiles posters and buildings and worked with Suetin in the Lomonossov factory He began to collaborate with the Institute of Artistic Culture Inkhuk in 1923 and from 1925 with the Institute of Decorative Arts

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/156 (2016-02-13)
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