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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Works Author Lovis Corinth Title Fashion Show Year 1921 Biography Listen Having trained as an artist in the German realist tradition at the Kunstakademie in Königsberg and Munich Lovis Corinth evolved towards a personal style that was initially affiliated with Impressionism and later veered towards Expressionism While studying in Munich under Ludwig von Löfftz he was greatly attracted by the work of Wilhelm Leibl and Wilhelm Trübner naturalist painters who were familiar with the new trends in contemporary French painting spearheaded by Courbet and the Barbizon School In 1884 Corinth embarked on a journey that took him to Antwerp and Paris where he attended the Académie Julian and was taught by two well known painters of the Salon Tony Robert Fleury and Adolphe William Bouguereau In 1891 after returning to Munich he became a member of the city s Secession although he left it barely two years later along with other artists to found the Freie Vereinigung in order to improve the possibilities of exhibiting his works Finally in 1901 discontent with his life in the city and troubled by financial problems he moved to Berlin permanently The art scene in the capital soon prompted him to frequent the innovative circles He collaborated intensely with the Berlin Secession and his first exhibition was held in 1900 at the Paul Cassirer gallery with which he remained connected in the following years He also opened an art school for women In 1903 he married Charlotte Berend who had been its first student Corinth was elected president of the Secession following Max Liebermann s retirement but at the end of the year he suffered a stroke from which he never fully recovered Even so he managed to paint again and this period proved to be one of the most prolific of his career

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/137 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the brother of Cornelius Buys I also known as the Master of Alkmaar He was also the uncle of Cornelius Buys II and the father of the portraitist Dirk Jacobsz The four artists used the same monogram signature According to the biographer Karel van Mander Van Oostsanen was born in Oostzaan a small village in northern Holland He probably trained in Haarlem with the Master of the Figdor Descent from the Cross a painter of the circle of Geertgen tot Sint Jans In 1500 he acquired a house in Amsterdam living and working in that city for the rest of his life The artist s first documented works are a Noli me tangere Scloss Wilhelmshöhe Kassel and a series of woodcuts on The Life of the Virgin of 1507 As has been noted it is unlikely that this series marks the start of his creative activities as he would have been around 35 by that date Over the following decades Van Oostsanen received numerous commissions in Amsterdam most of them from the city s Catholic institutions It is thought that he may have travelled to Antwerp in 1521 to meet Dürer Around twenty seven paintings and 200 woodcuts are known by Jacob van Oostsanen His graphic work is conventional in nature and he remained faithful to the Netherlandish tradition of small highly detailed illustrations of a miniaturist type In contrast his painting evolved over the course of his career His early compositions are still late Gothic in style influenced by the Haarlem school but his late work for example Saul and the Witch of Endor of 1526 Rijksmuseum Amsterdam uses a much looser handling with simplified details and elongated proportions These characteristics conform to the new style introduced by Gossaert and Jan van Scorel Many of Van Oostsanen s religious

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/139 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    to Surrealism in the United States He created a whole universe of personal symbols in his characteristic boxes in which he placed objects and prints Cornell began to develop an interest in art in the 1920s while working as a textile salesman During this period he visited numerous exhibitions of contemporary art and in 1931 he visited Julien Levy s newly opened gallery that was then showing a series of collages made by Max Ernst Soon afterwards Cornell showed his own collages to Levy who brought him into contact with many Surrealist artists notably Marcel Duchamp In 1932 his works were included in the first exhibition of Surrealist art organised by Levy s gallery and his first one man show was held there in November that year He initially reused ready made boxes but from 1932 to 1935 he learned woodwork from a neighbour and from then onwards nearly always made his own In 1936 one of the latter was included in the Fantastic Art Dada Surrealism exhibition organised by Alfred H Barr at The Museum of Modern Art in New York Nonetheless Cornell did not fully identify with all the principles of the French movement as he was uninterested in the subconscious or in erotic themes About 1936 Cornell produced Rose Hobart a collage film for which he reused scenes from East of Borneo 1931 in which Rose Hobart had starred Later in the 1950s he was involved in producing other films with Rudy Burckhardt and Stan Brakhage After ceasing to work as a textile designer an activity in which he was engaged from 1934 to 1940 he concentrated more on writing and published many articles for View and Dance Index The death of his brother and mother with whom he had lived until then and the deterioration of

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/140 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    1872 Biography Listen A foremost figure in the development of nineteenth century French landscape painting Jean Baptiste Camille Corot was born into a family of merchants and started out as a draper by trade Only in 1822 did he receive permission from his father and financial support from the family to embark on his career in paintingHe joined the workshop of Achille Etna Michallon who instructed him in Neo Classical doctrine and advised him to paint outdoors A few months later after his first master died he continued his training under Jean Victor Bertin In 1825 Corot travelled to Rome where he spent the following three years He came into contact with the circle of Théodore Carnelle d Aligny and visited the city and surrounding area with them to paint in the open air Corot would return to Italy twice 1834 and 1843 and when back in France made many excursions during the summer to paint from life In winter he worked in his studio and produced larger paintings to be shown at the Salon In addition to landscape Corot was also interested in the human figure and portraits of friends and relatives accounted for part of his private works In the 1830s Corot s work gained greater recognition and his career was given definitive impetus in 1840 when Le Petit Berger La Cour d OrMusées de Metz was acquired by the state In 1846 Baudelaire and Champfleury praised his art and many collectors and gallery owners among them Paul Durand Ruel began to show an interest in his work About 1850 his painting started to focus on his own impressions of nature and his poetic landscapes midway between the real and the ideal became highly sought after As a result Corot started repeating his themes and imitations of his

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/141 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen Antonio Allegri was known as Il Correggio after the city of his birth His early years are difficult to reconstruct although it is thought that he trained in Mantua where he became familiar with the art of Mantegna and Costa who influenced his style Alternatively he may have trained in Modena with the painter Francesco de Bianchi Ferrari The Virgin of Saint Francis of 514 15 Gemäldegalerie Berlin is his first documented work and reveals the combined influences of Mantegna and Leonardo da Vinci It is thought that between 1518 and 1519 Correggio may have visited Rome but this trip is not documented In 1519 he moved to Parma where he spent most of the following decade His most celebrated works from this period are the frescoes in San Giovanni Evangelista particularly the magnificent Vision of Saint John on Patmos on the dome As a result of the success of this project in 1522 Correggio was commissioned to decorate the dome apse and ceiling of the choir of Parma cathedral He only however executed the dome which he completed in 1530 and which depicts The Assumption of the Virgin Correggio returned to his native city in 1530 remaining there until his death four years later The most important commissions of his last years were mythological paintings including Danäe Galleria Borghese Rome Leda Gemäldegalerie Berlin and Ganymede Kunsthistorisches Museum Vienna all works of great sophistication and sensuality Correggio was one of the most important of the 16th century painters but he became more celebrated after his death Among the Cinquecento painters he was one of the most important for the Baroque and continued to be extremely influential throughout much of the 17th century Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/142 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    known as spalliere horizontal panel paintings that were was popular in Tuscany between 1470 and 1520 and were used to decorate private rooms in the homes of the Florentine aristocracy Piero di Cosimo s father Lorenzo di Piero d Antonio was a wood carver in Florence where Piero began his training in the studio of Cosimo Rosselli from whom he took his name and with whom he collaborated and maintained contact throughout his life During his apprenticeship with Rosselli he coincided with Fra Bartolommeo and Mariotto Albertinelli When Sixtus IV summoned Rosselli to work in the Vatican between 1481 and 1482 Piero di Cosimo accompanied him and it is likely that he was responsible for the landscape background in The Sermon on the Mount in the Sistine Chapel while also painting several portraits of Roman aristocrats His early works reveal the influence of Rosselli although he also assimilated the innovations of his contemporaries and soon developed a notable sensibility towards the atmospheric treatment of light Piero di Cosimo s work also looks to that of Filippino Lippi particularly in the faces and to Leonardo s sfumato His first documented work is The Visitation with Saints Nicholas of Bari and Anthony Abbot of 1489 National Gallery of Art Washington Among his most famous paintings is the supposed portrait of Simonetta Vespucci Musée Condé Chantilly In the late 1490s his style began to evolve and to reflect that of Luca Signorelli and Netherlandish painting particularly the work of Hugo van der Goes Piero di Cosimo entered the Florentine painters guild on 8 May 1504 while between 1500 and 1505 he painted The Battle of the Lapiths and Centaurs and The Death of Procris both National Gallery London Among his last works is The Liberation of Andromeda Galleria degli Uffizi Florence which reveals

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/457 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    around 1435 and his father worked on the construction of cathedrals The first document that relates to his activities as a painter records a payment for a work for the high altar of Ferrara cathedral in 1456 It is not known if this refers to a sculpture or a painting and it is possible that during his early years the artist worked in both media also executing designs for stained glass In 1460 Cossa became an independent master He was one of the leading names in Quattrocento Ferrarese painting along with Ercole de Roberti and Cosmè Tura His style reflects the work of the latter and of Piero della Francesca in its colouring and the beauty of the faces as well as that of Pisanello in the use of precise detail Cossa also looked to Donatello and Andrea Mantegna whose works he studied in Padua His first known painting is The Virgin and Child with Angels National Gallery of Art Washington Cossa s masterpiece and a project that clearly reveals his particular style are the frescoes for the Hall of the Months in the Palazzo Schifanoia in Ferrara This commission was poorly paid and led to the artist leaving his native city for Bologna where he lived until his death In 1472 Cossa painted an altarpiece for the church of the Osservanza It included scenes of The Annunciation and The Nativity Gemäldegalerie Dresden and panels of Saint Clare and Saint Catherine Museo Thyssen Bornemisza Madrid Another of his most significant projects was the triptych for Floriano Griffoni in 1473 for the Griffoni family chapel in the church of San Petronio Bologna The central part included depictions of Saint Vincent Ferrer National Gallery London and The Crucifixion National Gallery of Art Washington In 1474 Cossa worked on the chapel of the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/143 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    family of painters and was one of the leading figures of the Ferrarese school He trained with Ercole de Roberti In 1483 Costa moved to Bologna where he became the preferred artist of Giovanni II Bentivoglio remaining there until 1506 One year later he moved to Mantua and was painter to the Gonzaga court succeeding Andrea Mantegna Most of Costa s works were identified in the 20th century by Roberto Longhi 1934 Costa s style reveals the influence of Ercole de Roberti and Cosmè Tura as well as that of Francesco Francia whom he knew well and with whom he collaborated on various projects Costa travelled to Tuscany and Umbria in 1490 and from that period onwards was more interested in the formal aspects of his work which now reveals the influence of Perugino and Filippino Lippi Costa s first documented work is The Bentivoglio Family in San Giacomo Maggiore Bologna in which the family group kneels before the Virgin He also painted works for the Bentivoglios in their family chapel in that church notably the frescoes of The Triumph of Fortune and The Triumph of Death From 1491 onwards he worked with Francesco Francia in San Petronio Bologna and his last work in that church was the altarpiece for the Rossi chapel 1492 This depicts The Virgin and Child with Saints Sebastian James Jerome and George Also from this period is A Concert National Gallery London In 1504 Isabella d Este commissioned him to paint an allegory for her studiolo in Mantua Musée du Louvre Paris Costa painted numerous portraits for the Gonzaga court of which some have survived including that of Battista Fiera National Gallery London His last known work is signed and dated 1525 and depicts The Virgin enthroned with Saints church of San Andrea Mantua Costa

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/144 (2016-02-13)
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