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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the Salon of 1851 Stonebreakers 1849 destroyed in 1945 in Dresden Galerie Neue Meister Burial at Ornans 1849 50 ParisMusée d Orsay and Peasants of Flagey 1850 BesançonMusée des Beaux Arts et d Archéologie attested to the consolidation of his realistic style and caused a powerful impact on the public as it was the first time that common folk had been raised to the category of art Following Napoleon III s coup d état ushering in a new absolutist period that marked a return to conservatism in official tastes Courbet s works were rejected by the Salon of 1855When his ambitious work The Artist s Studio A Real Allegory 1854 55 ParísMusée d Orsay was rejected Courbet made a public display of his rebellious streak and staged an unprecedented event he exhibited his works near the official Salon in a pavilion of his own that went by the name of Realism To mark this experience which he would repeat in 1867 with Manet the artist wrote a manifesto setting out his artistic ideas Courbet believed that art should spring from the objective observation of life and advocated an anti classical anti romantic anti academic progressive and social brand of Realism Halfway through the 1850s Courbet paid less attention to social themes and embarked on a period in which he mainly depicted landscapes and hunt scenes as well as painting many portraits and nudes His native region of Franche Compté became his chief source of inspiration Years later the again politically active Courbet took part in the Paris Commune which was established in 1871 following France s defeat in the Franco Prussian war On being appointed as president of the federation of artists responsible for the conservation of Paris s artistic heritage he abolished the École des Beaux Arts and all

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/145 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    of a bearded Man Year 1534 Author Hans Cranach Title Hercules at the Court of Omphale Year 1537 Biography Listen Elder son of Lucas Cranach the Elder the date of Hans birth is generally thought to be around 1513 Like his brother Lucas the Younger he began to train and work in his father s workshop in Wittenberg at a very early age It is thought that from 1527 Hans Cranach was already producing his own works which are difficult to distinguish from his father s at this period A receipt of 1534 in which Hans is stated to be acting on behalf of his father indicates his level of responsibility in the family enterprise Around 1537 he made a study trip to Italy which is documented through his sketchbook now in the Kesner Museum in Hanover It contains drawings of some of the places that he visited and a number of portraits Hans Cranach died in Bologna on 9 October 1537 and it is not known whether this was his last intended destination or whether his trip would have continued On his death the humanist and poet Johann Stigel wrote a long poem in praise of his skills as a painter Over the past few decades a number of art historians have attempted to establish his oeuvre Portrait of a bearded Man and Hercules at the Court of Omphale both Museo Thyssen Bornemisza Madrid have the monogram HC and are his only two signed works In addition a number of drawings intended for book illustrations have been attributed to the artist The exhibition on Cranach held in Stockholm in 1988 added more works to his oeuvre although his corpus still remains incomplete Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/146 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    was born in Wittenberg in 1515 He trained and worked in the family studio from a young age where his responsibilities increased from 1530 particularly following the sudden death of his elder brother Hans in 1537 In 1550 the year that his father left Wittenberg to follow his patron into exile Lucas Cranach the Younger became the official head of the family enterprise In 1541 he married Barbara Brück daughter of the Elector s minister Gregor Brück After her death in 1550 the artist married Magdalene Schurff granddaughter of Melanchthon Lucas Cranach the Younger also followed his father s footsteps in the world of politics and from 1549 occupied the position of city counsellor of Nuremberg From 1555 he was Chamberlain and from 1565 Burgomaster of that city His output prior to 1550 remains in part undefined as the influence of his father on his style was so pronounced at that period that it is difficult to distinguish their paintings Works from that period have been identified on the basis of similarities to others painted after 1550 when Lucas Cranach the Younger began to work as an independent master Among his earliest known works are two large panels signed and dated 1551 on the subject of Hercules Gemäldegalerie Dresden painted for the new Elector Maurice of Saxony Among his most important oil paintings are those painted in 1555 for the exiled John Frederick former Elector of Saxony for whom Lucas Cranach the Younger painted a large triptych on the theme of Original Sin and Redemption for the church of Saints Peter and Paul in Weimar Lucas Cranach the Younger continued to depict themes that his father had made popular including portraits of the reformers religious allegories and classical subjects Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/147 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Christopher exterior left wing Year ca 1514 Author Lucas Cranach Title The Nymph at the Fountain Year ca 1530 34 Author Lucas Cranach Title Portrait of the Emperor Charles V Year 1533 Biography Listen Cranach took his surname from Kronach his native city in Franconia He trained in the family workshop then around 1490 travelled to southern Germany He then moved to Vienna where he is documented between 1500 and 1504 There Cranach associated with the humanistic circles that had grown up around the university Works from this period include the Portrait of Johannes Cuspinian and his Wife Winterthur and The Flight into Egypt Gemäldegalerie Berlin In 1505 Cranach was in Wittenberg to where he was summoned by the Elector Frederick III as court painter In 1508 he departed on a diplomatic mission to the court of the Emperor Maximilian in the Low Countries and following his return his work reveals a new softness in the modelling of the figures Works from this period include Venus and Cupid Hermitage Museum St Petersburg and The Virgin and Child with a Bunch of Grapes Museo Thyssen Bornemisza Madrid Cranach spent the following years in Wittenberg until he moved to Augsburg and then to Innsbruck accompanying the Elector John Frederick of Saxony into exile In 1552 he moved with the Elector to Weimar dying there in 1553 Cranach s art is linked to the ideas of the Reformation and he produced portraits religious compositions prints and drawings Particularly notable are his series of prints executed between 1505 and 1509 From 1520 Cranach devoted himself more intensively to illustration producing images for books by the reformers and biblical scenes He directed an important and flourishing workshop in which his two sons worked Among Cranach s most important paintings are the Triptych with the Three

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/148 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Title Interior with a Family of Peasants Year ca 1709 Author Giuseppe Maria Crespi Title Peasants with Donkeys Year ca 1709 Author Giuseppe Maria Crespi Title Portrait of Count Fulvio Grati Year ca 1720 23 Biography Listen Crespi began his training at the age of twelve in the studio of a little known painter in his native city In the early 1680s he spent time studying with Domenico Maria Canuti and around 1684 entered the drawing academy directed by Carlo Cignani From the outset Crespi was interested in the work of the late 16th century Bolognese masters and copied frescoes by the Carracci and works by Guercino In 1686 he began to work with Gian Antonio Burrini who introduced him to the art dealer Giovanni Ricci Over the following years the latter assisted him financially to make trips to Urbino Parma and Venice allowing him to study the work of the great northern masters such as Correggio Veronese and Titian In 1690 Crespi painted his first important work The Temptations of Saint Anthony for the church of San Nicolò degli Albari in Bologna In 1700 Crespi opened his own school of painting in Bologna In the first decade of the century he was employed by Prince Ferdinand of Tuscany for whom he painted The Ecstasy of Saint Margaret of Cortona Museo Diocesano Cortona and the ambitious Massacre of the Innocents Galleria degli Uffizi Florence Through his contacts with the Florentine court Crespi became acquainted with the Medici collection of Dutch and Flemish painting which decisively influenced his style In 1712 he painted his celebrated series of The Seven Sacraments for Cardinal Pietro Ottoboni Gemäldegalerie Alte Meister Dresden Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the Madrid Realists exhibition Spanish

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/149 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    throughout his lifetime He began to show his work at the National Academy of Design in New York of which he was elected a member in 1844 on account of the success of the landscapes he painted following his first visit to Greenwood Lake that year There he found the idyllic nature he yearned to depict which thenceforth became the main subject of his paintings After marrying Maria Cooley he departed for Europe and made the compulsory Grand Tour from 1847 to 1849 In Rome he settled into the same studio that had been occupied by Thomas Cole an artist who influenced him at the outset of his career On returning in 1849 he opened a studio in New York and travelled to different places during the summer From 1857 to 1863 he lived and worked in London where his landscapes enjoyed huge popularity as they had in America In the English capital Cropsey completed the most ambitious landscape of his entire career Autumn on the Hudson Washington National Gallery of Art in 1860 This canvas which was shown at the London International Exhibition of 1862 established him as America s painter of autumn Cropsey s style of painting combined road sweeping panoramic views characteristic of the Hudson River School with a study of light and tonal gradations that was reminiscent of Luminism On returning to America Cropsey had a grand house built by Greenwood Lake It was located near Warwick and built in the style of Victorian mansions The artist christened it with the exotic name of Aladdin At the end of his career his work lost prestige as his painstaking realistic style and somewhat theatrical compositions were gradually ousted from favour by the smaller paintings executed by younger painters under the influence of the Barbizon School The financial

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    to change his name to Henri Cross a reduced English version of his name to avoid being mistaken for the romantic painter Eugène Delacroix Later in 1886 he finally adopted the name Henri Edmond Cross to distinguish himself from the French painter Henri Cros In 1884 Cross co founded the Société des Artistes Indépendants where he met the neo Impressionist painters Seurat Dubois Pillet and Angrand Nevertheless even in the 1880s his paintings still showed the influence of Bastien Lepage of Manet and of the Impressionist painters 1891 the year Seurat died was decisive to Cross artistic career to start with because he painted his first neo Impressionist painting Portrait of Mrs Cross and secondly because due to his rheumatism he moved to the South of France Initially he settled in Cabasson and finally in Saint Clair where he stayed for the rest of his life except for his two visits to Italy in 1903 in 1908 and his yearly visits to Paris to show his works at the Salon des Indépendants A year after Cross arrival in Saint Clair Paul Signac moved to Saint Tropez a few miles away from him In the company of Signac Cross acquired a new confidence painting sea views and scenes from country life which showed a sympathy for an anarchist ideology Cross was also a very close friend of Angrand Luce Van Rysselberghe and Félix Fénéon and he participated in several salons of Libre Esthétique in Brussels From the mid 1890s Signac and Cross abandoned the tiny coloured dots for broader and orderly brushstrokes similar to mosaic tessellations The so called second generation neo Impressionism would have a decisive importance in the shaping of fauvism as many of the future Fauve artists like Matisse Derain Puy Manguin Camoin Marquet and Valtat visited Saint

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/151 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    father Jacob and uncle Benjamin Gerritsz were painters The surname Cuyp was used by Jacob Gerritsz from 1617 and its use extended to the rest of the family Aelbert first trained with his father and during the 1640s they worked together on a number of canvases in which Aelbert painted the landscape setting and his father executed the figures During this period the artist made a trip around Holland and along the Rhine executing drawings of Rhenen Arnhem Amersfoort Utrecht Leiden and The Hague His first paintings were inspired by the tonal style of Jan van Goyen Salomon van Ruysdael and Herman Saftleven II although he revealed a preference for monochrome shades of yellow rather than the greys and browns characteristic of the tonal painters From 1645 Cuyp s work manifests the pronounced influence of the Italianate painters particularly Jan Both and Herman van Swanevelt During these years he introduced effects of golden sunlight steep viewpoints and tall elongated trees all typical of the school of Utrecht In 1652 Cuyp again travelled along the Rhine and the Waal reaching Cleve Elten and Emmerich During this trip he made numerous drawings that would provide inspiration for later compositions Cuyp s most frequently depicted theme is that of a landscape with animals but he also painted marine views still lifes and portraits In 1658 the artist married Cornelia Boschman the wealthy widow of a local governor and granddaughter of the theologian Franciscus Gomarus Cuyp abandoned painting after his marriage devoting himself to business affairs and to church and civic matters He was dean and official governor of the Reformed Church and governor of the most important charitable institution in the city while from 1679 he became a member of the Tribunal of Southern Holland Cuyp s most important pupil was Abraham van

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/152 (2016-02-13)
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