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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    date from 1613 when he was only fourteen and by 1618 he was registered in the painters guild in Antwerp as an independent master Van Dyck was Rubens most gifted pupil and collaborator a fact that would be of profound importance to the evolution of his work From an early age Van Dyck venerated Venetian painting particularly the works of Titian an influence most clearly evident in his portraits In 1620 he made his first trip to England where he worked for James I Dating from before that trip are two important religious compositions The Crowning with Thorns and The Taking of Christ both Museo Nacional del Prado Madrid In 1621 Van Dyck made a trip to Italy remaining there until 1627 when he returned to Antwerp He visited Venice Rome Florence Bologna and Genoa and his impressions and observations are recorded in his Italian Sketchbook now in the Devonshire Collection at Chatsworth House UK In a manner similar to Rubens Van Dyck filled this notebook with everything that attracted his attention and interested him Dating from the Italian period are the portraits of The Marchioness Elena Grimaldi and A Lady with her Son National Gallery of Art Washington which are outstanding examples of his numerous Genoese portraits In 1632 the artist returned to London where he worked for Charles I and where he lived until his death During his second trip to England Van Dyck made three trips to continental Europe one in 1634 to the Low Countries another in 1640 to Antwerp and a third in 1641 to Paris In October 1634 he was awarded the title of Dean honoris causa by the guild of Saint Luke in Antwerp an honour only previously granted to Rubens During Van Dyck s time in England he focused almost exclusively on

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/193 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    painter James Ensor is considered a forerunner of the Expressionist movements His work which depicts a world populated by grotesque people was greatly admired by both the German Expressionists and the Surrealists He spent his whole life in Ostend his city of birth except while training at the Académie Royale des Beaux Arts in Brussels from 1877 to 1880 He started out painting urban landscapes seascapes and interiors in a muted palette However colour and light gradually became increasingly important in his work owing possibly to the influence of Impressionism He is assumed to have travelled to London for the first time in 1887 where he must have seen the works of William Turner which were decisive in informing his interest in light In the 1880s his works began to be inhabited by strange beings skeletons and masked figures which were often a social satire In parallel with this development his range of themes was broadened by his fondness for selfportraiture and religious subjects in which the figure of Christ was sometimes identified with the artist In 1883 Ensor was involved in establishing the group of The XX which aimed to bring about a change in European art and introduced Post Impressionism and Symbolism in Belgium He collaborated with the group until it split up in 1894 despite his differences with other members such as the secretary Octave Maus Later until 1914 he took part in the exhibitions organised by La Libre Esthétique which took over from The XX Ensor s fame became established at the turn of the century He was appointed a knight of the Order of Leopold in 1903 and a monograph was published on his work in 1908 Towards the end of his life Ensor developed a keen interest in music He composed a few pieces

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/194 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Max Ernst was connected with the development of Surrealism and following the outbreak of the Second World War the dissemination of the European avant garde in the United States A self taught artist Ernst studied art philosophy and psychiatry at the University of Bonn He started out as an Expressionist painter together with his friend August Macke but his disillusionment with the bourgeois values that had triggered the First World War led him to join the Berlin Dadaist group in 1918 He established contacts with the Dadaists of Zurich and Paris and a year later became the main driving force behind the Cologne Dadaist group During those years his artistic method was a characteristic type of collage made from cuttings of old prints After making the acquaintance of Paul Éluard and his wife Gala in Cologne in 1922 Ernst went to live in Paris where he frequented André Breton s Surrealist group and developed a type of painting based on semiautomatic techniques such as frottage which involved placing a piece of paper on a specially textured surface and rubbing it with a pencil and decalcomania The latter technique invented by Óscar Domínguez in 1935 helped him create interplays of textures that gave his landscapes a devastated appearance In 1938 after leaving the Paris Surrealist group out of solidarity with Éluard Ernst went to live with Leonora Carrington in Saint Martin d Ardèche north of Avignon where the couple refurbished a house filling it with reliefs sculptures and paintings When war broke out Ernst was gaoled on account of his German nationality After escaping and being imprisoned again several times Ernst was finally released and decided to head for the United States After overcoming all kinds of setbacks he at last arrived in New York in July 1941 where not long

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/195 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Year 1970 Author Richard Estes Title People s Flowers Year 1971 Biography Listen Richard Estes was one of the founders of Hyperrealism also called Photorealism This trend in painting which emerged in the United States at the end of the 1960s was characterised by an interest in capturing reality using a photographic image as a model and by the aim of achieving a sharpness of focus that was absolute and more precise than that of the human eye Estes studied at the Art Institute of Chicago from 1952 to 1956 and after completing his training began to work for various advertising agencies and publishing companies In 1959 he moved to New York where he worked as an illustrator and designer and became acquainted with the world of photography When he had saved enough money he stopped working and travelled around Spain in 1962 In 1967 he showed some of the works executed during his trips to Allan Stone whose gallery staged his first one man show in 1968 In barely three years his work became known in the United States and Europe Manhattan became Estes favourite theme and over time other cities of the world were also depicted in his works Although he admired Edward Hopper he executed urban landscapes of a different nature as they avoided night scenes and were devoid of narrative and emotional elements On the contrary he seeks to capture times of day when the light is brightest and is especially attracted by metal surfaces glass and mirrors revelling in the deformed images of their reflections Although they greatly resemble photographic views of the world and Estes bases his compositions on photographs he does not use them to imitate reality but to reconstruct it with a much sharper focus than direct observation allows The artist currently

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/196 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    No information survives regarding his training although his early works reveal the marked influence of the school of Utrecht which suggests that he trained there This is also likely given that his brother the landscape painter Allart van Everdingen is known to have trained in that city In 1636 he is registered in the guild of Saint Luke in Alkmaar A large number of unsigned portraits have survived from the following years while his first known signed and dated work is the portrait of Officers of the Orange Company of the Almaar Civic Guard Stedelijk Museum Alkmaar of 1641 From that date until 1643 Van Everdingen worked in Amersfoort painting the decoration of the organ panels in the Grote Kerk in Alkmaar supervised by the painter and architect Jacob van Campen In 1646 van Everdingen married Helena van Oosthoorn in Heiloo and two years later moved to Haarlem In the late 1640s and through Van Campen Van Everdingen was commissioned to execute two large paintings for the Oranjezaal in the Huis ten Bosch the royal residence near The Hague painting The Allegory of the Birth of Frederick Henry and The Four Muses with Pegasus in situ Van Everdingen s years in Haarlem are considered his most creative period during which he produced original and interesting works encouraged by the innovative artistic climate in the city They include Count William II granting Privileges Rijnlandshuis Leiden executed in collaboration Pieter Post and Jupiter and Callisto Nationalmuseum Stockholm Together with Salomon de Bray and Pieter de Grebber Van Everdingen can be considered one of the most important painters among the Haarlem Academicists Van Everdingen was dean of the guild of Saint Luke in Haarlem from 1655 to 1656 and a year later returned to Alkmaar where he lived for the rest of his

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/197 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    assimilated and reinterpreted these new trends which she then spread in her country of birth After completing her art studies in Kiev in 1908 Exter went to live in Paris where she enrolled at the Académie de la Grande Chaumière She soon made the acquaintance of Pablo Picasso Guillaume Apollinaire Max Jacob and Fernand Léger and espoused Cubism as her own style although she never renounced colour She also met representatives of Italian Futurism such as Filippo Marinetti whose interest in depicting rhythm and movement she shared Exter remained in Paris until the outbreak of the First World War but travelled frequently to Kiev and Moscow becoming the disseminator of the new ideas in her country During this period she took part in numerous exhibitions in Russia France and Italy In 1914 Exter settled in Russia and was spurred by Malevich s work to produce her first non figurative paintings Her works were shown in exhibitions of Russian avant garde art such as Tramway V the first show staged by the Russian Futurists in Petrograd now Saint Petersburg in 1915 and from 1916 onwards she made a significant contribution to modernising theatre stage design through her involvement together with Alexander Tairov in the staging of works such as Oscar Wilde s Salomé Her innovative ideas brought a new dynamism to the design of stage scenery costumes and lighting elements that became an essential complement to the plot She began to design fashion in 1921 After teaching for a while in Odessa Exter returned to Moscow in 1921 Despite taking part in major exhibitions such as 5 x 5 25 along with Alexander Vesnin Liubov Popova Alexander Rodchenko and Varvara Stepanova she did not become affiliated with any particular group During this period in which she returned to a figurative art

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/198 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    a series of diplomatic missions that took him to Portugal in 1428 to negotiate the marriage of the Duke to Isabel daughter of Juan I While there he painted Isabel s portrait The artist spent most of 1426 and 1427 in Lille where he probably worked on the decoration of his patron s palace In 1430 he is documented in Bruges where he married purchased a house in 1432 and died in 1441 During the months following his arrival Van Eyck must have painted a Crucifixion now lost which is known from a copy in a Book of Hours in the Museo Civico d Arte Antica in Turin and another copy in the Galleria Franchetti Ca d Oro Venice Between 1432 and 1439 Van Eyck executed most of his surviving signed and dated works His first known signed painting is his great masterpiece The Ghent Altarpiece The Adoration of the Mystic Lamb of 1432 St Bavo Ghent Commissioned by Joos Vijdt and his wife Lysbette Borluut it has an inscription by the painter in homage to his elder brother Hubert Both the inscription and Hubert himself who for many years was considered to have partly painted this work have been the subject of a wide range of hypotheses and studies Among Van Eyck s most important works are The Lucca Virgin Städelsches Kunstinstitut Frankfurt The Virgin of Chancellor Rolin Musée du Louvre Paris and The Virgin of Canon Van der Paele Groeningemuseum Bruges Dating from his last period is The Virgin and Child at the Fountain Koninklijk Museum voor Schone Kunsten Antwerp of 1436 and The Virgin and Child in a Church Gemäldegalerie Berlin Within his oeuvre Van Eyck s portraits are equally significant They include The Arnolfini Marriage of 1434 in which the artist deployed what has been termed

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/199 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    A contemporary of the Impressionists the French artist Henri Fantin Latour was notable for his flower paintings and group portraits of the Paris intellectuals of the period The son of Théodore Fantin Latour also an artist who initiated him in the art of painting he studied at the École de Dessin in Paris However he derived his real training from copying the classical works of the Great Masters in the Musée du Louvre particularly Titian and Veronese Later in 1861 he was a disciple of Gustave Courbet for a while although his discreet intimate realism was very different from that of his master and caused them to go their separate ways very soon In 1855 Fantin Latour met James Whistler with whom he made his first trip to Britain There he found the best clientele for his still lifes and flower paintings which attained extraordinary fame on account of their realism which was comparable to that of seventeenth century Dutch painting Fantin Latour s works were shown regularly at the Salon from 1861 onwards He exhibited at the Salon des Refusés in 1863 and took part in the tribute to Eugène Delacroix in 1864 However despite his friendship with Édouard Manet he rejected the invitation to participate in the Impressionists first exhibition in 1874 In the 1870s his work shifted towards more literary themes that connected him with Symbolism In parallel with this development his works reflected his discovery of the German contemporary music of Robert Schumann Johannes Brahms and Richard Wagner which also provided him with a source of inspiration In 1904 he died in Orne where he had spent summers with his wife since the 1870s Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue for the Madrid Realists exhibition

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/200 (2016-02-13)
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