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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    attending drawing and painting classes at the Kunstgewerbeschule In 1888 the artist moved to Berlin and enrolled at the Königliche Akademie where he trained under the guidance of Ernst Hancke In 1892 Feininger travelled to Paris where he settled for a while at 9 rue Campagne Premier and pursued his apprenticeship with the sculptor Filippo Colarossi On his return to Berlin a year later the American magazine Harper s Round Table and the Berliner satiric publication Ulk began to regularly publish his drawings By that same time Feininger also worked as an illustrator for novels In 1906 the artist moved again to Paris together with Julia Berg whom he later married London 1908 During his two year sojourn in Paris Feininger extensively collaborated with the magazine Le Témoin and did comics for the Chicago Tribune which nevertheless terminated his contract in 1907 owing to the artist s refusal to move to the United States The contact with the German and French artistic avant gardes led Feininger to gradually abandon illustration for painting Highly influenced by Fauvism and Cubism his own research developed into prismatic compositions constructed through fragmented forms and arbitrary colours as epitomised by the 1912 The Bicycle Race Washington DC National Gallery of Art His first solo show took place in Berlin in 1917 at Herwarth Walden s gallery Der Sturm Feininger s works began to be known across Europe first at the Salon des Indépendants 1911 and successively in the context of German exhibitions organised by avant garde groups such as Brücke and Der Blaue Reiter 1913 The artist nurtured a strong friendship with Kandinsky Jawlensky and Klee with whom he founded the group Der Blaue Vier in 1924 Their first exhibition was held in 1925 in New York City at Charles Daniel s gallery In 1919

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/201 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the Königliche Kunstakademie Felixmüller started his own independent artistic career From 1915 until 1928 the artist collaborated as an illustrator with contemporary magazines such as Der Sturm Aktion and Menschen or in the case of the latter as a co editor Along with Heckel and Kirchner Felixmüller restored the printmaking technique to the rank of primary art form adopting it as his principal mode of expression Noteworthy among his most significant engraved images are the 1917 Depressed in Atelier and the 1919 Self portrait His first creative period of Synthetic Cubism is stylistically characterised by a dismantling of forms following the example of the French Cubism and Italian Futurism The artist s eager desire to participate in the German aesthetic and political revolution led him to actively commit to the cause of Novembergruppe and in 1919 to assume the leadership of the Dresdner Neue Sezession Gruppe 19 that he had founded with Otto Dix His communist convictions as well as his social commitment are typified by the series of works aimed at showing the miserable conditions of the miners in the Ruhr district During the 1920s Felixmüller gradually came to abandon his expressionist Cubism and shifted to a more gentle and realistic style centred on portraiture The break probably arose from the domestic atmosphere in which he had been living since he had married Londa Freiin von Berg as suggested by the 1921 Self Portrait with Son Private Collection In 1923 his works were exhibited at the Nationalgalerie in Berlin Jointly with other expressionist artists Felixmüller was judged as a degenerate artist during the 1937 exhibition Entartete Kunst organized by the Nazis As a consequence in the early 1940s Felixmüller left Dresden and from 1941 until 1961 he lived between Damsdorf and Halle where in 1949 he was appointed professor

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/636 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen Fenzoni was active in Rome under Sixtus V His style which is clearly influenced by the artists working for the court of Rudolf II in Prague can be described as Mannerist while his chromatic range use of light and iridescent tones locate him within the tradition of Federico Barocci Fenzoni s painting has affinities with the work of Francesco Vanni and Andrea Lilio with whom he exchanged drawings In the last decade of the 16th century he worked with these two artists on the execution of The Pentecost for the Lateran Palace The Bronze Serpent and The Flagellation of Christ for the Scala Santa The Library at Athens and The Allegory of the Law for the Vatican Library and the decoration of the apartments of Pius V In 1591 Fenzoni painted a fresco for the chapel of Santa Maria in Trastevere and two years later completed the decoration of Santa Maria Maggiore These two projects are characterized by a sense of realism and a move away from the Mannerism of the previous decade At the end of the 1590s Fenzoni was summoned to Urbino by the Bishop of Todi Angelo Cesi who had admired his cycle of paintings for the church of Vallicella in Rome now lost Fenzoni executed a large number of works in Umbria notably the fresco of The Last Judgement in 1596 for Todi cathedral Saint Michael expelling Satan for the Cenni chapel in the cathedral and The Martyrdom of Saint Lawrence for Perugia cathedral In 1599 he painted a series of six scenes for an altarpiece in the right aisle of Todi cathedral which is notable for its proto Baroque style This work also reflects Fenzoni s familiarity with classical art which he probably knew through the Cenni collection The artist returned to his

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/202 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    The Parable of the Weeds Year ca 1622 Biography Listen Domenico Fetti trained in his native city of Rome initially with his father the painter Pietro Fetti then in the studio of Andrea Commodi and finally with Lodovico Cigoli Among his first works is a Portrait of Filippo Neri of 1610 His early works reveals an interest in the use of small formats in northern European genre painting and in the work of Carlo Saraceni By 1611 Fetti was receiving commissions from Ferdinando Gonzaga at that date Cardinal of Rome for whom he continued to work when the latter became Duke of Mantua two years later In 1614 Fetti moved with his family to that city where he soon developed his mature style As superintendent of the ducal collection he became closely familiar with the works of the great painters particularly Rubens and the 16th century Venetian school Fetti was a versatile painter who experimented with different genres over the course of his career He painted portraits such as that of Francesco Andreini Hermitage St Petersburg allegorical works including Melancholy Gallerie dell Accademia Venice mythological scenes such as Hero and Leander Kunsthistorisches Museum Vienna and religious compositions including Episodes from the Life of Christ Galleria Corsini Florence Fetti s most important works were however the paintings that comprise his cycle on the Parables These small format works were executed between 1618 and 1621 for the Duke of Mantua and were extremely well received widely copied and imitated In 1622 Fetti was involved in a violent fight and had to flee Mantua He settled in Venice where he remained until his death the following spring In Venice Fetti enjoyed the protection of Giorgio Contarini degli Scrigni and Carlo Saraceni and his painting acquired a new lyricism evident in late works such

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/203 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the name by which he was known in Spain his work reflects the innovation of the Bruges school in the last quarter of the 15th century and in particular the work of Hugo van der Goes and Justus of Ghent Having arrived in Spain Juan de Flandes immediately settled in Burgos where he met Michel Sittow a Flemish artist in the service of the Queen Juan de Flandes first documented work now fragmented is the Saint John the Baptist Altarpiece painted for the Charterhouse at Miraflores Burgos a commission for which payments to the artist are documented in 1496 and 1499 For Queen Isabel he painted The Polyptych of Queen Isabel the Catholic a portable devotional work on which Michel Sittow also collaborated In the inventory of Isabel s possessions drawn up in 1505 it is described as having 47 panels on the life of Christ and the Virgin Of these panels 27 still survive 15 in the Palacio Real Madrid and the rest divided among other collections Juan de Flandes works which are generally small in scale are characterized by their high quality minute detail and technical perfection typical of the Flemish school In 1504 following the Queen s death he was in Salamanca where he painted the altarpiece for the university chapel between 1505 and 1508 and the Saint Michael Altarpiece for the cloister of the old cathedral In 1509 he was again in Palencia where he worked on the enlargement of the cathedral s high altar a project that occupied him between 1510 and 1518 During this period the artist found himself obliged to adapt his style to clients now interested in larger works with more panels In addition to religious compositions Juan de Flandes also painted portraits including the tentatively attributed Portrait of Isabel the Catholic

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/205 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Lambert Jacobsz in whose studio he met Jacob Adriaensz Backer In 1633 Flinck moved to Amsterdam to complete his studies with Rembrandt and collaborated with him for some years During this period he lived in the house of the art dealer Hendrick van Uylenburgh In 1636 he opened his own studio and his first works such as The Shepherds Herzog Anton Ulrich Museum Brunswick and Rembrandt as a Shepherd Rijksmuseum Amsterdam reveal the marked influence of his master which persisted until the 1640s Flinck gradually moved away from Rembrandt s style in order to conform to the prevailing middle class taste for highly detailed finely painted works and he thus came closer to the style and models of Bartholomeus van der Helst and to the Flemish Baroque As a result his work became more elegant and exquisitely painted Flinck s new style was highly admired and he received important commissions from the Amsterdam patrician classes and from other Dutch cities He executed three large group portraits for civic companies in 1642 1643 and 1648 and was also commissioned to paint portraits of the national heroes Admirals Tromp and Ruyter and that of the poet Joost van den Vondel Flinck also worked for Prince Frederick William of Brandenburg and his mother in law Amalia von Solms On the completion of the new Amsterdam Town Hall in 1655 Flinck and other leading artists such as Ferdinand Bol were awarded the most important commission of their careers to decorate the building Flinck s painting of 1656 depicting Marcus Curius Dentatus refusing the Gifts of the Samnite Ambassadors in situ painted for the Burgomaster s Hall was extremely successful and brought him a commission for twelve more history paintings this time for the Great Gallery Flinck died however on 2 February 1660 four months

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/206 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Hours Fees Location Services Ac Activities Follow and reserve the activities Studies of the Collection Open Windows Restoration Educathyssen Educational Programmes Apps Community Mobile apps social media Online Shop Book Publications Gifts Support the Museum Sponsors Friends Volunteers The Museum in Private Corporate Events Press Tourism Professional Channel About Thyssen History Staff Jobs Transparency h Home Attributed to Govert F Biography and Works Author Attributed to Govert Flinck Born Dead Cleve 1615 Amsterdam 1660 Date Works Author Attributed to Govert Flinck Title Landscape with a Farm and a Bridge Year década de 1640 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 Salomon Jacobsz van Ruysdael Naarden ca 1600 Haarlem 1670 Aert de Gelder Dordrecht 1645 1727 Hercules Pietersz Segers Haarlem 1589 90 La Haya 1633 38 Jan Josephsz van Goyen Leiden 1596 The Hague 1656 Jan Lievens Leiden 1607 Amsterdam 1674 Recommended works Mountain Landscape with a Castle RoelandtSavery Christ and the Woman taken in Adultery Aert deGelder Landscape with armed Men Hercules Pietersz Segers Winter Landscape with Figures on the Ice Jan Josephsz vanGoyen

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/207 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in the solemn monumental sculpture of the Novecento which Fontana soon rejected in favour of abstraction He joined Abstraction Création in 1934 but dropped out of the association only a year later and produced a series of works in a figurative Neo Expressionist style that was emerging in the main Italian cities as a reaction to the Novecento When the Second World War erupted Fontana returned to Argentina and established the Academia Altamira In 1946 he wrote the White Manifesto in which he again advocated abstraction questioned the two dimensional vision of painting in the West and encouraged the new techniques that were made possible by scientific discoveries This was his first step towards Spatialism which he progressively defined in the five manifestos he wrote between 1947 and 1952 as a quest to transform matter into energy and invade space in a dynamic manner Lucio Fontana explored the concept of space and his interest in technological and scientific breakthroughs drove him to experiment with all kinds of media As a painter with a grounding in sculpture he strove to introduce the third dimension into his canvases by means of perforations and slashes and used a broad variety of materials for his sculptures from ceramic and metal to neon and UV light On returning to Milan in 1947 Fontana showed many of his experiments often called Spatial Concepts One of the most important exhibited in 1949 at the Galleria del Naviglio in Milan was Spatial Ambience with Black Light his first temporary installation incorporating neon light That year he started work on his series of Perforations in which he made holes in the canvas to allow the space behind the painting to intrude into the work and in 1958 began to produce the so called Slash Pictures in which monochrome surfaces

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/208 (2016-02-13)
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