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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    last of Rembrandt s pupils remaining with him for two years after which he returned to Dordrecht and lived there for the rest of his life From his early years Aert de Gelder was considered to be Rembrandt s best and most direct follower but he has also been seen as an eccentric figure as he was the only artist to continue to work in Rembrandt s style until well into the 18th century His works are clearly inspired by those of his master for example the Ecce Homo Staatliche Kunstsammlung Dresden of 1671 which is a variant on Rembrandt s etching on that subject or Abraham and the Angels Boijmans Van Beuningen Museum Rotterdam which was for many years considered to be by Rembrandt himself Nonetheless it is primarily in Aert de Gelder s technique that Rembrandt s influence is most evident and most long lasting De Gelder s brushstrokes are broad and heavily charged with the pigment often applied with the finger or a spatula to achieve different textures The artist also favoured effects achieved through scratching into the wet paint with the other end of the brush Aert de Gelder focused primarily on biblical scenes of which his Scenes of the Passion painted around 1715 are his most famous works Like Rembrandt he collected arms and armour old shoes and costumes and curious objects all of which he depicted in his paintings De Gelder also painted portraits which are notable for their naturalism and reveal little interest in the elegant Flemish style in vogue in late 17th century Holland One such example is Portrait of Dr Boerhaave and his Family Rijksmuseum Amsterdam De Gelder s most characteristic and original trait within his style was his use of colour particularly from the start of the 18th century onwards

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/223 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Rome to look after his maternal uncle from whom he took the surname Gentileschi During the early years of his career at the end of the century Gentileschi collaborated on some of the major decorative schemes in Rome under Sixtus V such as the Biblioteca Sixtina in Santa Maria Maggiore and the one in San Giovanni in Laterano From 1605 the artist s work starts to reveal the new ideas of Caravaggio and he moved away from his early Mannerist style Gentileschi s style at this period combines the marked influence of Caravaggio s realism with clear echoes of Adam Elsheimer s landscape painting The first two decades of the century were his most productive years and works from this period include David and Goliath Gemäldegalerie Berlin David killing Goliath National Gallery Dublin Judith with her Servant Wadsworth Atheneum Hartford and Saint Francis receives the Stigmata San Silvestro in Capite Rome Gentileschi continued to be involved in major decorative schemes and between 1611 and 1612 formed a team with the painter Agostino Tassi collaborating on the frescoes in the Casino delle Muse for Cardinal Scipione and those in the Sala del Consistorio in the Quirinale palace This successful partnership broke up after Gentileschi accused Tassi of raping his daughter the painter Artemisia Gentileschi who was training with her father at this period Gentileschi moved to Genoa around 1622 where he worked for the Duke of Savoy Two years later he went to Paris on the invitation of Marie de Medici He spent the last years of his life in London where he became court painter to Charles I in 1626 During this period Gentileschi painted numerous versions of themes that he had developed in the past including Lot and his Daughters and The Rest on the Flight into Egypt In

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/224 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    He received his first short lived art classes in Paris in the studios of Carle Vernet and Pierre Guérin In 1811 Géricault decided to be responsible for his own training and began to copy works by the Old Masters in the Louvre Aged only twenty one and almost completely selftaught in 1812 Géricault presented his first major work at the 1812 Salon entitled Officer of the Imperial Guard on Horseback Musée du Louvre Paris Over the following years Géricault continued copying and in 1814 he again showed a work at the Salon entitled The Wounded Cuirassier Musée du Louvre This more elaborate composition was not as well received as the first one Having failed to gain a prize in the Prix de Rome Géricault decided to travel to Italy at his own expense Once there he was particularly impressed by the works of the Italian Renaissance artists above all Michelangelo and by Rubens During his stay in Rome Géricault executed a series of paintings of the horse race known as the Corso dei Barbieri Géricault s career was a short one lasting just over ten years but he produced a large and significant body of work In 1819 he exhibited his most important work The Raft of the Medusa Musée du Louvre at the Salon in Paris This huge canvas depicts the aftermath of a shipwreck that had taken place three years before and had captured the public imagination Géricault focused on human suffering and deployed an intense realism which together made this work a masterpiece that was enormously influential for both Romantic and Realistic painting Géricault died in 1824 after a long illness that prevented him from working on large scale paintings in the last years of his life His last paintings were a series of portraits of sitters

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/225 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    along with other leading artists of the day including Botticelli Perugino and Cosimo Rosselli to paint the figures of the Doctors of the Church in the Biblioteca Apostolica in the Vatican in 1475 and the Sistine Chapel between 1481 and 1482 with The Calling of Saints Peter and Andrew An artist with a highly developed narrative sense Ghirlandaio filled his scenes with elegant figures in which secondary anecdotal elements at times acquired greater importance than the principal motif Among his most important fresco series that have survived and which constitute a documentary portrait of his age are his first major fresco cycle painted in the Santa Fina hapel in the collegiate church at Pieve San Gemignano of around 1477 78 the frescoes in the Ognissanti of 1480 depicting The Last Supper and Saint Jerome in his Study those in the Sassetti chapel in Santa Trinità of between 1483 and 1486 with scenes from the life of Saint Francis and those in Santa Maria Novella of 1486 90 with scenes from the life of the Virgin and Saint John the Baptist commissioned by Giovanni Tornabuoni for the end wall of the church The latter are considered Ghirlandaio s masterpiece particularly the scene of The Birth of the Virgin Giovanni Tornabuoni was the artist s most important patron and among the numerous works that he commissioned from the painter was the decoration of the tomb of his wife Francesca in the church of Santa Maria sopra Minerva in Rome which dates from before the Santa Maria Novella project Other works by the artist are to be found in Pisa and San Gimignano A chronicler of his times Ghirlandaio s complex compositions included details of everyday life and customs as well as a series of portraits of individuals from his circle The complex

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/226 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Listen Son of the important Florentine painter Domenico Ghirlandaio Ridolfo first trained with his father and then with his uncles Benedetto and Davide Ghirlandaio On Domenico s death in 1494 the latter took charge of the family workshop Ridolfo s first documented work is a Virgin painted in 1507 for Prato cathedral in which the influence of Domenico is evident as well as the more innovative style of Fra Bartolommeo with whom Ridolfo studied according to Vasari His earliest works reveal an interest in the work of Piero di Cosimo and it is also known that he was acquainted with and admired the work of Leonardo This is evident in Christ on the Route to Calvary National Gallery London which reveals similarities with Leonardo s cartoons for The Battle of Anghiari Ridolfo Ghirlandaio was a personal friend of Raphael with whom he had most contact during Raphael s last period in Florence between 1504 and 1508 and who influenced his work Vasari recounts that Raphael even allowed him to add the finishing touches to one of his paintings namely The Virgin and Child with the Infant Saint John the Baptist according to Milanesi Musée du Louvre Paris In 1515 the artist received his first important official commission to decorate the Cappella dei Papi in the monastery of Santa Maria Novella He was assisted in this project by Jacopo Feltrini and Jacopo da Pontormo Among Ghirlandaio s most important works are The Miracle of Saint Zenobius and The Translation of the Body of Saint Zenobius monastery of San Salvi Florence both painted in 1517 for the confraternity of that saint Ghirlandaio was also active as a portraitist and designed temporary decorations for the Medici such as those to celebrate the marriage of Lorenzo de Medici Duke of Urbino in 1518 Search

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/227 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Fra Galgario was a painter from Bergamo born into a family of artists His father Domenico Ghislandi was an architectural trompe l oeil painter and his brother Defendete Ghislandi a painter Giuseppe trained first with Giacomo Cotta and then with Bartolomeo Bianchini with whom he remained for four years In 1675 he moved to Venice where he became a friar in the monastery of San Francesco di Paola Apart from a brief period in Bergamo Ghislandi remained in Venice until 1701 working in the studio of Sebastiano Bombelli a portrait specialist Little is known of his training and early years in Venice Ghislandi returned to Bergamo in 1702 having turned down Cardinal Pietro Ottoboni s invitation to travel to Rome He entered the monastery of the Galgario from which he took his name Fra Galgario s first known works date from this period by which time he was already fifty years old His style reveals the influence of portraits by the German painter Salomon Adler who was active in Bergamo during the first decade of the 18th century From Adler Fra Galgario derived his minutely detailed study of the sitters which he combined with the elegance and artifice characteristic of Venetian portraiture Despite his isolated existence in the monastery Fra Galgario s work was known throughout Italy and much of Europe In 1717 he travelled to Bologna where he was made an honorary member of the Accademia Clementina This allowed brought him into contact with Bolognese artistic circles in particular with Giuseppe Maria Crespi and other contemporary masters such as Sebastiano Ricci with whom Fra Galgario exchanged material and Giambattista Tiepolo In his last works Fra Galgario abandoned the objectivity that had characterised his treatment of his sitters and instead presented them in a far more subjective manner Technically his

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/228 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    family of artists His father Giovanni was a Neo Impressionist painter and his godfather was Cuno Amiet From 1919 to 1920 he studied painting at the École des Beaux Arts and sculpture and drawing at the École des Arts et Métiers in Geneva He travelled to Italy with his father in 1920 and was immensely impressed by Giotto and Tintoretto Egyptian and African art and the work of Alexander Archipenko and Paul Cézanne that he had the chance to see at the Venice Biennale Giacometti moved to Paris in 1922 and in 1927 the year his brother Diego joined him to become his assistant he began to work in a studio on the rue Hipolyte Maindron in Montparnasse In 1929 the Galerie Jeanne Bucher showed two sculptures from his series Plaques which powerfully drew the attention of the Paris art scene particularly the Surrealist circle with whom he was associated until 1934 During this period Giacometti experimented with all kinds of materials and became the most innovative of all the Surrealist sculptors In 1935 he experienced a creative crisis lasting practically a decade during which he went back to working with models whom he subjected to lengthy sittings This method which he had abandoned in his Surrealist period resulted in sculptures that were reduced to their minimum expression and paved the way for his entire subsequent output In 1945 after the end of the Second World War his long thin figures were perceived as a fitting metaphor for man emerging from the aftermath of war according to the interpretation of Jean Paul Sartre who was a friend of Giacometti since they met during the French writer s exile in Geneva in 1943 In addition following a twenty year break Giacometti went back to painting and drawing regularly employing a sketchy

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/229 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Works Author Sanford Robinson Gifford Title Near Palermo Year 1874 Biography Listen Sanford Robinson Gifford was born in Greenfield New York on 10 July 1823 The son of a prosperous foundry owner he spent his boyhood in Hudson New York Between 1842 and 1844 he attended the Brown University In 1845 he settled in New York City where he studied drawing perspective and anatomy under John Rubens Smith In 1846 he made a study trip to Catskills which first turned his attention to landscape painting In 1847 he exhibited his first paintings at the National Academy of Design which led to his election first as an Associate 1851 and later as an Academician 1854 Between 1855 and 1857 Gifford journeyed throughout Europe occasionally accompanied by T W Whittredge and Albert Bierstadt After his return to New York he made a series of annual summer excursions to New England and upstate New York aimed at sketching and fishing Between 1861 and 1865 he served in the Seventh New York Regiment in Civil War Three years later between 1868 and 1869 he made a second trip overseas and visited Italy Egypt Greece and the Near East In 1870 he travelled to the Rocky Mountains of Colorado with Whittredge and John F Kensett and explored the Wyoming Territory with F V Hayden on a US Geological and Geographic Survey In 1874 Gifford made a second trip to Western USA and British Columbia He died in New York City on 29 August 1880 A memorial exhibition of his paintings was held that same year at The Metropolitan Museum of Art in New York Katherine E Manthorne 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

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/231 (2016-02-13)
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