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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the Symbols of the Passion in the church of Santi Giuseppe e Teresa in Pontecorvo 1660 on Mattia Preti The Burial of Christ Detroit Institute of Arts c 1660 and on Flemish artists primarily Van Dyck and Rubens Saint Januarius Liberates Naples from the Plague in Santa Maria del Pianto in Naples c 1660 whom he most likely studied in Neapolitan private collections In 1664 the artist was once again in Florence working for the Medici as well as in Venice Back in Naples in 1665 in 1667 he painted The Assumption of the Virgin for Santa Maria della Salute and in the following decade executed the fresco for the dome of Santa Brigida 1678 and the Life of Saint Gregory the Armenian in the church of the same name c 1678 1679 also sending three altarpieces to Venice for the church of Santa Maria della Salute By now a celebrated artist on a trip to Florence in 1682 Giordano painted the dome of the Corsini chapel in the church of the Carmine and he began the frescoes for the Gallery and the Library of the Medici Riccardi palace his masterpiece which he returned to complete in 1685 The splendour and naturalism of this project amounted to a declaration of his indebtedness to the work and style of Pietro da Cortona Giordano lived in Naples for several years but in 1692 his international fame as an artist was consummated by the invitation to be court painter to Charles II of Spain His output over the course of the following decade exceeds what other artists could have achieved in a lifetime Leaving aside his production of altarpieces and religious fresco cycles for example the frescoes in San Antonio de los Portugueses Madrid or those in the Monastery de Nuestra Señora de

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/232 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    was undoubtedly the most important figure in the Sienese art world in the second half of the 15th century It seems that he was a pupil of Vecchietta with whom he trained as a painter and sculptor although there is no documentation to prove this Recent studies have also indicated that he could have trained with Sano di Pietro Francesco di Giorgio s most important activity was his work as an architect and engineer in Siena at the court of Federico da Montefeltro in Urbino for the Sforza in Milan where he coincided with Leonardo da Vinci and in Naples Most of his paintings were executed between 1469 and 1475 and his style reveals the influence of Donatello and of northern Italian miniaturists as well as that of Pollaiuolo and Verrocchio whose works he encountered in Florence Francesco di Giorgio worked in collaboration with the sculptor and painter Neroccio de Landi In the early 1460s the artist executed a number of small format paintings that have been related to the fronts of cassone including Susannah and the Elders Pinacoteca Nazionale Siena and The Triumph of Chastity The J Paul Getty Museum Los Angeles These works reveal Francesco di Giorgio s interest in narrative At the same period he also worked as a miniaturist and made contact with Girolamo da Cremona and Liberale da Verona whose work clearly influenced his own in that medium The fresco of The Coronation of the Virgin Pinacoteca Nazionale Siena has also been attributed to Francesco di Giorgio From 1475 onwards his style became more naturalistic in its approach to the human figure and light Dating from this period is The Nativity the only signed work known by the artist painted for the monastery of Monte Oliveto Pinacoteca Nazionale Siena Search Advanced search Featured Products Catalogue

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/213 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    attended the Saint Petersburg Academy of Art from 1924 to 1927 Although she was taught by Alexander Savinov at this early stage in her career she came into contact with Pavel Filonov who ran a workshop within the academy and became her principal artistic reference from then onwards When Filonov established the Masters of Analytical Art group in 1925 Glebova became one of its most loyal disciples and was so faithful in her attempts to put its artistic principles into practice that many of her works were attributed to her master for decades In addition to certain elements derived from the Russian Cubo Futurist movement they evidence a clear interest in Neo Primitivism and Central European Renaissance painters such as Cranach Bosch and Dürer They are also tinged with the apocalyptic mood found in the work of contemporary German artists like George Grosz and Otto Dix who were very well known in Russia in the early 1920s Glebova took part in the exhibitions of Masters of Analytical Art and like the rest of its members contributed to numerous children s publications as an illustrator From the early 1930s she designed theatre and ballet stage scenery such as for the staging of Wagner s opera Mastersingers of Nuremberg in Leningrad during 1932 Although the group Filonov led split up in 1932 Glebova remained affiliated with her master Nevertheless influenced by her husband Vladimir Sterligov also an artist she began to appreciate the work of Malevich and Matiushin and gradually shifted away from the Expressionist style which had characterised her earlier period During the Second World War Glebova was evacuated to Alma Ata now Almaty Kazakhstan where she exhibited her work and designed the costumes for the film Zhambul 1943 A solo exhibition of her work was held in Leningrad in 1949

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/204 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Duchamp brothers belonged Gleizes showed an early interest in painting and worked in the family furniture and interior design business Backed by his father in 1902 he exhibited at the Société Nationale des Beaux Arts and in 1906 was one of the founders of the Abbaye de Créteil intellectual circle which remained active until 1908 Gleizes s first works which were Impressionist in style denoted an evident preoccupation with social themes a characteristic that was present until the end of the 1900s Around 1910 a growing interest in structure and a clear tendency towards formal simplification steered him towards Cubism which also attracted him for its aim of linking artists of all nationalities and breaking away from bourgeois canons During this period he befriended Jean Metzinger and Robert Delaunay and took part in some of the group s most important exhibitions such as the Salon de la Section d Or in 1912 Shortly after the outbreak of the First World War he married and moved first to New York and later to Barcelona and Bermuda Thenceforward he devoted much of his time to writing about his aesthetic ideas and delivering numerous lectures While in New York he came into contact with Francis Picabia and Marcel Duchamp and was a privileged witness to the emergence of Dadaism in the United States On returning to France Gleizes was plunged into a deep personal crisis and was greatly disappointed with the direction in which painting was heading during the interwar period while the hopes he had pinned on the Russian Revolution were dashed He settled in Serrières south of Lyon in 1923 and in 1927 established a colony of artists thereMoly Sabata which aimed to be a stronghold of salvation within a society that he considered doomed to collapse Gleizes regarded the social

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/235 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    family with ties to the arts His father was the art historian Umberto Gnoli and his mother was a painter and ceramist In addition to the grounding he received at home he studied under Carlo Alberto Petrucci who as early as 1950 encouraged himto exhibit a series of drawings at Rome s Galleria La Cassapanda For a short time in 1952 he attended classes in stage design at the Accademia di Belle Arti in Rome which he abandoned to become an actor with the Compagnia Pilotto Carraro Miserocchi His contact with the world of the theatre was a stepping stone to his success in designing the sets for numerous theatre productions thereafter such as Shakespeare s As You Like It directed by Robert Helpmann and performed at the Old Vic Theatre in London in 1955 In 1956 Gnoli travelled to New York for his first one man show in the United States at the Sagittarius Gallery and a year later he settled in the city where he worked as a reputed illustrator of magazines such as Vogue and Sports Illustrated At the beginning of the 1960s Gnoli decided to concentrate more on his career as a painter His realistic immobile work was focused on representing everyday objects such as chairs sofas and beds and was very well received by critics and a public in touch with the cult of consumer society objects and Pop sensibility However his work is tinged with echoes of European art movements of the first half of the century such as Surrealism magical realism and metaphysical painting which set him apart from this movement of American origin Gnoli travelled all over the world and spent the last years of his life in the town of Deià in Mallorca with his wife the artist Yannick Vu He

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/236 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    the influence of the painters of peasant life Jules Breton and Jean François Millet and his interest in the realist literature of the period From 1886 to 1888 the artist lived in Paris with his brother Theo van Gogh who was an art dealer There he met Toulouse Lautrec and Gauguin and became acquainted with the new art movements then in full swing He was heavily influenced by the work of the Impressionists and the Japanese prints of Hiroshige and Hokusai and his palette became more colourful In 1888 he moved away from the French capital to Arles in the south of France with the intention of establishing a community of artists Beneath the blazing sun of Provence he painted rural scenes and began to abandon pointillist and Impressionist methods in favour of a painting with more synthetic forms and more garish colours In October 1888 Gauguin went to see him at Arles and the two lived and worked together for a short period soon clashing violently One night in December after a huge row in which Van Gogh threatened Gauguin with a knife the artist cut off part of his ear Following this incident he was committed to a hospital in Arles for a time and spent a year in the psychiatric hospital of Saint Rémy Van Gogh spent the end of his life in Auvers sur Oise a village north of Paris that was the home of Doctor Gachet the physician and art collector to whom Theo van Gogh entrusted the care of his brother s health During the almost two months he lived there before committing suicide he painted at a frenzied pace with restored energy Throughout these last weeks of his life he produced a few portraits but above all numerous landscapes using a reduced palette

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/237 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    intense collaboration in the staging of the ballets of her compatriot Serge Diaghilev Born into a family belonging to the rural gentry and the great granddaughter of Alexander Pushkin she was raised on a farm in the province of Tula and enrolled at the Moscow School of Painting Sculpture and Architecture in 1898 There she met Mikhail Larionov who would be her companion in both art and life until the end of her days Goncharova became acquainted with French Post Impressionist art through The Golden Fleece exhibition of 1908 which had a decisive influence on some of her works that depicted predominantly Russian rural themes She was a founding member of the Jack of Diamonds group in 1910 Two years later she and Larionov left the group to start The Donkey s Tail and she played the main role in the exhibition by that name At this point some of her works continued to be connected directly with the world of icons and Russian folk art whereas others were beginning to clearly display the influence of Cubism and Futurism She subsequently evolved to Rayonism a style in which she produced a series of forests in 1913 Her oeuvre was well received by critics and public alike although her lifestyle a far cry from social conventionalisms was always surrounded by a certain amount of controversy In 1914 Goncharova was involved in the production of Diaghilev s Le Coq d or the first of a whole series of collaborations that led her to become known in France and the West chiefly as a set designer She travelled with Diaghilev and Larionov to Switzerland Italy and Spain and when they settled in Paris their joint work continued to be highly fruitful Diaghilev s death in 1929 marked a certain decline in her creativity

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/238 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    real name was Vosdanig Adoian but in the early 1920s he adopted the pseudonym by which he is known with the design of passing for a nephew of the Russian writer Maksim Gorky Gorky s childhood and youth were marked by Turkey s invasion of Armenia during the First World War as a result of which his father was forced to seek exile in the United States and he and his mother and sister had to flee from the Turkish troops on foot leading to his mother s death He arrived in New York in 1920 and studied design in Providence and Boston In 1925 he enrolled at the Grand Central Art School where he soon began to teach From the outset his works were centred on his own experiences and executed in a style that was initially Impressionist and later during his New York period closer to synthetic Cubism Around this time the Works Progress Administration which had established an aid scheme for artists during the Great Depression commissioned various mural paintings from him Reading Julien Levy s Surrealism in 1936 brought Gorky into contact with the movement and inspired him to paint biomorphic figures recalling those of Joan Miró and André MassonWhen many of the Surrealist artists took up residence in New York in the early 1940s Gorky befriended Roberto Matta and André Breton Unlike the Surrealists Gorky did not take his themes from the subconscious or the dream world rather his source of inspiration continued to be experiences in his native country Around 1946 Gorky s works which had been populated with distorted menacing figures since the Cubist period began to convey his own angst even more intensely Although by then his work had earned a certain amount of recognition he failed to achieve financial stability On

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/239 (2016-02-13)
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