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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Sun and Moon The Aztecs Year 1966 Biography Listen Fatherless from an early age the Austrian artist Hundertwasser was brought up by his mother who was of Jewish origin in dire poverty and in the claustrophobic climate of Nazi domination In 1948 after the Second World War ended he began to attend painting classes at the Akademie der Bildenden Künste though he dropped out of school after a few months as he found the course boring and lacking in substance That year he visited the exhibitions of Egon Schiele at the Albertina and Walter Kampmann which greatly influenced him He moved to Paris in 1950 with the intention of furthering his studies only to abandon them Thenceforward he began to make various trips that took him all over the world His first solo exhibition was held at the Kunstverein in Vienna in 1952 followed by another at the Studio Paul Facchetti in Paris two years later Since then his work was frequently shown Hundertwasser s oeuvre which appears to bear the imprint of the Viennese decorative art connected with the Jugendstil and Central European Expressionism gradually turned towards an abstraction which however always retained some figurative elements His works with luminous colours are notable for the use of the spiral and other features that infused them with symbolic meanings linked to his desire to seek the regeneration of the human being Hundertwasser also produced graphic works and developed an interest in town planning and architecture which he wished to transform into something organic and ornamented vis à vis the prevailing functionalism Many of his projects were executed such as the Hundertwasserhaus in Vienna 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

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/289 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    29 Author Vilmos Huszár Title Composition Year ca 1955 60 Biography Listen The Hungarian born Vilmos Huszár whose surname was originally Herz spent most of his life in the Netherlands where he frequented different avant garde groups and espoused the aesthetic and artistic principles of Neo Plasticism Huszár studied at the Budapest Academy of Decorative Arts and moved to Munich to further his studies in 1904 He settled in The Hague in 1906 and produced works that reflected his great admiration for Vincent van Gogh During these years in which he mainly painted portraits of the city s high society and designed his first stained glass windows he came into contact with avant garde artists of London and Paris The influence of Cubism and Futurism gradually pervaded his oeuvre In 1916 Vilmos Huszár met Theo van Doesburg with whom he cofounded the review De Stijl in 1917 Huszár was responsible for the cover design and the numerous articles he published in the magazine contributed to defining Neo Plasticism During this period he produced non figurative works and collaborated on interior design projects such as for the home of the industrialist Bruynzeel with Piet Klaarhamer in 1918 and in designing furniture with Piet Zwart from 1920 to 1921 In the mid 1920s Huszár met Kurt Schwitters El Lissitzky and some of the Hungarian avant garde painters During these years he also worked in industrial and commercial graphic design until the outbreak of the Second World War when he moved to a small Dutch town called Hierden where he felt safer about being a Jew During the following years he depicted the surrounding landscape in a naturalistic style and from 1955 until his death he focused on finding a pure non objective language Search Advanced search Featured Products Catalogue of the Madrid

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/290 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    early age he was known as Guercino meaning one who squints He received some basic lessons in drawing in Cento but was essentially self taught At the age of sixteen Guercino entered the workshop of the local painter Benedetto Gennari the Elder as an apprentice working there until Gennari s death in 1610 His early works reveal the influence of Ferrarese and Bolognese art particularly the work of Scarsellino Carlo Bononi and the Carracci In 1613 and through the mediation of his friend and protector the priest Antonio Mirandola Guercino obtained his first major public commission to paint a Glory of All Saints for the altar of the church of Santo Spirito in Cento This was followed by other significant private commissions such as those for frescoes in the Provenzale and Panini residences in his native city Among Guercino s clients were some of the most important art patrons in Italy including Cosimo II Duke of Tuscany Cardinal Alessandro Ludovisi Cardinal Jacopo Serra and Ferdinando Gonzaga Duke of Mantua In 1621 when Ludovosi became Pope Gregory XV Guercino moved to Rome where he painted The Burial of Saint Petronilla for one of the altars in Saint Peter s as well as other religious and secular works for the Ludovisi family Despite only remaining in Rome for two years during the brief reign of Gregory XV Guercino s style underwent a significant transformation as he abandoned his naturalist approach and adopted a classicising idiom based on form as well as a lighter palette influenced by Guido Reni Guercino returned to Cento where he remained until 1642 then moved to Bologna During the last phase of his career the artist enjoyed great renown and international fame and in 1655 he was visited by Queen Christina of Sweden Works from this period include

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/252 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    degli Ingannati Title The Virgin and Child with Saint Agnes in a Landscape Year ca 1520 25 Biography Listen The 16th century painter Pietro degli Ingannati was probably of Venetian origin but no documentation has emerged to date regarding his exact date of birth or death It is thought that he may have trained in the Venetian workshop of Alvise Vivarini Ingannati was familiar with the work of Giovanni Bellini and the influence of that artist is evident in his output particularly with regard to his compositions In particular he looked to Bellini s Sacre Conversazioni with half length or full length figures located against landscapes Ingannati s style and figurative idiom reveal the influence of Benedetto Diana He continued to use the same models and pictorial devices to the end of his career although the figures become more fully modelled and the colouring richer His later works indicate the influence of Vincenzo Catena as well as a knowledge of the work of Giorgione and Palma Vecchio Ingannati s first signed paintings are The Virgin and Child with four Saints location unknown and The Virgin and Child with two Saints Museo Civico Borgogna de Vercelli Among oils attributed to the artist are Portrait of a Man private collection Italy A Female Martyr Portland Art Museum Oregon The Adoration of the Magi Galleria Nazionale di Umbria Perugia and other works in the Staatliche Museen Berlin His last known painting is thought to be a Holy Family with Saint John the Baptist and Saint Catherine signed and dated 1548 formerly Sellar collection London On occasions Ingannati s work has been confused with that of Francesco Bissolo 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

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/291 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    a more personal style influenced by his knowledge of the latest European painting trends of the Barbizon School which earned him renown as a painter in his last years Inness began training in Newark under the supervision of the travelling painter John Jesse Barker and in 1841 went to live in New York where he studied under the French painter Régis François Gignoux a former student of Paul Delaroche In the mid 1840s he began to exhibit his work first at the National Academy of Design in 1844 and the following year at the American Art Union He made his first trip to Italy from 1851 to 1852 He returned to the Old Continent in 1853 and visited France and Holland On this second trip he viewed the work of the landscape artist Claude Lorrain and that of his own contemporaries of the Barbizon School and his style became heavily influenced by these French painters especially Théodore Rousseau Thenceforward his compositions became less rigid and gradually shifted away from the canons embraced by the Hudson River School adopting a much less literary approach to the American landscape George Inness s frail health largely determined his life and led him to move from New York to Medfield in 1860 and in 1864 to Eagleswood where he was introduced by the painter William Page to the mystic teachings of the Swedish philosopher Emanuel Swedenborg and became a follower of this current of religious thought Thereafter his art tended towards greater expressiveness and mysticism Inness travelled again to Italy in 1870 by which time he was a fully fledged member of the National Academy of Design and had been involved in establishing the Society of American Artists After spending four years there followed by a brief period in France he returned to America

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/292 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Sea Year ca 1900 Biography Listen Jozef Israëls was born on 27 January 1824 in Groningen The Netherlands He was a pupil of the Akademie Minerva in Groningen and continued his artistic education in Amsterdam with teachers such as J A Kruseman a famous portrait painter and J Pieneman a battle painter In 1845 he went to Paris first as a student in the atelier of Picot then under the guidance of Ary Scheffer a celebrated artist at the court of Louis Philippe After his return to Holland Jozef Israëls continued his orientation at the Düsseldorf School of Art where he became acquainted with the fishing genre in the works by Rudolf Jordan A visit to Barbizon and a confrontation with the paintings and drawings of Jean François Millet convinced him to choose the realistic genre with the life of farmers and fishermen as his main subject In 1875 he was considered one of the leading artists of The Hague School French critics praised his works as painted with shadows and grief His paintings were greatly admired by Vincent van Gogh Jozef Israëls was a man of great culture with a keen interest in modern art and literature He travelled widely and even wrote a book about his visit to Spain His son Isaac Israëls became a painter in his own right Jozef Israà ls lived in The Hague from 1872 until his death in 1911 He was president of the artists association Pulchri Studio in The Hague and founding member of the Dutch Watercolour Society in 1876 At his death in 1911 he was honoured with a personal exhibition at the Biennale in Venice and with a presentation of his works in the Toledo Museum of Art Ohio John Sillevis Search Advanced search Featured Products Catalogue of the Madrid

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/293 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    with the artistic avant garde and collaborated intensely as a lecturer at the Bauhaus After training as a teacher Itten decided to become a painter in 1909 He studied at the Geneva École des Beaux Arts and completed his instruction under Adolf Hölzel in Stuttgart in 1913 Under the influence of his master a pioneer of abstract art Itten began to experiment with colours the interplay of contrasts and collage Initially close to Expressionism and linked to figurative art his work shifted towards an interest in abstract expression which first materialised in his painting in 1916 That year he moved to Vienna where he established an art school and took an interest in the new methods of art teaching He came into contact with musicians such as Alban Berg and Arnold Schönberg who fostered his interest in the analogies between music and painting In 1919 Itten began to work at the Bauhaus where he taught the preliminary course that was compulsory for all students He became one of the most renowned and charismatic lecturers and over time this caused a split among the school His growing attachment to a current of thought called Mazdaznan based on the wisdom of Zoroaster eventually drove him to leave the Bauhaus in 1923 and he went to live in a community of followers of the sect in Herrliberg He left the community in 1926 and settled in Berlin where he established his own school of painting graphic art photography and architecture Thenceforward he devoted more time to teaching and his work as an artist was relegated to second place He taught textile design at Krefeld and when the National Socialists came into power he returned to Switzerland where he continued his pedagogical work Towards the end of his life he took up painting again

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/294 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    most of his career in Germany where he collaborated closely with his compatriot Wassily Kandinsky and other German artists He moved to Munich in 1896 to further his training there disappointed with the teaching methods at the Saint Petersburg Academy He attended the classes of Anton Azˇbé at whose school in 1907 he met Kandinsky who was to be his friend and artistic collaborator In 1905 Jawlensky made his first trip to France where he became acquainted with the works of Paul Gauguin and Vincent van Gogh He also had the chance to meet Henri Matisse and to view the work of the Fauve painters with whom he exhibited at the Salon d Automne that year After returning to Munich he spent several summers in Murnau with Kandinsky Gabriele Münter and Marianne von Werefkin a Russian painter with whom Jawlensky had arrived in Germany Together they established the Munich Neue Künstlervereinigung in 1909 to which Jawlensky belonged until 1912 the year he joined the Expressionist group Der Blaue Reiter The Blue Rider Jawlensky s spiritual and artistic destiny like that of most of his Munich colleagues was marked by the musical sense of colour and a mystic conception inspired by theosophy In 1917 he started on his well known series of Mystic Heads and the following year Abstract Heads which combined Fauvist and Expressionist notes with the tradition and spirituality of Russian art Following the First World War during which he was forced to emigrate to Switzerland Jawlensky settled in Wiesbaden In 1924 he established the group called Die Blaue Vier The Blue Four with Paul Klee Lyonel Feininger and Wassily Kandinsky and exhibited with them in America and Europe on many occasions At the end of the 1920s Jawlensky was afflicted with serious arthritis that gradually restricted his mobility

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/295 (2016-02-13)
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