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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Title Lake George Year ca 1860 Biography Listen A member of the second generation of Hudson River School painters John Frederick Kensett was the son of an English engraver who had emigrated to America He trained with his father began to work in the trade in New Haven and New York and gradually introduced landscape into his engravings In 1840 after deciding to concentrate solely on painting Kensett went to Europe with John Casilear Asher B Durand and Thomas P Rossiter These extensive travels took him to England France Germany Switzerland and Italy and in 1847 he returned to the United States where he settled in New York Thenceforward he concentrated on painting landscapes close to the city particularly those of the coast of Newport and Lake George Not long after he returned from Europe Kensett had already succeeded in making a name for himself in artistic circles and was soon elected a member of the National Academy He led a very active life in artistic and academic milieus he was a member of the select Century Club where he came into contact with many people related to the world of art and literature and sat on the national advisory committee for the decoration of the Capitol He was also involved in the establishment of The Metropolitan Museum of Art in 1870 Kensett s early work bears the mark of Thomas Cole and English painters such as John Constable His style of painting became progressively simpler under the influence of his friend Durand and the Luminism of the age This tendency towards reduction was one of the constant features of his artistic development and in the early 1870s his compositions became simple strips of colour that divided land sea and sky Search Advanced search Featured Products Catalogue of the Madrid

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/304 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen Jan van Kessel I was born in Antwerp in 1626 Related to the Brueghel family he was the son of the portrait painter Hieronymous van Kessel II grandson of Jan Brueghel the Elder and nephew of David Teniers II Van Kessel trained in the studio of Cornelis de Vos although he may also have received classes from his uncle Jan Brueghel the Younger In 1645 he is recorded in the guild of Saint Luke in Antwerp as a blomschilder flower painter In 1647 he married Maria van Apshoven Jan van Kessel had seven children of whom two trained with him to become painters Ferdinand who continued his father s style and Jan van Kessel II who focused on portraiture like his grandfather Jan van Kessel I left behind a large and varied oeuvre that includes flower paintings still lifes animals landscapes allegories and religious paintings He principally worked in a small format on wood or copper panels His floral still lifes with their porcelain or glass vases continue the type developed by Brueghel but his flower garlands are clearly inspired by the work of Daniel Seghers for example Garland with the Temptations of Saint Anthony Brussels Musées Royaux des Beaux Arts For works of this type Van Kessel frequently collaborated with David Teniers II who executed the small scenes set within the garlands During his mature phase Van Kessel painted the decorative borders for a series of twenty paintings that illustrate the lives of Antonio and Ramón Moncada two Sicilian nobles of Spanish origin The central images in these panels were painted by David Teniers II Willem van Herp Adam Frans van der Meulen and Luigi Primo The decorative surrounds differ from the type developed by Seghers and are organised in the manner of a broad frame with

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/554 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    1626 1679 a relative of the Bruegel family specialised in painting animals landscapes and flowers and it was in this environment that the young artist received his early training He arrived when still young in Madrid at the end of the 1670s perhaps just before he painted the family portrait in a garden setting of the Flemish noble who was to be his protector during his early years at court and perhaps also facilitated his move from his native country This Family Portrait of 1679 a typical subject in the Low Countries but not favoured by Spanish taste of the period is now in the Prado Van Kessel was painter to Queen Maria Luisa of Orléans and also to the King s second wife Mariana of Neuberg Following the death of Charles II the artist accompanied the King s widow during her stay in Toledo later returning to court where he died in 1708 During the last years of his life he portrayed the young Philip V although apparently with little success Very little work by Jan van Kessel III is known In addition to his Family Portrait in the Prado mentioned above there is another painting on this subject in the Warsaw Museum and an important portrait of dwarves with a dog in the Poznan Museum which reveals the artist s assimilation of the tradition of Velázquez which prevailed in Madrid court painting of the late 17th century According to Spanish sources of the period particularly Palomino who knew and dealt with him Van Kessel was a painter of great technical merit and highly gifted in portraiture the genre to which he mainly dedicated his activities although Palomino also states that he took part in the decoration of the Galería del Cierzo in the Queen s apartments in the

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/305 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Woman aged Fifty six Year 1594 Biography Listen Cornelis Ketel was one of the leading Dutch Mannerist painters of the late 16th century He received his first lessons in Gouda from his uncle the painter Cornelisz Jacobsz Ketel then continued his training in Delft in the studio of Anthonie van Blocklandt Ketel travelled to Paris and Fontainebleau then despite the difficult political climate returned to Gouda in 1567 where he lived and worked until 1573 The same year he embarked on a trip to England arriving in London as a portrait painter and during his time in the capital Ketel painted the full length portrait of Sir Martin Frobisher Bodleian Library Oxford While in London Ketel coincided with Federico Zuccaro whose style clearly influenced his own Ketel returned to Holland in 1581 and settled in Amsterdam where he lived for the rest of his life active not just as a painter but also as a poet and orator Over the next few years he produced numerous portraits including that of The Militia Company of Captain Dirck Jacobsz Rosecrans and Lieutenant Pauw Rijksmuseum Amsterdam of 1588 considered a key work in the evolution of the group portrait in Holland Ketel was the first artist to paint compositions of this type in which the members of a militia company are depicted in an interior full length and holding their weapons He also painted and drew allegories and narrative scenes of which the few to survive include The Mirror of Virtue Rijksmuseum Amsterdam and The Bronze Serpent Staatliche Graphische Sammlung Munich while others are known through prints Van Mander notes that Ketel took up sculpture in 1595 and that around 1599 he began to paint with his fingers rather than with a brush Search Advanced search Featured Products Catalogue of the Madrid Realists

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/306 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    of woodcuts His origins are uncertain although the fact that he shares a surname with the painter Willem Key has led to the assumption that Adriaen may have been Willem s nephew rather than a distant relative Whatever the case we know that Adriaen trained with Willem Key from whom he could simply have taken his name He is registered in the guild of Saint Luke in Antwerp in 1568 and his first surviving works date from 1572 onwards In 1585 following the Spanish occupation of the city led by Alessandro Farnese Duke of Parma Key was marked down as a Calvinist although he did not flee the city and continued to work there over the following years This is evident from guild documents which state that he had pupils in his charge in 1582 and 1588 and that in 1589 his payments to the guild were up to date From that year onwards however Key s name disappears from the records and it is not known whether he died or left Antwerp Over his lengthy career Key executed a sizeable number of altarpieces for different churches in Antwerp among them one for the high altar of the Franciscan church The few examples of such works reveal the marked influence of his teacher Willem Key Adriaen Key also produced woodcuts in the style of Frans Floris but he was primarily noted as a portraitist Among Key s most important paintings is that of William the Silent Rijksmuseum Amsterdam which depicts William of Orange Count of Nassau and leader of the Dutch independence movement Several versions of this work are known Key s early portraits are notable for a marked realism while his late ones focus on capturing the status and social rank of the sitters probably influenced by Antonis Mor

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/307 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    with his father the architect and sculptor Hendrick de Keyser while his brothers Pieter and Willem also trained with their father and became architects and sculptors Thomas Hendricksz De Keyser is considered the most important portrait painter in Amsterdam prior to the arrival of Rembrandt and he lived and worked in the city throughout his career De Keyser s first works reveal the influence of Cornelis Ketel an artist of the previous generation as well as that of contemporaries such as Cornelis van der Voort and Nicolas Eliasz In the 1620s De Keyser introduced a new format in which his sitters depicted full length and on a small scale are located in interiors thus combining the traditional court portrait format with the depiction of everyday objects In 1632 the artist painted the most important portrait of his career The Company of Captain Allaert Cloeck and Lieutenant Jacobsz Rotgans Rijksmuseum Amsterdam for the Kloveniersdoelen in Middelburg a commission that he probably secured through his brother Pieter de Keyser who was the architect of the new enlargement of the building Over the following years De Keyser executed a series of family portraits which were highly innovative for their use of a secular setting Between 1640 and 1652 the artist abandoned his activities as a painter and devoted his time to dealing in basalt in association with his brother Pieter At this period he registered in the stonemasons guild in Amsterdam In 1652 he again returned to painting and specialised in small format equestrian works De Keyser s last known work Equestrian portrait of two Men Gemäldegalerie Alte Meister Dresden dates from 1661 From the following year until his death in 1667 De Keyser is documented as official architect to the city of Amsterdam undertaking major projects and supervising the work on the

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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    ca 1936 38 Biography Listen The founder and main promoter of the German Expressionist group Die Brücke The Bridge Ernst Kirchner started out as a self taught artist while still studying architecture at the Technische Hochschule in Dresden where he was awarded the 1905 diploma In 1904 he moved temporarily to Munich where he worked in the studio of Wilhelm Debschitz and Hermann Obrist and became acquainted with the woodcut technique through Dürer s work Back in Dresden in June 1905 he was involved together with Fritz Bleyl Erich Heckel and Karl Schmidt Rottluff in creating the revolutionaryminded and intensely active Brücke group His interest in primitive art which he viewed at Dresden s Ethnographic Museum was reflected in both his paintings and the furniture and murals he produced for the studio he shared with Heckel in a former butcher s shop in the working class district of Friedrichstadt In October 1911 Kirchner moved to Berlin where he painted his most significant works and began to enjoy a certain amount of success that led him to be selected for the Armory Show an exhibition of contemporary European art held in New York in 1913 As a result of his contacts with the components of the Munich Expressionist group the members of Die Brücke were included in the exhibition of Der Blaue Reiter The Blue Rider in 1912 Kirchner s conscription in the First World War led to a serious deterioration in his physical and mental health and he was finally declared unfit for service in 1915 and moved to Davos where he lived in isolation for the rest of his life In the Swiss mountains he began to paint again and write art reviews under the pseudonym Louis de Marsalle The advent to power of the Nazis in Germany and

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/309 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    a Norwegian freighter and sailed to South America and in 1951 after obtaining his seaman s licence he embarked on various petrol ships in which he travelled to Venezuela and the Caribbean While in Europe in 1951 Kitaj visited Paris and Vienna where he studied at the Austrian Akademie der Bildenden Künste and later at the Ruskin School of Drawing and Fine Arts in Oxford In 1960 he enrolled at the London Royal College of Art and met David Hockney the sculptor Eduardo Paolozzi and Chris Prater with whom he produced numerous silkscreen prints He gradually became a prominent figure on the London art scene His relationship with Pop Art is reflected in his painting of the time into which he introduced collages of images and texts His first solo exhibition held at London s Marlborough Gallery in 1963 brought him into contact with other figurative painters such as Francis Bacon Lucian FreudMichael Andrews and Frank Auerbach Kitaj held the post of guest lecturer at the University of California Berkeley in 1967 There he made friends with the painter Robert Creeley and the poet Robert Duncan In 1969 he moved to the University of Los Angeles and painted the portraits of numerous film directors of Hollywood where he lived until 1971 the year he returned to London In 1976 the Hayward Gallery in the British capital staged the controversial exhibition on figurative art entitled The Human Clay with which the artist aimed to criticise the dehumanization and sterility of art of the time In 1994 the Tate Gallery in London held a major retrospective of his work which was fiercely attacked by the critics The painter blamed them for the early death of his wife the painter Sandra Fisher who died of a stroke around that time Kitaj s painting

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/310 (2016-02-13)
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