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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    contact with the intellectual milieu of German Expressionism and his subsequent work came close to geometric abstraction and Surrealism at various times Klee was born near Berne into a family of musiciansMusic was fundamental to both his life and his oeuvre He trained as an artist in Munich where he was involved with Der Blaue Reiter The Blue Rider together with Wassily Kandinsky Franz Marc August Macke and Alexej von Jawlensky In the city then one of the most advanced centres of art he developed an interest in the international avant garde which drove him to pay the de rigueur visit to Paris where he was particularly impressed by the work of Robert Delaunay In 1914 he travelled to Tunisia with Macke and Louis Moilliet The light of North Africa led him to discover colour which became the main subject of his artistic investigations thereafter He was conscripted during the war but carried on painting particularly watercolours in a luminous style and with a certain Expressionistic air From 1921 to 1931 he lectured at the Bauhaus first in Weimar and later in Dessau These were the most fruitful years in his artistic career as his pictorial language became firmly established and his work began to be known Despite his independent streak the constructive spirit of the Bauhaus influenced his output particularly during the Dessau period In 1928 he travelled to Egypt whose scenery inspired the striated compositions which were related to his theory of horizontal and vertical structures and led him to incorporate hieroglyphics and inscriptions into his painting From 1931 to 1933 he lived in Düsseldorf where he worked as a lecturer at the Akademie Following the arrival of Nazism and the branding of his art as degenerate he had to flee Germany and return to Berne where he

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/311 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Kliun Title Composition Year 1917 Biography Listen Ivan Kliun was connected with the Russian avant garde movements and collaborated with the governmental artistic initiatives that followed the 1917 Revolution Kliun studied in KievWarsaw and Moscow and was interested in Symbolism He met Kazimir Malevich in 1907 and the friendship that sprang up between them was decisive in his subsequent artistic development He was a member of the Union of Youth and took part in the last exhibition held under that title in Saint Petersburg in the winter of 1913 14 His work later evolved towards forms that came close to Cubism and Futurism and he sought to go beyond the conventional boundaries of art producing a series of reliefs that combined pictorial and sculptural techniques His creations were present in the main Russian Futurist exhibitions such as Tramway V and 010 The Last Futurist Exhibition of Paintings in which Malevich first showed a Suprematist work At this point from 1915 until 1919 Kliun embraced the movement promoted by Malevich His Suprematist works were compositions in small format featuring isolated geometric shapes against a white background In 1918 Kliun played an active part in decorating the city of Moscow for the celebrations marking the first anniversary of the Revolution and until 1921 he taught at various educational establishments set up by the new political authorities such as the Free State Art Workshops called Svomas and later renamed Vkhutemas In 1927 he was appointed director of the central exhibitions office of the Department of Visual Arts of the People s Commissariat for Enlightenment IZO Narkompros After these years spent teaching and working in the public sector as well as conducting various experiments in the field of art Kliun focused his interest on returning to a purist figurative art Search Advanced search Featured

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/312 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in 1442 Koerbecke appears in documents as a painter with a prominent social position It is also known that he ran a successful family workshop and that he had a significant number of apprentices and assistants Between 1440 and 1460 Koerbecke was a member of the confraternity of Our Lady of Saint Egidius in Munster Among the first works attributed to the artist are two panels with scenes of the Passion dated to around 1450 Westfälisches Landesmuseum Munster painted for the collegiate church at Langenhorst Also associated with that church are two paintings of Saint John the Baptist and Saint George or Saint Christopher and finally another three that were part of an altarpiece dedicated to Saint John the Baptist now divided between the Munster Museum and the Rijksmuseum Meermanno Westreenianum The Hague Koerbecke s most important and characteristic work of his mature phase is the altarpiece for the abbey church in Marienfeld installed in 1457 now divided between various collections including the Art Institute of Chicago the Musée Calvet Avignon the Museo Thyssen Bornemisza Madrid and the National Gallery of Art Washington All these panels were identified as part of the altarpiece on the basis of a drawing of it by the painter Johann Christoph Rincklake 1764 1813 Koerbecke s style reveals the influence of Netherlandish painting as well as that of the painter Konrad van Soest His compositions are notable for the construction of the perspectival space the realistic landscapes and confident rendering of the human body With regard to the latter Koerbecke was evidently influenced by late Gothic art and the work of the Master of Schöppingen His death on 13 June 1490 is noted in the registry of deaths of the Cistercian monastery of Marienfeld but his workshop continued active under Hermann one of his sons

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/313 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in the early 1900s in turn of the century Vienna in the legendary period that witnessed an unprecedented flourishing of the arts during the final years of the agonizing Austro Hungarian empire In 1904 Kokoschka enrolled at the Kunstgewerbeschule an institution linked to the Jugendstil where he stood out for his independent rebellious spirit In 1908 he began to collaborate with the Wiener Werkstätte whose publishing company brought out his first illustrated book Die träumenden Knaben The Dreaming Boys which featured texts and free verse and colour lithographs During his youth he combined his activity as an artist painting chiefly portraits of the Viennese intelligentsia with that of a writer His pictures and his two plays Sphinx und Strohmann Sphinx and Strawman and Mörder Hoffnung der Frauen Murderer Hope of Women now considered to be the seminal works of German Expressionist theatre caused a huge scandal at the Internationale Kunstschau of 1909 In 1910 Kokoscha lived for a time in Berlin where he contributed to Herwarth Walden s review Der Sturm and had a tortuous love affair with Alma Mahler which deeply marked him During the First World War he suffered a serious injury from which he did not recover until years later He lectured at the Dresden Kunstakademie from 1919 to 1922 and later travelled around Europe Africa and the Orient Around this time he began to be appreciated as an artist and his paintings started to be exhibited in prestigious museums When the Nazis came to power his work was confiscated and declared degenerate as a result of which he went to live in Prague where he met Olga Pavlovska who later became his wife The Nazi advance led him to flee to England in 1938 and he became a British citizen in 1947 Kokoschka returned to Austria

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/314 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in landscapes portraits genre scenes and history paintings Koninck s father was a silversmith and one of his brothers a painter and it is known that he trained within the family circle receiving his first lessons in painting from his brother Jacob in Rotterdam around 1637 Koninck s earliest works have been dated to around 1639 and reveal an interest in portraiture In 1640 he married Cornelia Furnerius sister of the painter Abraham Furnerius whose drawings are closely comparable to those of Koninck According to the Dutch writer on art Arnold Houbraken Koninck completed his training in Rembrandt s studio in Amsterdam It is evident that in the 1640s Koninck was influenced by Rembrandt with regard to colour line and use of light while the style of Hercules Segers is also to be detected in his work Over the following decade Koninck evolved his own distinctive manner and specialised in panoramic views in which he depicted sweeping areas of landscape from a high viewpoint During these years he was active on the art market and in 1647 married again to Margaretha van Rijn Like many other Dutch painters Koninck had a second profession and was the owner of a prosperous shipping enterprise sailing between Amsterdam and Rotterdam an activity that brought him healthy profits It seems likely that as a result of this activity he abandoned painting and his last works probably date from no later than 1670 Koninck s late landscapes are more idealised and many of them include elegant pastoral figures His major contribution to the genre was the panoramic view inspired by Gelderland Koninck was highly regarded during his lifetime and writers such as Joost van Vondel and Jan de Vos devoted texts to him albeit praising his activities as a portraitist rather than a landscape painter

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/315 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    of the second half of the twentieth century De Kooning trained at the Academie van Beeldende Kunsten in Rotterdam his city of birth worked in a decoration and advertising firm and travelled around the Netherlands and Belgium before arriving in the United States as a stowaway in 1926 He moved to New York in 1927 and soon met John Graham Stuart Davis and Arshile Gorky In 1936 the Works Progress Administration hired him to work on its art project and only then was he able to devote himself exclusively to painting His initial abstract still lifes and depictions of male figures gave way to works centred on women in 1938 the year he met his future wife the painter Elaine Fried These female figures trace the progressive evolution of De Kooning s work which had become more biomorphic from the end of the 1930s owing to the influence of Miró Arp and Picasso These first women paintings were shaped from increasingly fragmented uneven planes and surrounded by a geometrical background Their unfinished nature and emphasis on drawing attest to the influence of Surrealism at this point in the artist s career Throughout the 1940s De Kooning took part in numerous group exhibitions with other artists of the New York School and in 1948 the Egan Gallery held his first one man show At the beginning of the 1950s he started on another series of women paintings in large format which caused a sensation when they were shown at the Sydney Janis Gallery in 1953 on the one hand they were considered perverse and sexist and on the other they were criticised for the figuration that De Kooning never entirely abandoned From 1955 onwards the women in his works gradually merged with the surrounding landscape culminating in the series of Abstract

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/316 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Home Leon Kossoff Biography and Works Author Leon Kossoff Born Dead London 1926 Date Works Author Leon Kossoff Title Booking Hall Kilburn Underground Station No 1 Year 1976 Biography Listen Associated with the British figurative movement known as the School of London the painter Leon Kossoff has maintained the same style and themes throughout his artistic career The son of Russian emigrants of Jewish origin Kossoff studied at Saint Martin s School of Art from 1949 to 1953 and at the Royal College of Art from 1953 to 1956While studying from 1950 to 1952 he also attended night classes taught by David Bomberg at the Borough Polytechnic where he met Frank Auerbach His work was first displayed in a one man show at the Beaux Arts Gallery in London in 1957 and he exhibited regularly at the gallery until 1964 During the 1960s he taught at Regent Street Polytechnic the Chelsea School of Art and Saint Martin s School of Art dividing his time between this activity and painting From the outset Kossoff developed a highly material technique and has broadened his palette over the years from the earth shades of the early days He paints chiefly portraits always of people belonging to his close environment such as family members and friends nudes the sitter is generally his wife Rosalind or a model called Fidelma and scenes of London usually places he has lived in which he populates with the same people depicted in his portraits He has been a lifelong admirer of the oeuvre of the Great Masters and his works sometimes include references to the paintings of Titian Rubens and Rembrandt 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/317 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    became a cartoonist beginning his career at the Wasp in San Francisco In 1901 he went to Paris to attend the Académie Colarossi and then to Munich where he studied with Heinrich von Zügel at the Academy of Art He travelled around Italy and Holand and returned to New York in 1903 He continued his career as a cartoonist and caricaturist for magazines such as Puck Judge Life and The New York World and got involved in the theatre and vaudeville show business He came across the realist artists close to Robert Henri and although he did not belong to his closest circle Kuhn together with Henri and with John Sloan organised an Exhibition of Independent Artists held in 1910 in opposition to the National Academy s Spring exhibition In 1911 the American Association of Painters and Sculptors was founded and its direction fell on Kuhn and Arthur B Davies From the Association came the idea of organising a more ambitious exhibition which would show works from the modern European and American trends The promoters of this project were Kuhn in the capacity of executive secretary and Davies as director In 1912 Kuhn travelled to various European cities visiting first Cologne to attend the Sonderbund which would serve as a model for the Armory Show exhibition held in New York in 1913 Gradually Kuhn established his career and dedicated himself simultaneously on the one hand to the painting of figure studies and still lifes and on the other to projects linked to the world of theatre such as designing acts sets and fashion plates for vaudeville shows an activity which increased in the 1920s Later he began to make portraits of circus and variety show performers and continued to do so until the end of his life In 1925 he

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