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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Suess von Kulmbach was born around 1485 probably in Kulmbach in Upper Franconia from where he took his name According to Johann Neudörfer 1875 the first biographer of the Nuremberg artists Kulmbach initially trained with the Venetian painter and printmaker Jacopo de Barbari who was in Germany between 1503 and 1504 working as official painter to Frederick the Wise Prince Elector of Saxony It would seem that having completed his apprenticeship Kulmbach moved to Nuremberg to Dürer s studio Joachim von Sandrart wrote in his Teutsche Akademie of 1675 that Kulmbach s talents resulted in his rapid promotion in the studio and that Dürer appreciated him and used him for various projects He became a citizen of Nuremberg in 1511 but his early drawings suggest that he was already present in that city around 1504 or 1505 The Adoration of the Magi Gemäldegalerie Berlin of 1511 is the first work to include the mongram HK suggesting that it was around this date that Kulmbach became an independent master and ran his own workshop Over the following years the artist focused on the production of altarpieces a field previously dominated by Michael Wolgemut and his workshop became the leading one in Nuremberg In 1513 he executed his most important work in the form of a votive painting of large size dedicated to Lorenz Tucher church of Saint Sebald Nuremberg considered by many art historians to be one of the best and most perfect works of the German Renaissance In addition to religious painting Kulmbach painted portraits of which only a few have survived He was also a leading designer of stained glass windows and was responsible for the new popularity of this medium in Nuremberg Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/319 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    František Kupka Title Syncopated Backing Staccato Year ca 1928 1930 Biography Listen Frantisˇek Kupka one of the pioneers of abstraction was born in a small town in east Bohemia and trained as an artist in Prague and Vienna He settled in Paris in 1896 earning his living as an illustrator for a time In the French capital he found an environment that was more conducive to the development of his painting and was exposed to the influence of Neo Impressionism Symbolism and ModernismWhen Cubism burst onto the art scene Kupka kept his distance although he began to mix with a few artists belonging to this movement particularly the brothers Jacques Villon and Raymond Duchamp Villon who lived in his town Puteaux He played an active part in their discussions about simultaneity in art the depiction of movement and the Bergsonian philosophy of time that was in vogue during those years but was never involved in the group s activities Independent by nature Kupka gradually shaped his personal nonobjective vision of art and as early as 1912 caused a sensation at the Paris Salon d Automne with his series entitled Amorpha the first totally abstract works to be publicly shown His abstraction full of philosophical meanings and intentions comes close to music and the theories on the surge of energy In 1923 he published La Création dans les arts plastiques an essay expressing his conviction that art was a mechanism for creation on the fringes of nature and like music could be expressed through formal values Kupka played an active role in the First World War and he and his wife sought refuge in Beaugency beside the Loire during the Second World War Although his work was exhibited on a few occasions Kupka spent almost his entire life in dire financial

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/320 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    with changes of address in 1855 1856 1857 and 1866 However in the register of the Annual Exhibition of the National Academy of Design he appears as being resident from 1867 to 1869 in Hoboken New Jersey His works were exhibited in the National Academy of Design between 1863 and 1870 among them are still lifes with flowers and fruit as well as a few landscapes The profile of this unknown artist was revealed by William H Gerdts who in 1971 and 1981 analysed him in the ample context of American still life painters and in particular in an extensive monographic article published in 1972 in Antiques Magazine Among his known early works are a study with bunches of grapes private collection and a still life dated in 1860 in New York These initial paintings by Lacroix are composed with simple and austere lines which became more ambitious at the end of the 1860s In his works the influence of two artists is recognisable that of Jean Baptiste Siméon Chardin 1699 1779 and of Severin Roesen documented between 1815 and 1872 Lacroix probably drew inspiration from Chardin from his indoor kitchen scenes and still lifes when he chose the sober stone table tops on which he placed his objects fruit and vegetables To Severin Roesen his contemporary he owed concrete details as well as very characteristic composition schemes which turn some of his paintings into copies of Roesen s works Some of Lacroix s drawings of views of European cities such as Geneva Chamonix and Bourg as well as some of his notebooks are kept at the New York State History Collection in Albany Lacroix signed many of his paintings and dated a significant number of them thanks to that it has been possible to draw up a catalogue and

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/321 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    studio of Alvarez de Sotomayor and attended the Academia Libre de Paisaje The works exhibited at the Prado and at the Archaeological Museums had a great impact on him as did the art of Anglada and Zuloaga He travelled around and painted landscapes still lifes and portraits In 1931 both his wife and son died of tuberculosis and this event provoked in him a bitter crisis As a result Lam began to paint maternity scenes in oneiric surroundings During the Spanish Civil War he volunteered on the republican side but he fell ill and spent his convalescence at the spa of Caldes de Montbui near Barcelona In 1938 he moved to Paris where he befriended Picasso whom he greatly admired and who introduced him to his circle and to the gallery owner Pierre Loeb In 1940 with the arrival of the German army Lam fled to Marseilles where he met Breton again whose poem Fata Morgana he illustrated With him and with Lévi Strauss he sailed to America but before he managed to reach Cuba he was detained in a concentration camp in Martinique In 1942 Breton wrote the presentation of his exhibition at the Pierre Matisse Gallery in New York By then in his art Lam had fused Surrealism and his Afro Cuban background the totemic force of santería and the exuberance of the Caribbean flora After 1946 his art became more mature Lam spent some time in Tahiti and Breton dedicated to him La nuit à Haà ti He shared his life between Paris New York Havana and Albisola in Italy obtaining international acknowledgement In 1955 he met Lou Laurin who became his third wife In the 1960s there were important retrospective exhibitions of Lam s works and he organised activities in revolutionary Cuba such as the Parisian

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/322 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    in the field of printmaking shortly afterwards moving to the studio of the minor history painter Pierre Dulin In 1708 he is registered as a student at the Académie Royale de Peinture et Sculpture in Paris It is not known however at what date he entered the studio of Claude Gillot who was also Watteau s master During this period of his career Lancret abandoned history painting to focus on scenes of fêtes galantes While he never studied with him directly he based himself closely on Watteau particularly at the outset of his career In 1719 Lancret was admitted to the Académie Royale in the category of painter of scenes of galanterie created some years earlier for Watteau Lancret s style gradually became more individual particularly with regard to his use of colour and his tones became livelier based on a combination of chalky yellows and bright crimsons that became a distinctive sign of his work He also explored new themes such as allegorical cycles or portraits in the guise of genre scenes His work was an important reference point for painters such as François Boucher William Hogarth and Thomas Gainsborough In the 1720s and following the death of Gillot and Watteau Lancret became the leading genre painter in France He was a prolific painter and is considered to have produced around 700 works His most important patron was Louis XV who commissioned a large number of works from the artist for royal residences throughout Lancret s career Another admirer of his work was Frederick the Great who owned at least 26 of his paintings Lancret s compositions were widely known through reproductive prints which were in themselves extremely successful commercially Lancret was also a collector and assembled an interesting group of drawings and paintings by Old Masters and contemporary

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/323 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Lane Born Dead Gloucester 1804 1865 Date Works Author Fitz Henry Lane Title The Fort and Ten Pound Island Gloucester Massachusetts Year 1847 Biography Listen Fitz Henry Lane was a representative of Luminism a painting trend that emerged in the United States in the mid nineteenth century and sought to depict landscape with particular attention to the brightest effects of light He trained as a lithographer with the prestigious Boston firm William S Pendleton but soon took up oil painting around 1840 In the city he met Robert Salmon an English born painter of seascapes whose luminous highly detailed painting greatly influenced him Lane first travelled to Maine in the summer of 1848 with his great friend the Gloucester merchant Joseph Stevens He made numerous visits to Maine throughout his life and portrayed its characteristic landscape in many of his paintings That same year Lane settled permanently in Gloucester where together with his sister and brother in law he had a huge granite mansion built in Duncan s Port overlooking the small fishing port Thereafter views of Gloucester and Cape Ann as well as those painted during his spells in Maine monopolised his entire output During the final years of his career Lane depicted a series of works on Brace s Rock which are regarded as the culmination of his Luminist painting Lane s compositions were characterised by their simplicity and discreet size rendered in a perfectionist and finished style that is concerned with capturing the radiant effects of light and atmosphere in minute detail causing time to appear to stand still in his works 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 to the shop Recommended artists Martin Johnson

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/324 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    A foremost member of the pre First World War Russian avant gardeMikhail Larionov together with Natalia Goncharova was the initiator of Rayonism a non figurative style closely connected with Italian Futurism He trained at the Moscow School of Painting Sculpture and Architecture where he met Goncharova his lifelong companion In 1908 Larionov was involved in the preparations for The Golden Fleece exhibition where the French Post Impressionist and Fauvist works aroused his interest Larionov s style changed giving priority to vibrant colours and thick brushstrokes which he would later use as a tool for creating a Neo Primitivist art In 1910 he was a founding member of the Jack of Diamonds which he left to set up The Donkey s Tail in 1912 Around this time when he began to frequent the company of the country s literary avant garde he produced his first Rayonist compositions and wrote three manifestos expounding the theories that underpinned the movement In 1914 Larionov visited Paris to attend the premiere of Serge Diaghilev s ballet Le Coq d or for which Goncharova had designed the stage scenery He joined her in collaborating with Diaghilev and together they travelled with the company to Switzerland Spain and Italy in 1916He settled permanently in Paris in 1919 During the years that ensued he continued to work with Diaghilev and was Goncharova s representative as he had been in RussiaWhen Diaghilev died in 1929 Larionov devoted himself more intensely to figurative painting in oils Larionov s last years were marked by financial straits and precarious health A series of exhibitions contributed to the recognition of the important role played by him and his lifelong companion Goncharova in the development of the twentieth century avant garde They married at last in 1955 and in 1964 two years after Goncharova

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/325 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    artist and as a child executed drawn portraits of tourists who visited his father s tavern in Devizes In 1780 he moved with his family to the spa town of Bath where he continued to be active and became the principal source of the family s income At the age of seventeen he left for London where he studied for three months at the Royal Academy although he can be considered almost self taught In 1790 he painted a portrait of Queen Charlotte National Gallery London his first royal portrait That same year Lawrence executed one of his masterpieces the portrait of Elizabeth Farren The Metropolitan Museum of Art New York The success of these first portraits led him to become the most fashionable artist in that genre among the British aristocracy After the death of Reynolds in 1792 Lawrence became court painter and two years later was made a member of the Royal Academy From 1815 the Prince Regent who elevated Lawrence to a knighthood became his principal client and the artist executed an ambitious work for the Prince consisting of a series of portraits of leading military figures and heads of state of the nations allied against Napoleon The first works in this series were painted in London in 1815 but Lawrence continued to work on it on until 1825 and travelled to the various European cities where the post war congresses were held including Aachen Vienna and Paris These portraits are now in the Waterloo Chamber in Windsor Castle UK In 1819 Lawrence travelled to Rome on the instructions of the Prince Regent to paint a portrait of Pope Pius VII Royal Collection London When the Regent ascended to the throne as George IV Lawrence was elected president of the Royal Academy remaining in office until his

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/326 (2016-02-13)
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