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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    by a visit to the collection of paintings by the mentally disturbed amassed by the psychiatrist and art historian Hans Prinzhorn at Heidelberg University During 1927 and 1928 Lindner lived in Berlin where he witnessed the development of the Neue Sachlichkeit New Objectivity a movement that left an indelible mark on all his subsequent paintings In 1929 he returned to Munich where he married his classmate Elisabeth Schülein and began to work as artistic director for the important firm of publishers Knorr HirthWhen Hitler came to power Lindner like so many other German Jews abandoned his home country and went to live in Paris where he continued to work as a graphic designer until 1939 In 1941 Lindner emigrated to the United States and settled in New York where he began to contribute illustrations to the magazines Fortune Vogue and Harper s Bazaar and soon became the most fashionable graphic designer Despite being granted American nationality in 1948 Lindner never felt fully American though he did consider himself a New Yorker It was precisely in New York where he took up painting comparatively late in life in 1952 The free and cosmopolitan lifestyle of the legendary American city awakened his artistic talent and the subjects of his paintings gangsters prostitutes or people from the theatre circus or music hall were inspired by the underworld around Times Square or taken from American mass culture At a time when Abstract Expressionism was all the rage Lindner s painting went against the current and always kept its distance His pictorial language of vibrant colours and broad planes of colour and his urban themes make him a forerunner of American Pop Art At the same time he owes the critical tone of his paintings to the influence of European art movements such as Neue

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/343 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    He was steered to abstract art by the influence of Malevich s Suprematist ideas which he soon abandoned as he found them excessively mystic He was raised in Vitebsk in an environment deeply marked by the Jewish religion Artistically gifted he sat the entrance examination for the Saint Petersburg Academy of Fine Arts which rejected him as he was Jewish His family sent him to Darmstadt in Germany to study engineering and architectureWhen the First World War erupted he returned to his country of birth where he completed his studies in 1915 El Lissitzky was connected with Jack of Diamonds and other groups of artists concerned with renewal and began to concentrate on illustrating Jewish themes such as Khad Gadya In 1919 Marc Chagall then director of Vitebsk Art School invited him to lecture on architecture and the applied arts There he coincided with Malevich whose Suprematist compositions were instrumental in his shift towards abstraction About 1919 his desire to integrate painting and architecture led him to create his first Proun pictures his chief contribution to the art world They are geometrical compositions with marked spatial and architectural effects in which the artist ignored all the traditional laws of perspective In 1921 he went to Moscow to work at the Higher State Art Technical Studios Vkhutemas where Constructivism was then emerging Lissitzky soon became the bridge between the Suprematism and Constructivist movements in Russia and between these and the other European avant garde movements Lissitzky was also active in the field of architecture and graphic design and strove tirelessly to integrate art into domestic life He is also considered to be a key figure in the design of exhibition space such as the room for Constructivist art for the Internationale Kunstausstellung of 1926 and the Abstraktes Kabinett in the Provinzialmuseum

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/344 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    1882 and took part together with Whistler De Nittis Carrière and Jacques Émile Blanche in the annual exhibitions which took place from that year onward in the gallery of the art dealer Georges Petit Lobre was fascinated by the work of Manet and Whistler as was his fellow pupil Ramón Casas whom he painted and with whom he travelled to Madrid in early 1885 to study the masterpieces in the Prado particularly those of Velázquez In 1887 1888 Lobre showed his work at the first exhibition of the Société des Trente Trois formed by a group of artists and sculptors who classed themselves as independents which took place at the Galerie Georges Petit showing with artists such as Khnopff and Odilon Redon In 1888 Lobre obtained an honorary mention in the Salon and was awarded a travel grant He won the gold medal at the universal exhibitions of Paris in 1900 and Munich in 1905 In 1908 he took part together with artists such as Aman Jean Le Sidaner and Blanche in the Exposition Franco Anglaise at the Palais des Beaux Arts showing the painting Facade of the Palace of Versailles Lobre was made a chevalier of the Légion d Honneur and later an officier He died in Paris in March 1951 A painter of portraits and genre subjects Lobre was most noted for his ability to recreate the mood of interiors and in particular for his prolific body of work devoted to interiors of the Palace of Versailles such as The Vestibule The King s Library The Salon of Madame Adelaide The Dauphin s Bedroom and of the Petit Trianon for example The Salon of Marie Antoinette in the Petit Trianon The Staircase of the Petit Trianon His painting The Salon of Louis XV was given by the French

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/345 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    own speciality the idealised representation of the Lazio countryside This trend saw contributions in particular from Emilian and Northern classicists such as Dughet and Lorrain in fact the former anticipated the taste for arboreal protagonism later extolled by Locatelli himself With commissions from clients as important as the Ruspoli and Ottoboni families by 1715 Locatelli is already documented as an active figure painter in some gouaches with sea views on the ground floor of Palazzo Ruspoli Later he painted sea views which were destroyed for the apartments of Cardinal Ottoboni at the Palazzo della Cancelleria Among the extremely rare dated evidence enabling us to classify his works in chronological order 1721 Landscape with Figures by a Stream unknown location 1725 Landscape with Washerwomen Viterbo Count Savini 1731 Landscape with Rebecca and Eliezer Geneva Musée d Art et d Histoire of great importance are the glorious commissions obtained through Juvarra of views of the Castle of Rivoli still not documented 1723 1725 now in Turin Castello di Racconigi and two overdoors 1735 commissioned by Philip V of Spain for the Chinese room in the Palacio de San Ildefonso in Segovia In 1736 he painted a Landscape with Herds and Shepherds of unknown location a lesser copy of a composition in a Bolognese private collection two years later Locatelli decorated with four landscapes two doors in Palazzo Corsini The diptych of the Národní Galerie in Prague Peasants in Front of an Inn Peasants by the Arch of Titus dates from 1741 the year when Locatelli died ill and destitute Entirely exceptional in the context of his career as a painter of idealised landscapes eighty paintings are mentioned in an inventory of Palazzo Colonna dating from 1783 over twenty were the property of the Barberini family are the very few all on copper

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/346 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Lodi Title Ladon and Syrinx Year ca 1510 Author Giovanni Agostino da Lodi Title Pan and Syrinx Year ca 1510 Biography Listen Giovanni Agostino da Lodi was an Italian painter and draughtsman active in the late 15th and early 16th century He may have trained in Milan where he saw the work of Vincenzo Foppa Leonardo and Bramantino whose style influenced his own as did northern European painting particularly that of Dürer Lodi can be seen as a link between Venice where he is documented as receiving a payment in 1504 and his native Lombardy After his time in Venice he returned to Lombardy where he worked on the Charterhouse at Pavia and later executed the altarpiece for the high altar of Santa Maria della Pace in Milan The Adoration of the Magi and The Baptism of Christ from this altarpiece are now in the Pinacoteca di Brera Milan Bode was the first art historian to group a series of works around an artist whom he termed the Pseudo Boccaccino These paintings had previously been attributed to Boccaccio Boccaccino da Cremona Other writers such as Lucco Natale and Moro subsequently attempted to identify the Pseudo Boccaccino with Giovanni Agostino da Lodi a hypothesis that proved correct and which has been demonstrated by two recent discoveries The first was the presence of Lodi s signature on a painting of Saint Peter and Saint John Brera Milan previously attributed to Boccaccio Boccaccino da Cremona The second was another signature on a drawing of an Allegory of Prudence sold at Sotheby s New York in 1986 The fact that these two works were definitely by Lodi and that their style coincided with that of the Pseudo Boccaccino allowed for a secure identification Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/74 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    family He was largely self taught and during his youth he worked with a decorator painting the outskirts of Paris in his free time An inheritance from his grandmother provided him with a certain degree of financial comfort and independence that allowed him to concentrate fully on paining and to move to Montmartre Here he met Maxime Maufra with whom he remained friends for the rest of his life He enrolled at the École des Arts Décoratifs for a year the only training in colour and drawing which he received In 1888 Loiseau visited Pont Aven with Maufra where he met Henry Moret and Paul Gauguin After this first visit he made frequent trips to the town From 1893 onwards he exhibited at the Salon des Indépendants and after 1895 at the Galerie Durand Ruel In 1894 Loiseau again met Gauguin in Paris where the latter gave him a canvas of a still life At the beginning of this century the artist made a number of journeys along the Seine to Pont Aven and the Channel coast Between 1902 and 1904 he visited Étretat Fécamp and Dieppe Loiseau painted the Seine as it ran through Paris Herblay Marly le Roi and Triel as well as its tributaries especially the Yonne from Auxerre onwards His canvases reveal an interest in depicting the effects of rain frost fog morning mist and overcast skies with the clouds filtering the rays of sun In order to create a more melancholy landscape he always avoided the intense and vibrant light found in the work of the Impressionists During the 1920s Loiseau became interested in still life painting either flowers in this case Gauguin s influence was notable or fish Scenes of Paris in a range of colours that create a vibrant joyful mood also occupy

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/347 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Staff Jobs Transparency h Home Pietro Longhi Biography and Works Author Pietro Longhi Born Dead Venice 1702 1785 Date Works Author Pietro Longhi Title The Tickle Year ca 1755 Biography Listen Son of Alessandro Falca a painter and goldsmith active in Venice Pietro Longhi was the quintessential artist of the Venetian bourgeois classes during the 18th century It is not known why or at what date he changed his surname to Longhi nor is there any surviving documentation on the artist prior to 1732 when he married in Venice According to his son the painter Alessandro Longhi Pietro trained for some years in the studio of Antonio Balestra a follower of Carlo Maratta It has also been suggested that he may have studied with Giuseppe Maria Crespi Nothing is known of the artist s activities between 1734 and 1737 but it was during this period that he abandoned historical compositions in favour of small genre scenes In 1737 Longhi is registered for the first time in the fraglia or painters guild of Venice The chronology of his output is difficult to establish as his works are not dated but it is known that his early genre scenes depicted everyday episodes such as La Polenta Ca Rezzonico Venice and scenes of dances and taverns such as The Drunkard private collection Biella and The happy Couple Ca Rezzonico In 1741 Longhi painted The Concert Gallerie dell Accademia Venice a small format work with a pale harmonious colour range set in the interior of a Venetian palace For the remainder of his career Longhi repeated scenes of this type which brought him fame and renown and his works adorned the palaces of the leading Venetian families Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add to Basket Catalogue

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/348 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    1614 in Sluis near Bruges In 1642 he is documented in Amsterdam where he married Anna Lengele sister of the painter Maerten Lengele During his first ten years in Amsterdam his paintings were notably influenced by the Flemish school in particular the work of Van Dyck Van Loo s paintings of this early period are complex compositions generally on mythological themes In the 1650s he began to paint scenes of galanterie featuring musicians soldiers and young women engaged in conversations games and flirting in which the relationship between the figures is crucial to the narrative content of the work Van Loo s compositions of this type are considered to be among the earliest such genre paintings and inspired similar works by Vermeer During these years his style came close to that of Gerard ter Borch and Nicolaes Maes and together with Gerbrand van den Eeckhout he is considered the creator of the conversation piece Van Loo was also highly esteemed as a portraitist and secured two important commissions in 1658 to paint The Regents and The Regentesses of the Haarlem Almshouse Frans Hals Museum Haarlem In the autumn of 1660 Van Loo was involved in a fight that resulted in a death Accused of murder he fled from Holland and settled in Paris There he continued to enjoy great success and in 1663 was admitted to the Académie Royale as a portrait painter presenting as his entry work a portrait of Michel Corneille the Elder Musée du Louvre Paris Through the eloquence of the gestures and with an almost complete absence of accessories this portrait skilfully conveys the sitter s character Van Loo s two sons Jean and Abraham van Loo became painters and worked in the south of France His descendents continued the family tradition until the 19th century

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/349 (2016-02-13)
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