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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    born in 1604 or 1605 in Chamagne a small village in the independent duchy of Lorraine He was orphaned at an early age and moved to Freiburg im Breisgau with his eldest brother Around 1613 he travelled to Rome and shortly afterwards to Naples where he studied for two years with the landscape painter Gottfried Wals Claude then returned to Rome and completed his training in the studio of Agostino Tassi From 1620 he spent time living in Naples Nancy and Venice but in 1627 is again documented in Rome where he remained for the rest of his life In the 1630s Claude began to achieve considerable fame as a landscape painter and by around 1638 had a large number of commissions and clients including Pope Urban VIII Philip IV of Spain Cardinal Bentivoglio and other ecclesiastical and aristocratic figures Claude became a celebrated artist and was widely imitated during his own lifetime For this reason he created a pictorial record of his compositions in a book known as the Liber Veritatis British Museum London In it he drew reproductions of 200 of his paintings and annotated the names of their owners and dates of sale In addition to the influence of his master Tassi Claude s work reveals the importance of Flemish and Dutch painting Claude developed a type of landscape that captured the truth and beauty of nature and he was together with Poussin of outstanding importance for French Baroque painting Claude s views based on the Roman Campagna often include pastoral scenes and are idealised depictions of nature in which order and beauty prevail In these compositions the artist focused on atmospheric effects and the changing light at the different times of the day His work remained highly influential until the 19th century and was fundamental for

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/350 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    until it became one of the most active in Florence His work particularly in its early phase reveals the influence of Gentile da Fabriano While he remained faithful to the tenets of Trecento art Bicci di Lorenzo updated his style and incorporated Renaissance decorative motifs The result was a traditional archaic manner that remained in used until the mid 15th century and responded to the taste of his patrons Between 1385 and 1408 Bicci di Lorenzo was registered in the Arte dei Medici e Speziali His first known dated work is the Annunciation Triptych 1414 in the church of San Lorenzo a Porciano in Stia in the province of Arrezzo now in the church of Pieve di Santa Maria Assunta also in Stia Many of his works are documented including the frescoes for San Ambrosio Florence 1421 the triptych for Pieve de Empoli 1423 various frescoes for Santa Croce in Florence 1427 1433 and 1441 the paintings for the Compagni chapel 1434 and an altarpiece for Santa Trinità in Florence 1437 now in London Westminster Abbey We also have concrete references to other works including the polyptych for the church of San Niccolò di Cafaggio 1433 and the frescoes for Santa Trinità and the Duomo 1439 1440 the latter two projects in Florence Late in his life Bicci di Lorenzo worked with Domenico Veneziano in the Florentine church of San Egidio and subsequently collaborated with Andrea del Castagno In 1445 he began the frescoes for the church of San Francesco in Arezzo but was not able to complete them for reasons of poor health Bicci di Lorenzo who died in Florence in 1452 was undoubtedly one of the most prolific painters of the first half of the 15th century His workshop continued to function after his death and was run

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/70 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Portrait Year Author Lorenzo Lotto Title Saint Joseph and the Virgin s Suitors Year ca 1508 Biography Listen Lotto is one of the most extensively documented 16th century painters thanks to his Libro di spese diverse Account Book the letters he wrote to the Consorzio della Misericordia Maggiore in Bergamo and the fact that he signed and dated all his works Lotto worked in Treviso The Marches Bergamo and Venice He trained in the latter city possibly in the workshop of Alvise Vivarini or with Giovanni Bellini He assimilated the style of Giorgione and Titian and of Dürer and Holbein while his work also reflects the importance of Raphael with whom he worked in the Vatican Lotto painted religious and mythological compositions but it was his portraits that were particularly celebrated Highly innovative within this genre Lotto was the first to use the three quarter format and also introduced variations in the design and composition through the use of a horizontal format In addition his portraits focus on the inner character of the sitters and deploy symbols and allegories that are now difficult to interpret In 1506 he is documented in Recanati where he painted the Polyptych of the Virgin and Child with Saint Pinacoteca Comunale Recanati In 1508 summoned by Pope Julius II Lotto left for Rome to work in the Vatican In 1513 he painted the Pala Martinengo for the church of San Bartolomeo and also executed a fresco cycle for the Suardi Oratory in Trescore and the Saint Anthony Altarpiece for the church of SS Giovanni e Paolo in Venice Lotto also produced portraits and small format works for private clients such as the Portrait of Andrea Odoni Royal collection Hampton Court UK Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover Add

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/353 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Baltimore from 1927 to 1932 the year the Works Progress Administration commissioned him to paint a mural at a state school in his city of birth In this mural and those he subsequently executed in Washington and New York Louis addressed themes related to the world of work in a style that recalled the oeuvre of Max Beckmann While living in New York from 1936 to 1940 Louis changed his name came into contact with Arshile Gorky and David Alfaro Siqueiros and took part in the experimental workshops organised by Siqueiros There he became acquainted with the use of enamel paints By the time he returned to Baltimore in 1940 his works had Surrealist reminiscences and in 1947 the year he married and went to live in Washington he began to use synthetic resin which enabled him to achieve colours with a luminous transparency At the Washington Workshop Center of Arts where Louis worked as a teacher he came into contact with Kenneth Noland Through Noland he met Greenberg and together they visited numerous New York galleries keenly viewing the works of American artists particularly Jackson Pollock A turning point in Louis s painting came in 1953 when he visited the workshop of Helen Frankentaler and was fascinated by a canvas without a stretcher placed on the floor to which she had applied greatly diluted paint Back in Washington Louis and Noland experimented with various painting techniques and their application In 1954 he started on the series of Veils canvases in which he achieved the interpenetration of colours in the manner of watercolour by using finely applied patches of acrylic paint Starting in 1960 he produced his series of Florals Columns and Unfurleds consisting of parallel strips of colour framing the blank central area of the canvas In his series

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/354 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    The Outskirts of Rolleboise seen through the Trees Year ca 1920 1930 Author Maximilien Luce Title Rolleboise Resting under a Tree Year ca 1925 Author Maximilien Luce Title Rolleboise the Entrance of the Village Year 1930 Biography Listen Maximilien Luce was born in Paris on 13 March 1858 He began to study art specialising in printmaking in Hildebrand s studio where he completed his training in 1876 He then he started to work with Eugène Froment engraving plates for publications During his military service he continued in this field with Lanà on and Froment and also attended Carolus Duran s studio to paint In the mid 1880s Luce became interested in Seurat s techniques He held his first exhibition in 1887 showing seven works at the third Salon des Indépendants From 1889 onwards Luce exhibited with some regularity in Brussels first in the Salon des XX and after 1895 in La Libre Esthétique In 1892 he visited Signac in Saint Tropez and in 1893 went to Brittany whose harbours and coastline would be the subject of his canvases Landscape dominates Luce s production During the early years of the 20th century he painted portraits and floral still lifes while he abandoned neo Impressionist techniques in favour of a much freer handling During most of his career he worked as an illustrator on a series of socialist and anarchist publications such as Père Peinard La Révolte and La Voix du Peuple In 1907 he travelled to the Netherlands with Kees van Dongen visiting and painting several cities including Amsterdam and Rotterdam Scenes set in furnaces where he depicted the work of rolling mill operators welders and other working men also occupy an important place within Luce s oeuvre During the 1920s he painted landscapes of Paris and Rolleboise In 1935 he

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/356 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Italian painter and draughtsman of the generation of Lombard painters active around 1500 that was influenced by Leonardo and Raphael combining the innovations of the High Renaissance with elements of the Milanese tradition to create the Lombard Renaissance school The scarcity of documents on Luini s life has made it difficult to establish he chronology of his works According to Lomazzo in his Trattato dell arte de la pittura scultura et architettura 1585 Luini trained with Gian Stefano Scotto a little known artist who worked in Milan cathedral between 1485 and 1520 Vasari mentions Luini among Leonardo s Milanese followers In Di Lucio Vitruvio Pollione de architectura libiri dece of 1521 Cesariano mentions a trip by Luini to Rome although he does not provide a date There he would undoubtedly have seen the work of Raphael which he seems to have known Luini s work also reveals the influence of other Milanese painters such as Foppa Bergognone Solario Bramantino and Zenale His first known work is the polyptych with The Virgin and Child The Annunciation and God the Father in the parish church of Maggianico Como painted shortly after 1510 It reveals the principal features of his style namely the use of archaic elements derived from 15th century art with the innovations of Leonardo and Raphael Between 1529 and 1532 Luini executed his most ambitious work a monumental fresco on the theme of Christ s Passion painted for the church of Santa Maria degli Angeli in Lugano Among the artist s admirers was Cardinal Federico Borromeo who owned the largest collection of his works and commissioned copies of numerous others Luini s paintings were popular among critics and collectors from the 18th to the late 19th century Search Advanced search Featured Products Catalogue of the Madrid Realists exhibition Spanish Hardcover

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/357 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    Biography Listen Corneille de Lyon was a Dutch painter active in France It is not known if he trained in his native city of The Hague or in Antwerp The first reference to the artist dates from 1533 when he is documented in Lyon It was probably at this period that he became painter to Queen Eleanor of Austria second wife of François I In 1541 the artist entered the service of the Dauphin and when the latter was crowned Henri II in 1548 Corneille de Lyon became Painter to the King One year later he acquired French nationality which he retained for the remainder of his life Corneille de Lyon married Marguerite Fradin daughter of a leading printmaker in Lyon a circumstance that gained him access to the city s artistic circles His three sons Corneille II Jacques and Clemence became painters creating a dynasty of artists that continued until the 17th century The discovery of the Portrait of Pierre Aymeric and its acquisition by the Louvre has facilitated a reconstruction of this artist s work The portrait which has an inscription by the sitter on the reverse recording the name of the artist and date has allowed for the attribution of a group of portraits of anonymous sitters that were previously ascribed to anonymous artists These works indicate Corneille de Lyon s activities as painter to the middle classes and are more expressive less rigid images than his portraits of the royal family In general Corneille de Lyon s work falls within the tradition of the smallformat portrait in particular the style of Jean Perréal His work also reveals affinities with the work of his contemporary François Clouet Both artists looked to northern art and were interested in a naturalistic approach Search Advanced search Featured Products Catalogue of

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/138 (2016-02-13)
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  • El Museo de arte Thyssen-Bornemisza - (Paseo del Prado, 8, Madrid-España)
    August Macke was one of the leading members of the German Expressionist group Der blaue Reiter The Blue Rider He lived during a particularly innovative time for German art which saw the development of the main German Expressionist movements as well as the arrival of the successive avant garde movements which were forming in the rest of Europe Like a true artist of his time Macke knew how to integrate into his painting the elements of the avant garde which most interested him Macke lived most of his creative life in Bonn with the exception of a few periods spent at Lake Thun in Switzerland and various trips to Paris Italy Holland and Tunisia In Paris where he travelled for the first time in 1907 Macke saw the work of the Impressionists and shortly after he went to Berlin and spent a few months in Lovis Corinth s studio His style was formed within the mode of French Impressionism and Post impressionism and later went through a Fauve period In 1910 through his friendship with Franz Marc Macke met Kandinsky and for a while shared the non objective aesthetic and the mystical and symbolic interests of Der blaue Reiter Macke s meeting with Robert Delaunay in Paris in 1912 was to be a sort of revelation for him Delaunay s chromatic Cubism which Apollinaire had called Orphism influenced Macke s art from that point onwards His Shops Windows can be considered a personal interpretation of Delaunay s Windows combined with the simultaneity of images found in Italian Futurism The exotic atmosphere of Tunisia where Macke travelled in 1914 with Paul Klee and Louis Moillet was fundamental for the creation of the luminist approach of his final period during which he produced a series of works now considered masterpieces Macke s

    Original URL path: http://www.museothyssen.org/en/thyssen/ficha_artista/358 (2016-02-13)
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