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American Impressionism

From 04 November 2014 to 01 February 2015

Limited entry numbers. Early booking is recommended

Mary Cassatt
Autumn, 1880 (detail)
Oil on canvas
92,5 x 65,5 cm

Musée des Beaux Arts de la Ville de Paris, Petit Palais, París, PPP00706 © Petit Palais/Roger Viollet

Raoul Dufy

From 17 February to 17 May 2014

Advance booking already available

Raoul Dufy
Open Window, Nice, 1928
Oil on canvas
65,1 x 53,7 cm

The Art Institute of Chicago, Joseph Winterbotham Collection
© Raoul Dufy / VEGAP / Madrid, 2015

Biography and Works

Michele Marieschi
Venice, 1710-1743


Little is known of Marieschi’s training. In the Abecedario pittorico of 1753 his first biographers, Orlandi and Guarienti, state that as a young man Marieschi worked in Germany, but there is no documentary proof of this statement. It is more likely that he began as a designer of theatrical sets and other decorative schemes, although recent research also suggests that the may have trained with the history painter Gaspare Diziani. The first documentary reference to Marieschi refers to his participation in 1731 in the decoration of the Piazzetta in Venice for Carnival

Marieschi. began to work as an independent master from the second half of the 1730s. He is only recorded in the fraglia or painters’ guild in Venice for five years, from 1736 to 1741. Initially, and influenced by the work of Marco Ricci and Luca Carlevarijs, Marieschi painted capriccios, including the early examples Capriccio with classical Ruins and Bridge and Capriccio with Roman Arch and Encampment (Museo Civico Gaetano Filangeri, Naples). Shortly after this period Marieschi also turned his attention to view paintings, undoubtedly encouraged by Canaletto’s growing success in this field

The. chronology of Marieschi’s output is difficult to establish as the only recorded dates for his works are those of the twelve compositions painted between 1736 and 1738 for Marshal Schulenburg, his most important client. In 1741 Marieschi published a series of prints including a self-portrait and twenty-one views of Venice entitled Magnificentiores selectioresque urbis Venetiarum prospectus. He died young at the age of thirty-two. His most gifted pupil and follower was Francesco Albotto


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