museo - Turespaña

MUSEO
DEL
PRADO
M U S E O
T H Y S S E N –
B O R N E M I S Z A
With the collaboration of the:
PRADO MUSEUM
THYSSEN-BORNEMISZA MUSEUM
CENTRO DE ARTE REINA SOFÍA NATIONAL MUSEUM
MINISTERIO DE
INDUSTRIA,TURISMO
Y COMERCIO
SECRETARÍA DE
ESTADO DE TURISMO
Y COMERCIO
SECRETARÍA
GENERAL DE TURISMO
TURESPAÑA
I
Sevilla
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PA S E
Murcia
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Serrano
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Calle
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Bustamante
Calle
17
Ramírez
Pardo
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4. Madrid Municipal Museum
Otros
Museos
5. Romantic
Museum (Museo Romántico)
(closed temporarily)
(Museo
Cera)
6. Waxworks
4. Museo
Municipal
dede
Madrid
5. Museo
7. BookRomántico
Museum (Museo del Libro)
6. Museo
de Cera
8. National
Archaeological Museum
7. Museo
del Libro
9. Museum
of the Royal Academy of Fine Arts of
8. Museo Arqueológico Nacional
San Fernando
9. Museo
de la Real Academia
10.
Telegraphic
Museum (closed temporarily)
de Postal
Bellasand
Artes
de San Fernando
10.11.
Museo
Postal
y Telegráfico
National
Gallery
of Decorative Art
11.12.
Museo
Naval Nacional
Museum de Artes Decorativas
12.13.
Museo
Naval
Lope de
Vega
13. Museo del Ejército
House-Museum
14. Museo
Casa de Lope de Vega
Madrid
Royal
15.14.
Real
Jardín
Botánico de Madrid
16. Museo
Nacional
de Antropología
Botanical
Gardens
17.15.
Museo
Nacional
de Ciencia y Tecnología
National
Anthropological
18. Museo
del Ferrocarril
Museum
16. National Science and
Technology Museum
Teatros
17. Railway Museum (Museo del Ferrocarril)
Sorolla
Museum
1. 18.
Teatro
Lara
2. Teatro María Guerrero
Centres
3. Cultural
Teatro Marquina
4. Teatro
Muñoz
Seca
1. Villa de Madrid
Cultural Centre
5. Teatro Alcázar
2.
National
Library
6. Teatro Bellas Artes
(Biblioteca
Nacional)
7. Teatro
de la Zarzuela
8. Teatro
Victoria
3. CasaReina
de América
9. Teatro
4. Fine Albéniz
Arts Circle (Círculo de Bellas Artes)
10.5.
Teatro
de la (Ateneo
Comediade Madrid)
Atheneum
11. Teatro Español
6.
Casa
Encendida
12. Teatro Calderón
MarchFígaro
Foundation
13.7.
Teatro
14. Teatro Nuevo Apolo
15. Teatro
Monumental
Underground/Subway
16. Sala Triángulo
17. Sala Cuarta Pared
Metro
Calle
Calle
s
za
ran
ela
ñu
Pe
pe
Es
Real
Canarias
16
Calle Ferrocar
ril
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Frontera
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PA
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Em
illa
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la
Calle
de
Calle
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2. Thyssen-Bornemisza Museum
1. Museo
delde
Prado
3. Centro
Arte Reina Sofía National Museum
2. Museo Thyssen Bornemisza
3. Other
MuseoMuseums
Nacional
Centro
in the
areade Arte Reina Sofía
1. Centro Cultural de la Villa de Madrid
2. Biblioteca Nacional
3. Casa de América
4. Círculo de Bellas Artes
5. Ateneo de Madrid
Calle
T
Museos
1. Prado Museum
Abono Paseo del Arte reduced price ticket: € 14.40. This can be
purchased at any of the three art galleries, is valid for one year
Centros
and is goodCulturales
for a visit to each of the galleries. Audioguide: € 3
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Calle Ciudad
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Dubbed the “Avenue of Art”, the Paseo del Prado is doubtless unique. Along this stretch of elegant tree-lined boulevard, set in
one of the most typical parts of Madrid and spaced within easy walking distance of one another, are three of the leading art
galleries in the world, let alone Spain: the Prado, Thyssen Bornemisza and Centro de Arte Reina Sofía National Museum.
Where else but along the Paseo del Prado could one have the chance of seeing art of the calibre of The Maids of Honour
(Las Meninas) by Velázquez, Goya’s Maja Nude and Maja Clothed, Giovanna Tornabuoni by Ghirlandaio, “Les Vessenots”
en Auvers by Van Gogh and Picasso’s Guernica, to name but a few of the myriad masterpieces on display.
During the reign of the enlightened despot, Charles III (1759-1789), an urban renewal scheme was planned for what at the
time was an outlying area on the city outskirts, the meadow of St Jerome (Prado de San Jerónimo). The Salón del Prado, as
this large-scale renewal project came to be known, covered the river bed which then crossed the meadow, transforming this
thickly-forested area into a park with gardens and fountains. Indeed the Cibeles, Apollo and the Four Seasons and Neptune
fountains, designed by the architect Ventura Rodríguez, are still with us today. From the drawing board of another of the
King’s master architects, Juan de Villanueva, came the Museum of Natural History (nowadays the main building of the Prado),
Botanical Gardens and Astronomical Observatory, set in a space between two palaces. Art lovers, who can afford the time
to take in the itinerary traced by the triangle centred on the Paseo del Prado, will find paintings, sculpture and architecture
enough for many hours, or even days, of dreamy browsing.
The Prado Museum contains the world’s finest collection of Spanish paintings, including masterpieces by El Greco, Velázquez,
Goya. Vying for attention are the great artists of Spain’s Golden Age (Siglo de Oro); Ribera, Zurbarán and Murillo. The Flemish
School is represented by no less than Van der Weyden and Hieronymus Bosch, among others. Other rooms are given over to
Italian art, and indeed the gallery boasts the most complete collection of Titian and artists of the Venetian School under one
roof. The German, French and English works on display, though fewer in number, are equally superb examples of their kind.
Since its establishment, the Thyssen-Bornemisza Museum has been the perfect foil for the Prado: what is absent in the latter
tends to be splendidly present in the former. Unlike the Prado, with its single masterpiece of the period, Fra Angelico’s
Annunciation, the Thyssen-Bornemisza is well endowed with Italian Primitives. There are also excellent examples of German
Renaissance and Dutch 17th-century painting (of which the Prado has only a few) and 19th-century American painting,
virtually non-existent elsewhere in Spain. From the first stirrings of modern art, as seen in Impressionism, up through the harsher
years of German Expressionism and Russian Constructivism, to experiments with Geometric Abstraction and the tongue-incheek irreverence of Pop Art... all are represented in this wide-ranging retrospective that is the Thyssen Collection. Leaving the
other two galleries behind, our last call brings us to one of the most famous and, in its time, controversial masterpieces of this
century, Picasso’s Guernica, now hanging in the Centro de Arte Reina Sofía National Museum.. The permanent collection here is
primarily made up of Spanish painting and sculpture: Picasso, Gris, Miró, Dalí, Chillida and Tàpies, along with newer contemporaries.
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Incredible as it may seem,
works by figures such as
El Greco, Ribera, Zurbarán,
Velázquez, Murillo, Goya,
Van der Weyden, Hieronymus
Bosch, Titian and Rubens
form only part of the Prado
Museum’s collection,
considered by many to be
one of the richest in the world
for the quality and variety of
its paintings.
Inside, Álvarez Cubero’s statue
of Isabel de Braganza, wife of
Ferdinand VI, pays tribute to
the museum’s original patron,
and in Bernardo López portrait
of her (Casón del Buen Retiro),
she is depicted, surrounded by
architectural plans, pointing to
the bulding. The present-day
museum was originally
intended by Charles III and his
architect, Juan de Villanueva,
to serve as the Museum of
Natural History and Academy
of Science (1785). It was the
Queen’s energy and
patronage that lay behind
the initiative to convert the
edifice into an art gallery,
yet she died before its official
inauguration as the Royal
Museum of Painting and
Sculpture in 1819.
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The Spanish monarchs,
especially Charles V, Philip II
and Philip IV, were avid art
collectors. Indeed, the first
works exhibited in the museum
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acquisitions enormously
enriching a collection which
today includes 11th to 19thcentury paintings, sculpture
(both classical and modern),
The
Prado Museum
Campus
came from the Royal
Collections of the 16th-19th
centuries. In 1870 the Trinidad
Museum collection was
transferred to the Prado, with
subsequent donations and
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collections of drawings,
engravings, coins and
decorative arts. Concentrated
in the original building
designed by Villanueva, is the
world’s most complete
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collection of Spanish painting,
spanning the period from the
11th to the 18th centuries. The
19th-century paintings and
sculptures, on the other hand,
are exhibited across the way in
the Prado Museum annexe,
the Casón del Buen Retiro.
The earliest works provide the
visitors with and invaluable
introduction to Spanish art
before entering the heady
realms of the El Greco,
Velázquez and Goya rooms.
The gallery contains items
exemplifying the Romanesque
period, such as the Frescoes
of San Baudelio de Berlanga,
from the province of Soria,
and the Frescoes of Santa Cruz
de Maderuelo from the
province of Segovia. Exhibits
from the Gothic period include
Fernando Gallego’s Christ
Giving His Blessing and St.
Dominic of Silos Enthroned by
Bartolomé Bermejo, whereas
Yáñez de la Almedina’s
St. Catherine brings a touch of
the Renaissance, and an air
that is somewhat reminiscent
of Leonardo da Vinci.
Domenikos Theotocopolous,
the Cretan-born painter who
setted in Toledo and became
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Diego de Silva Velázquez,
“The Maids of Honour”
(Las Meninas) (1656)
known as El Greco, reveals the
influence of Michelangelo in his
work, The Trinity. The maturity of
his canvas, The Adoration of
the Shepherds, condenses the
mastery and the singular style
of the artist: spare, elongated
figures and the dramatic play
of light and shade. Of his
portraits, doubtless the most
outstanding is, Gentleman
with his Hand on his Breast
(El Caballero de la mano en
el pecho).
Historians look upon the 17th
century as Spain’s Siglo de Oro
or Golden Age, owing to the
flourishing of art and literature
which marked the period. The
Prado Museum houses an
ample collection of art from
this time, with pride of place
necessarily going to Velázquez.
Born in Seville, he came to
Madrid in 1622, and by the
following year had already
been appointed Court Painter
by Philip IV, a post he was to
hold until his death. Of the
more than 100 paintings by
Velázquez, the Prado
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Francisco de Goya,
“Maja Nude” (1797)
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possesses 51, including his
masterpieces: The Maids of
Honour
(Las Meninas) and
The Spinners (Las Hilanderas).
These are mature works in
which, thanks to the artist’s
sheer mastery of his craft,
atmosphere is given a pivotal
role in composition. The Forge
of Vulcan, The Lances or
The Surrender of Breda and
Christ Crucified are only the
forerunners of the veritable
banquet on show, a collection
covering different periods and
subjects, ranging from
mythology, religion and history
to portraits and landscapes.
Other masters from the Siglo
de Oro include Ribalta, who
brought the chiaroscuro style
to Spain, Ribera (nicknamed
“Lo Spagnoletto”), whose early
work reveals the influence of
Caravaggio, and the Seville
School of Zurbarán and
Murillo. Goya, a genius who,
like Velázquez, rose to
international renown, and
who, again like Velázquez,
became official Court Painter
(though in this case to Charles
IV), is also represented at the
Prado in all his periods and
facets.
A cultured man by some
accounts, he was, perhaps
more importantly, a man who
frequented liberal circles and
thus became a steadfast and,
at times, unflinching chronicler
of the crucial period of
Spanish history in which he
lived. His tremendous creative
capacity and constant
evolution gave rise to a unique
style which served to inspire
many an artist thereafter, the
Impressionists (e.g., Manet) and
Expressionists in particular.
In his tapestry cartoons for the
Escorial, Goya’s style was gay
and colourful in his depiction of
scenes of popular life in
Madrid: The Parasol, The Flower
Girls (Spring) and La Maja and
the cloaked men. Yet his art
evolved continually and his
brush had taken a very
different turn when, as an old
and ailing man, the painted
the so-called Black Paintings on
Brueghel the Elder,
“The Triumph of Death” (1560)
Peter Paul Rubens,
“The Three Graces” (1639)
the walls of his house on the
Manzanares River, the “Quinta
del Sordo”, such as Witches’
Sabath (Acholuria) or Saturn
devouring one of his sons.
In his numerous portraits the
artist has slyly captured, not
only the personality of his
sujects but also his personal
feelings of warmth or animosity
toward them. For instance,
The Family of Charles IV and
The Duke and Duchess of
Osuna with their Children
show special affection for the
children. Las Majas, clothed
and nude, are perhaps his
most famous works, yet, while
rumour had it that they
depicted Goya’s reputed
mistress, the Duchess of Alba,
no amount of speculation has,
to this day, managed to
uncover the true identity of
the model.
The Second of May 1808 in
Madrid: The Charge of the
Mamelukes (as Napoleon’s
Egyptian troops were known)
and, in the same vein, The
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Third of May 1808 in Madrid:
The Executions on Príncipe Pío
Hill, are landmarks in the
history of art, for the dramatic
nature of the events which
Goya captured with such
vividness.
Some of the gallery’s prize
exhibits are the work of Flemish
artists: The Descent from the
Cross by Van der Weyden,
is the very epitomy of 15thcentury Primitive, as are his
Pietá and Virgin and Child.
Canvases, such as the Garden
of Delights and the Hay Cart
(called variously, the Hay
Wagon or Haywain), bear the
singular weird quality that is
the unmistakeable hallmark of
Hieronymus Bosch, known in
Spain as El Bosco.
Charon Crossing the Styx
stands out among the works of
Patinier, said to be the first artist
to concentrate on land- and
seascapes in his compositions.
Nearby, The Triumph of Death
is a mature work and
indisputable masterpiece of
Brueghel the Elder.
Rubens, the most
representative of the 18thcentury Flemish school, is
generously displayed, both in
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Albert Dürer, “Self-Portrait” (1498)
breadth and excellence, but
to many his The Three Graces
will always rank first and
foremost. The series of Van
Dycks, fine still lifes, floral works
and landscapes, justify the
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Prado’s collection of Flemish
art being classed as among
the best in the world. As for
Italian masters, the Prado
boasts The Annunciation by
Fra Angelico, Botticelli’s series,
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The Tale of Nastagio degli
Honesti, Dead Christ
Supported by an Angel by
Messina and Death of the
Virgin by Mantegna. 16thcentury works include
Raphael’s Portrait of a
Cardinal and The Holy Family
with the Lamb, as well as oils
by Andrea del Sarto (Lucrezia
di Baccio del Fede, the
Painter’s Wife) and Correggio.
The Prado’s collection of Titian
and others of the Venetian
school is outstanding and is
rightly considered the most
valuable contained in any one
art gallery. Paintings by Titian
include Charles V at Mühlberg,
The Empress Isabel of Portugal,
Danaë Receiving the Shower
of Gold, The Bacchanal, Venus
and Adonis and Self-Portrait.
The works of Tintoretto include
Jesus Washing the Disciples’
Feet, and those of Veronese,
Venus and Adonis and Moses
Rescued from the Waters of the
Nile. From the Naples school,
comes Solomon’s Dream by
Giordano and from the 18th
century, The Immaculate
Conception by the Baroque
colourist, Tiepolo.
There is an interesting
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Louis Michel Van Loo,
“The family of Philip V” (1743)
collection of French painting,
which includes Parnassus by
Poussin, Claude Lorraine’s,
Landscape with the
embarkation of Santa Paula
Romana at Ostia and
Gathering in a Park by Watteau
as well as other 17th and
18th-century works. A recent
addition is The Panpipe Player
by De la Tour. Still lifes,
landscapes and, above all,
Rembrandt’s masterpiece,
Artemisa, represent
Dutch art which, by the end
of the 16th century, had
developed its own style and
asserted itself as distinct
from Flemish art.
Cranach, Dürer’s panels of
Adam and Eve, his Self-portrait
and a series of portraits by
Mengs, forn the core of the
collection of German masters.
Mengs, Court Painter to
Charles III, was the first to
suggest to the King the
creation of a gallery open to
the public. His too is the
delicate portrait of María Luisa
de Parma as Princess of
Asturias. The 18th and 19th
centuries are present in the
eminent company of English
painters such as
Gainsborough, Reynolds,
Romney and Lawrence.
Some 700 sculptures, a
collection begun at the behest
of Philip II, run from antiquity
(Sumerian, Egyptian, Ancient
and Classical Greek, and
Roman) to the 19th century,
and serve as splendid
complement to the Prado’s
feast of paintings.
Classical sculpture includes
important pieces, such as the
Venus of Madrid and Venus
with a Shell. The collection
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coins, medals, armour and
other assorted pieces, such as
the exquisite onyx salt cellar
supported by a gold mermaid.
Furniture, enamelwork and
gold and silverwork are further
items gracing the Prado’s
collection of decorative art.
Leading examples of
nineteenth-century Spanish
painting include some
magnificent portraits by
Vicente López, such as María
Cristina de Borbón, Isabel de
Braganza and Ferdinand VII,
although perhaps the best
work is that of Goya, which
overlooks the hall. Also
noteworthy is The Death of
Viriatus by José de Madrazo,
and Las Presidentas by
Eugenio Lucas, similar to
the Majas by Goya.
Alenza painted La Azotaina,
and Esquivel, the famous
Contemporary Poets.
Reputedly one the most
important portraits of the entire
19th century, The Countess of
Vilches by Federico de
Madrazo, plus Rosales’ most
famous work, Isabella dictating
her Will, and Fortuny’s, The
Children of the Painter in the
Japanese Hall, are all hanging
in the Casón. Here too is one
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Joaquín Sorolla,
“Children on the Beach” (1910)
acquired by Philip V from
Queen Christine of Sweden,
the so-called San Ildefonso
Group, is the most valuable
in the museum. The most
noteworthy Renaissance pieces
are the bronzes by Leone
Leoni and his son, Pompeo
Leoni: Emperor Charles V and
Fury and the Empress Isabella.
The Treasure of the Dauphin,
which came down to Philip V
from Louis XIV, contains opulent
crystal and silverware, jewellery,
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Rafael Moneo’s winning maquette
of the remodelled museum.
PRADO MUSEUM CAMPUS.
Extension: the “Museum
Campus”
“The Prado Museum is
Villanueva” is how Rafael
Moneo defines his
enlargement project (*),
whereby the so-called
“museum campus” or set of
buildings, a work of art in itself,
is structured around the
building constructed by
Villanueva: the beauty and
mastery of a design which not
only respects the past, but is
intelligent when it comes to
addressing the museum’s
identity with a projection into
the future. It underscores the
dynamism of the dialogue
between art and artists, and
between the latter and
society, its raison d’être at the
present time.
On the “museum campus”,
the Villanueva building, freed
of old annexes and additions,
remains the pre-eminent
feature and will house the
permanent collection; the
cloister of the Church of San
Jerónimo el Real (known as
Los Jerónimos) will be used to
display sculpture, and have a
large space for temporary
exhibitions; and the Casón del
Buen Retiro will be home to
the Conservation &
Restoration Study Centre and
the library.
The underground gallery
linking the Villanueva building
and the Los Jerónimos cloister
will act as the visitor reception
and service centre, provide
access to the 400-seat
auditorium, restoration
workshops and storage areas.
(*) 17,000 sq.m./182,986 sq.ft.
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SCHOOL AND GROUP VISITS
Book in advance
Information and reservations ( 913 302 825
HANDICAPPED VISITORS
Access ways and facilities:
ramps and wheel chairs
Ground floor, Goya door
BOOKSHOP – GALLERY SHOP
Opening times: Tuesday to Sundays,
9 a.m.–8 p.m.
Location: Ground floor
PHOTOGRAPHS AND VIDEOS
Permits: apply to the Management on
( 913 302 894
To buy these call ( 913 302 891
CAFETERIA
THE PRADO MUSEUM CAMPUS
ADDRESS
TICKETS
Paseo del Prado, s/n. 28014 Madrid
Information ( 913 302 900
) 913 302 856
www.museoprado.es
General public: € 6. Students: € 3
Free entrance: Sundays and on 12 October, 6
December, 2 May and 18 May
All visitors who are over the age of 65 or under the
age of 18 and EU students under the age of 25,
who can show evidence of being unemployed, or
who are acting as cultural or educational volunteers.
OPENING TIMES
Tuesday to Sundays and Public Holidays,
9 a.m.–8 p.m.
Closed Mondays.
Last Friday of each month: night-time visit
for young public.
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* Abono Paseo del Arte reduced price ticket: € 14.40. This
can be purchased at any of the three art galleries, is valid
for one year and is good for a visit to each of the galleries.
Audioguide: € 3
Opening times: Tuesday to Sundays,
9:30 a.m.-7:15 p.m.
Location: basement
RESTAURANT
Opening times: 11:30 a.m.-4 p.m.
Location: basement
OTHER SERVICES
Cloakroom, public telephone, medical
assistance, information, lost property office,
complaints and suggestions
HOW TO GET THERE
Underground stop (Metro):
Banco de España and Atocha
Bus: 9, 10, 14, 19, 27, 34, 37, 45
RENFE (train): Atocha Station
Public parking: Plaza de las Cortes
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Medieval pieces bought in
the 1920s were the modest
beginnings of a collection
that Baron Hans Heinrich
Thyssen-Bornemisza was
to put together over a lifetime.
In the 1960s, his son, the
current Baron, added to the
collection with the acquisition
of modern works, there by
making it a veritable showcase
of the history of Western art.
Since 1992, Spain has played
host to the more than
800 items that go to
make up this collection:
paintings, sculptures,
carvings, tapestries as well
as gold and silverware.
Apart from the priceless
nature of many of the items
(over 50 paintings being
considered masterpieces),
the collection serves as the
ideal complement to the
classical paintings of the Prado
on the one hand, and the
modern and contemporary
art of the Centro de Arte
Reina Sofía on the other. The
Thyssen’s strengths are the
Achilles’ heel of the other two
galleries, namely, Italian and
Flemish Primitives, German
Renaissance, 17th-century
American painting,
Impressionism, German
Expressionism, Russian
Constructivism, Geometric
Abstraction and Pop Art.
century by López Aguado,
a Neo-Classical architect and
disciple of Villanueva. The latest
renovation of the building,
purpose-designed as the new
ThyssenBornemisza
Museum
and Carmen
ThyssenThe museum is housed in what
was the Duke of Villahermosa’s
Palace (and thus still bears the
family name), a late 18thcentury building, refurbished in
the early part of the 19th
home for the ThyssenBornemisza Collection,
was carried out by Rafael
Moneo, a project for which
he received the Madrid City
Council’s VII Town-planning,
Architecture and Public Works
Award in 1992. The Italian
Primitives, the seed from which
the collection flowered, still
figure among the most
important works on show:
Madonna and Child, by the
Master of the Magdalen
(late 13th century), and Christ
and the Samaritan Woman,
by Duccio di Buoninsegna.
From the brush of Jan van
Eyck, the famed Flemish
master of the early northern
Renaissance and one of the
first to work in oils rather than
egg-tempera technique,
comes the Diptych of the
Annunciation, the most
important work of its kind in the
collection. The finest work of
the late Gothic period is the
Assumption of the Virgin by
Johann Koerbecke, a painting
which heralds the passage
from the Middle Ages to the
Renaissance, a period
represented by Bramantino’s
Resurrected Christ.
A fascinating aspect of the
collection is the portrait.work,
which includes exceptional
items such as the late 15thcentury piece, Giovanna
Tornabuoni, by Ghirlandaio.
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Domenico Ghirlandaio,
“Giovanna Tornabuoni” (1488)
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Examples of German
Renaissance and an
excellent collection of scenes
from everyday life, interiors and
landscapes by 17th-century
Dutch painters (Family Group
in a Landscape by Hals,
for instance) are some of the
other great attractions to be
seen in this gallery. St.
Catherine of Alexandria, a
canvas by the young
Caravaggio, belongs
to the early Baroque period,
while Bernini’s sculpture,
St. Sebastian, shows all the
exuberance of the Baroque.
French Classicism, Spain’s
Golden Age and 17th-century
Flemish painting (such as Venus
and Cupid, by Rubens) are all
represented. Furthermore,
in addition to examples of
Rococo an the Neo-Classical
counter reaction,
the collection devotes an
entire section to 19th-century
American painting, virtually
unknown on this side of the
Atlantic.
Of the Europeans, Goya better
than any other artist, illustrates
the progression of styles from
the Enlightenment onwards,
as is eloquently brought out
by his Portrait of Asensio Julià
and the “black painting”,
Tío Paquete.
Outstanding among the
Romantic paintings is
Constable’s, The Lock, a tribute
to nature and an introduction
to the Realist and Impressionist
movements.
Not only are the great
Impressionists - Manet, Monet
and Renoir among others- in
evidence, but the paintings of
Gauguin, Degas, Van Gogh
and Toulouse Lautrec attest to
the importance of the PostImpressionist movement in the
ever-changing history of art,
with Cézanne, arguably the
one member of this select
group who most influenced
20th-century painting, paving,
the way for the Cubism of
Paul Gauguin, “Mata Mua” (1892)
E.L. Kirchner, “Fränzi in Front of a
Carved Chair” (1910)
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Braque and Picasso.
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Expressionism is yet another
forte of the Thyssen-Bornemisza
collection: Schmidt-Rottluff,
Heckel and, most importantly,
Kirchner, are well worth seeing.
While the works of the
avantgarde movements show
strong similarities, this is due
to stylistic affinities rather
than sequence in time:
Picasso’s Man with a Clarinet,
a landmark in Cubism;
New York City, New York,
by Mondrian, pioneering the
rigorous reduction of artistic
language to its physical
elements; Russian
Constructivism, demanding
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Sculpture by Moore and Giacometti with
a Harlequin with mirror by Picasso
Edward Hopper,
“Hotel Room” (1931)
that the work ideally represent
nothing. The juxtaposition of all
these styles allows the viewer
to trace the evolution of
modern art. In this connection,
see also Harlequin with Mirror
by Picasso in his classical
period, Catalan Peasant with
Guitar by the surrealist Miró,
Surrealism is based on
spontaneous associations of
images, as shown by Dali’s,
Dream Caused by the Flight of
a Bee Around a Pomegranate
a Second after Waking.
Magritte, founder of Belgian
Surrealism, bases his paintings
on conceptual paradoxes.
Figurative painting is yet
another of the trends that has
left its mark on this century.
Until his death in 1967, the
most important Realist at work
was Hopper, whose works,
Hotel Room, Girl at Sewing
Machine and Martha McKeen
by Wellfleet, now form part of
the collection.
As for post-war use of figuration
(termed New Humanism in the
USA), the gallery exhibits the
new realism of Lucian Freud
and Portrait of George Dyer
and Painting with Three Spots
by the abstract artist,
Kandinsky.
After World War II, the
epicentre of modern art
shifted to New York.
Two of the most representative
paintings of American
post-war painting are
Green on Purple, by Rothko,
and Brown and Silver I,
by Pollock.
Predominant though it might
have been, Pop Art was by
no means the only trend
being explored in the 60s.
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Thyssen-Bornemisza Museum extension
adjoining the façade
of the Villahermosa Palace.
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ADDRESS
Paseo del Prado, 8
Palacio de Villahermosa. 28014 Madrid
( 913 690 151
) 914 202 780
www.museothyssen.org
OPENING TIMES
Daily, 10 a.m.-7 p.m.
Closed Mondays.
Summer: 10 a.m.-11 p.m.
TICKETS
General public: € 6
Students and visitors over the age
of 65: € 4
Abono Paseo del Arte Reduced price
ticket: € 14.40 available in advance and
online. Audioguide: € 4
Free entrance: Children under the age of
12 accompanied by an adult.
SCHOOL AND GROUP VISITS
THE THYSSEN-BORNEMISZA
MUSEUM. Extension
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The exhibition of 220 of the
over 300 works on loan from
the Carmen ThyssenBornemisza collection, pieced
together by the Baroness since
1980, requires new display
areas in the ThyssenBornemisza Museum.
Displayed in the museum is the
continuation of the artcollecting activity initiated by
the Baron, comprising
seventeenth-century Dutch
painting, 18th-century
cityscapes (vedutism), 19thcentury naturalist landscape
painting, the American school,
Impressionism, Postimpressionism and the early
avant-garde works of the
20th century.
Between the existing gallery
and the two residential
buildings that have been
annexed, the BOPBAA studio
(*) has designed a transition
solution -creating a new
façade over the garden- for
the 16 new permanent
exhibition rooms (**). At the
same time, extensions and
enlargements have been
made to the reception and
service areas, i.e., the
cafeteria, restaurant, shop and
ancillary public facilities, as
well as the rooms intended to
house temporary exhibitions.
(*) Manuel and Iñaqui Baquero,
Josep Bohigas, Robert Brufau and
Francesc Pla.
(**) 8,421 sq.m./90,643 sq.ft.
Kindly contact the Education
Department
Reservations ( 913 690 151
Times for school and group visits:
Tuesdays to Fridays, 10 a.m.-7 p.m.
Sundays, 3-7 p.m.
THYSSEN-BORNEMISZA MUSEUM
HANDICAPPED VISITORS
PHOTOGRAPHS AND VIDEOS
The museum provides access ways and
has special elevators, telephones and
restrooms.
The taking of photographs and videos is
not allowed inside the museum.
Photographic service fax: 914 202 780
BOOKSHOP
CAFETERIA-RESTAURANT
Opening times: same as for gallery.
Opening times: 10 a.m.-6:30 p.m.
Location: First basement
GALLERY SHOP
Opening times: same as for gallery.
Objects on sale; postcards, posters,
T-shirts, icons, scarves, etc.
OTHER SERVICES
Cloakroom, public telephone, medical
assistance, information, lost property
office, cash point (ATM), complaints and
suggestions.
HOW TO GET THERE
Underground stop (Metro):
Banco de España
Bus: 1, 2, 5, 9, 10, 14, 15, 20, 27, 34, 37, 45,
51, 52, 53, 74, 146 and 150
RENFE (train):
Atocha and Recoletos stations
Public parking: Plaza de las Cortes
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Standing at the southernmost
end of the Avenue of Art is the
art gallery which proudly bears
the name of the present-day
Queen of Spain: the Centro
de Arte Reina Sofía National
Museum. Although the
permanent collection was
inaugurated by the King and
Queen on 10th September
1992, it had actually started life
in 1986 as a centre primarily
intended to act as a venue
for temporary exhibitions.
Owing to its unique
characteristics and multiple
activities, the Reina Sofía is
more than a gallery.
While attracting enthusiasts
of contemporary painting
and sculpture of all ages, it has
nonetheless become Madrid’s
most popular gallery among
youngsters. It seeks to cater
to this public through
educational programmes
designed to foster creativity
and interest in art among
children.
The section of the gallery
housing its permanent
collection is hung with
masterpieces of early 20thcentury Spanish avant-garde,
with Picasso, Miró and Dalí
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the gallery puts on a large
number of temporary
exhibitions, some devoted to
leading artists who have
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work. For those weary of
gallery gazing, relaxing
alternatives includes the latest
in international videoart and
film, avant-garde musical
Centro de Arte
Reina Sofía
National
Museum
already received critical
acclaim, others to up-andcoming creators who have
either given signs of promise
of provoked controversy due
to the radical nature of their
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compositions, art books and
publications from all over the
world, or perhaps just a quiet
stroll through the inner patio.
The Reina Sofía is situated at
one of Madrid’s busiest hubs,
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the Glorieta de Carlos V
(“Glorieta” meaning a
roundabout or a London-style
Circus), commonly known as
“Atocha”. It is housed in one of
the city’s most historic buildings:
the erstwhile General Hospital.
The original, late 18th-century
building was left unfinished by
Francisco Sabatini, the
favourite architect of Charles III,
a king considered by the
inhabitants of Madrid
(Madrileños) to have been their
“best mayor”.
The restoration of the building,
begun under the direction of
Antonio Fernández Alba, has
respected the plans of the
period and the overall
architectural design.
Nonetheless, Fernández Alba
thoroughly renovated the
structure so as to equip it with
all the features demanded of
a first-rate, technologically upto-date museum.
On entering the plaza where
the main entrance to the
museum is located, the first
thing that strikes the visitor are
the two tall, transparent towers
housing the building’s
elevators. The structures were
designed by José Luis Iñíguez
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Pablo R. Picasso,
“Woman in blue” (1901)
de Onzoño and Antonio
Vázquez de Castro,
in collaboration with British
architect, Ian Ritchie. Rapidly
rising above the colourful
mosaic of the old quarter’s
rooftops, the visitor is
transported to the enormous
light-filled expanse of the
centre’s exhibition rooms.
The anchor and heart of the
gallery’s activities is,
logically, its permanent
collection.
The second and fourth floors
are given over to a careful
selection of works from a
collection which contains
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over 10,000 items, all told.
Place of honour has been
accorded to Picasso’s famous
Guernica, owing to its historical
and artistic importance,
a symbol not only of civil liberties
for several generations of
Spaniards, but also, since its
return to the country, of a
new period of co-existence.
The museum had to be
specially altered and readied
before the painting could be
moved from its former home.
Accompanying it are the
Malaga-born artist’s
preparatory sketches, along
with contemporary works by
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Pablo R. Picasso,
“Guernica” (1937)
Salvador Dalí,
“The Great Masturbator” (1929)
Joan Miró, “Dragonfly with Red-tipped
Wings Chasing a Serpent Spiralling
Towards a Shooting Start” (1951)
Alberto Sánchez, Salvador
Dalí and Le Corbusier.
The content and structure
of the permanent collection
highlghts the close ties
between 20th-century art
in Spain and avant-garde
movements abroad. Early
contact between Spanish
artists and Europe is to be
seen in the paintings of artists,
such as Hermenegildo
Anglada Camarasa,
Isidre Nonell, Ignacio Zuloaga,
José Gutiérrez Solana or
Francisco Rubio. In their wake
came the Cubist and
Surrealist movements, with
Picasso, Miró, Dalí, Juan Gris,
Julio González, María
Blanchard, Óscar Domínguez
and the like. European
influence is also visible in the
work of the so-called Paris
School: Vázquez Díaz, Pancho
Cossío, Alfonso Pérez de León
among others. Space is
likewise afforded to alternative
currents which flowered
alongside the avant-garde
movements, e.g.,
Mediterranean Classicism as
represented by Joaquín Sunyer
and Manolo Hugué, and New
Objectivity, through the eyes
of José Velasco and José
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of Arte Povera in Spain) and
the abstract expressionism of
Eduardo Chillida, as well as the
geometric constructivist works
of Equipo 57, led by Pablo
Palazuelo. However, the
gallery-goer is by no means
confined to an academic and
rather passive review of the
history of art in the 20th
century: demands of modern
art and a generalized desire
for greater participation have
given birth to a series of so-
called “Proposals”, whereby
the viewer is freed from such a
purely chronological
approach. By taking leading
figures in Spanish art in recent
years (Luis Gordillo, Eduardo
Arroyo, Equipo Crónica,
Miquel Navarro, Susana
Solano) and contrasting them
against others active on the
international art scene (Lucio
Fontana, Barnett Newman,
Ellsworth Kelly, Bruce
Nauman, Dan Flavin), the
curators have set themselves
the dual goal of forcing the
viewer to reflect on the
diversity at work in today’s art
world and ensuring continued
expansion of the gallery’s
core collection.
In short, the Centro de Arte
Reina Sofía National Museum
offers the visitors the privilege
of reviewing the history of art
in recent times, while
simultaneously experiencing
the dynamic of a collection in
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Centro de Arte Reina Sofía National
Museum as remodelled by Jean Nouvel.
Alberto (Alberto Sánchez),
“The Spanish People Have a Path which
Leads to a Star” (1937)
Julio González, “Daphne” (1937)
Togores. From the period
preceding the Civil War, the
gallery offers examples of
figurative work and the
Realism of Antonio López Torres
and Daniel González. Lastly,
the collection documents the
resurgence of avant-garde
ideas in the 40s and the
importance of abstract trends
during the 50s and 60s.
It includes the informalist works
of the Grupo El Paso, Antoni
Tàpies (the leading exponent
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Jean Nouvel was the architect
commissioned to combine
buildings as different as
Sabitini’s original and his own
newly proposed structure, in
which elements, such as glass
and reflecting materials,
dissolve the architectural
boundaries and become an
integral part of a setting
“enfolded” by a vast
overhanging roof, which
symbolises the recovery and
acceptance of history and the
future of contemporary art.
The museum’s surface area
has been enormously
increased (*), enabling more
works belonging to the
permanent collection to be
displayed, areas devoted to
temporary exhibitions to be
concentrated and provided
with specific entrance ways,
and two multipurpose
auditoria to be incorporated.
The Library and Records
Centre will also be enlarged so
as to act as a reference
section for research into
modern art, and a large book
shop will be opened
specialising in the arts, music
and video.
Supplementary venues for
temporary exhibitions are the
Velázquez Palace and Crystal
Palace, both in Retiro Park.
(*) 26,892 sq.m./289,463 sq.ft.
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HANDICAPPED VISITORS
The museum provides special access
ways for the handicapped
BOOKSHOP
Opening times: same as for gallery.
Specialised in art, catalogues and
educational guidebooks.
GALLERY SHOP
Opening times: same as for gallery.
Objects on sale: designer objects,
decorative items, costume jewellery,
stationery, etc.
PHOTOGRAPHS AND VIDEOS
The taking of photographs and videos is
not allowed inside the gallery.
CAFETERIA
Opening times: same as for gallery.
AROLA RESTAURANT
ADDRESS
Santa Isabel, 52. 28012 Madrid
( 917 741 000 ) 914 673 163
www.museoreinasofia.mcu.es
OPENING TIMES
Monday to Saturday, 10 a.m.-9 p.m.
Sundays, 10 a.m.-2:30 p.m.
Closed Tuesdays.
TICKETS
26
General public: € 6
Students: € 4
Opening times: 10 a.m.-9 p.m.
Closed Tuesdays.
Telephone bookings 914 670 202
Free entrance: Saturdays from
2:30 p.m. onwards, and Sundays.
Visitors over the age of 65 or
under the age of 18.
Abono Paseo del Arte Reduced price
ticket € 14.40
OTHER SERVICES
SCHOOL AND GROUP VISITS
Underground stop (Metro): Atocha (Line
1)
Bus: 6, 10, 14, 18, 19, 26, 27, 32, 34, 36, 37,
41, 45, 46, 55, 57, 59, 68, 86, 119, Circular
RENFE (train): Atocha Station
Information and reservations ( 917 741 004
Free guided visits for general public:
Mondays and Wednesdays, at 5 p.m.;
Saturdays, at 11 a.m.
E
O
F
A
R
T
M U S E U M
OTHER MUSEUMS IN THE AREA
CENTRO DE ARTE REINA SOFÍA NATIONAL MUSEUM
U
Cloakroom, public telephone, medical
assistance, information, lost property
office, complaints and suggestions, 4B
automatic teller.
HOW TO GET THERE
MADRID MUNICIPAL MUSEUM (4)
Fuencarral, 78 - 28004 MADRID ( 915 888 672
Opening times: Tuesday to Friday, 9:30 a.m.-8 p.m.
Saturdays and Sundays, 10 a.m.-2 p.m. Closed Mondays
MUSEUM OF THE ROYAL ACADEMY OF FINE ARTS OF SAN FERNANDO (9)
Alcalá, 13 - 28014 MADRID ( 915 240 864. www.rabasf.insde.es
Opening times: Tuesday to Friday, 9 a.m.- 7 p.m. Saturdays, Sundays
and Mondays, 9 a.m.- 2.30 p.m.
SOROLLA HOUSE-MUSEUM (18)
Paseo del General Martínez Campos, 37
28010 MADRID ( 913 101 584 www.mcu.es/nmuseos/sorolla
Opening times: Tuesday to Saturday, 9.30 a.m.- 3 p.m.
Sundays and Public Holidays, 10 a.m.- 3 p.m. Closed Mondays
SPANISH TOURIST OFFICES ABROAD
CANADA. Toronto. Tourist Office of Spain
2 Bloor Street West Suite 3402. TORONTO, Ontario M4W 3E2
( 1416/ 961 31 31 ) 1416/ 961 19 92
www.tourspain.toronto.on.ca e-mail: [email protected]
JAPAN. Tokyo. Tourist Office of Spain
Daini Toranomon Denki Bldg. 6F 3-1-10 Toranomon
Minato-Ku. TOKYO-105-0001 ( 813/ 34 32 61 42 ) 813/ 34 32 61 44
www.spaintour.com e-mail: [email protected]
REPUBLIC OF IRELAND. Spanish Tourist Office
P.O. Box 15001. DUBLIN 1. Brochure request: ( 353 818 220 290
RUSSIA. Moscow. Spanish Tourist Office
Tverskaya - 16/2 6 th floor. MOSCOW 125009
( 7495/ 935 83 99 ) 7495/ 935 83 96
www.tourspain.ru e-mail: [email protected]
SINGAPORE. Singapore. Spanish Tourist Office
541 Orchard Road. Liat Tower# 09-04. 238881 SINGAPORE
( 65/67 37 30 08 ) 65/67 37 31 73
e-mail: [email protected]
UNITED KINGDOM. London. Spanish Tourist Office
2nd floor, 79 Cavendish Street. LONDON W1A 6XB
( 44207/ 486 80 77 ) 44207/ 486 80 34
www.tourspain.co.uk e-mail: [email protected]
UNITED STATES OF AMERICA. Los Angeles. Tourist Office of Spain
8383 Wilshire Blvd, Suite 960. Beverly Hills. CALIFORNIA 90211
% 1323/ 658 71 95 ) 1312/ 658 10 61
www.okspain.org e-mail: [email protected]
Chicago. Tourist Office of Spain
Water Tower Place, Suite 915 East 845 North Michigan Avenue
CHICAGO, Illinois 60-611
% 1312/ 642 19 92 ) 1312/ 642 98 17
www.okspain.org e-mail: [email protected]
Miami. Tourist Office of Spain
1395 Brickell Avenue. MIAMI, Florida 33131
% 1305/ 358 19 92 ) 1305/ 358 82 23 e-mail: [email protected]
New York. Tourist Office of Spain
666 Fifth Avenue 35 th floor. NEW YORK, New York
% 1212/ 265 88 22 ) 1212/ 265 88 64
www.okspain.org e-mail: [email protected]
EMBASSIES IN MADRID
Canada. Nuñez de Balboa, 35 - 3º % 914 233 250 ) 914 233 251
Japan. Serrano, 109 % 915 907 600 ) 915 901 321
Republic of Ireland. Claudio Coello, 73 % 915 763 500 ) 914 351 677
Russia. Velazquez, 155 % 915 622 264 ) 915 629 712
United Kingdom. Fernando El Santo, 16 % 913 190 200 ) 913 081 033
United States of America. Serrano, 75 % 915 872 200 ) 915 872 303
Written by:
Aurora Fernández Vegue
Translated by:
Michael D. Benedict
Photographs:
Turespaña Archives
© VEGAP, Madrid, 2006
© Sucesión Miró, 2006
Layout:
Ángel Bellido
Published by:
© Turespaña
Secretaría de Estado de Turismo y Comercio
Ministerio de Industria, Turismo y Comercio
Printed by:
EGESA
D.L.: M-25880-2007
NIPO: 704-06-201-9
Printed in Spain
5th Edition
27