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THEMATIC ROUTES

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The evolution is a way of differentiating ourselves. It allows us to exhibit our different attitudes to life; it can show off or hide our bodies; of fashion in it can challenge or innovate; it can be modern or traditional. Fashion reflects the evolution of society over time. It is an integral part of our the Collection culture and therefore has a place in our museums.

María Corral Aznar The Thyssen-Bornemisza Museum invites you on a journey through the world of fashion. Through the in the collection we can see the continual change in the language of fashion and its styles. As we walk through the rooms, we will discover the evolution of : «Know first who you are, then adorn yourself accordingly» the fabrics, the textures, the colours, the shapes and the attitudes

EPICTETUS (Ist century ad) towards the art of dressing.

r o o m 3 this by jacques daret, gance and the emergence of guilds. Trade a contemporary of Roger van der Weyden, became more efficient, and with it grew JACQUES DARET was created when the Duke of Burgun- the exchange of fabrics and , , ca. 1400/1405–ca. 1468 dy was at the height of his power. It was which fired the inspiration of the tailors. The Adoration of Christ, ca. 1434-1435 a time when the artist was a favourite At this time the become more Oil on panel. 59.5 x 53 cm at the Burgundian court. The work depicts sophisticated and exaggerated; clothes inv. 124 (1935.17) the story when Joseph went to look for two had pointed edges with an ornate, floral midwifes to help the Virgin give birth. Gothic air. The thickness of fabrics in When they all arrived back at the stable Flanders lent clothes a sombre and ex- Mary’s son had already been born. As the travagant touch. followed the form two women entered, the first immediately of the body, outlining its shape. The recognised the purity and virginity of was highlighted directly under the bust Mary. However, the second midwife was and a wide was worn to create verti- less trusting and wanted to see proof of cal pleats on the below. fell the miracle. She was punished with pa- right to the ground, and the trains at the ralysis in her hands. The painting shows back of the dresses were of varying lengths the moment in which the second woman depending on the wearer’s social class (the is about to touch the Baby Jesus so that longer the train, the more socially eleva­ted he can heal her. the lady). In the 15th century a more resplendent Previously it had been considered im- period began, which gathered momen- moral to uncover one’s head and show tum when the first modern nations were hair, but in the 15th century complex and formed. The agricultural revolution gave imaginative headdresses began to be way to the generation of great extrava- worn, more and more so as the century The evolution of fashion in the Collection THEMATIC ROUTES 2

progressed. There were a number of dif- all sorts of different ways. Men of all social ferent types of headdresses that had be- classes wore it throughout the century. come fashionable: the crespine, which had The chaperone came later. This headdress a hairnet that allowed the hair to be plait- simply could be worn and did not have ed and twisted in two buns over the ears; to be specially arranged. As time went on, à corné (with horns), padded rolls, , the chaperone became smaller in size un- and the hennin, a cone-like headpiece that til men who belonged to guilds only wore had a sewn on to the upper part. The it. In the 19th century coachmen wore this conical hennin was particular popular in type of headdress. France, whilst the steeple hennin was very During this period men’s had fashionable in England. The most eye- elongated toes, which were sometimes catching of all designs was the butterfly exaggerated. However, the civil and ec- headdress, which was made up of a wire clesiastical authorities strongly disap- frame attached to a small to collect all proved of this fashion. Edward III of the hair. The frame held a transparent veil England even introduced a sumptuary that looked like butterfly wings. law specifically stating that “No gentleman In this same room you will find the may wear shoes with a toe longer than two painting Pieta Triptych by the Master of inches without incurring a fine”. However, the Saint Lucy Legend. The figure to the this measure was ineffective and in his left is wearing a cotehardie, a with successor’s reign the toes of men’s shoes a v-shaped décolleté trimmed with fur. reached eighteen inches or more in length. Her sleeves are narrow and tight which They were called crackowes. Apparently, was particularly fashionable at the time. the name came from the time when Rich- ard II married Anne of Bohemia (1382), In Clothing the Naked by the Master of and the Knights of the entourage arrived the View of Saint Gudula we see the dif- at the English court with exaggeratedly ferent types of headwear that men wore long pointed shoes. This style of was during this period. The most common was fashionable for a long time, and to coun- the , which initially had been a long ter the instability that such pro- cone on which you could drape fabric in duced, their soles were made of wood.

r o o m 5 the new artistic style of the renais- of magnificent embroidered with in- sance came about largely due to the in- tricate patterns. This type of fabric is called DOMENICO GHIRLANDAIO creased commercial prosperity in Italy. brocade and was made by weaving motifs Florence, 1448/1449–1494 The new lines in painting were horizontal with gold and silver threads. Portrait of Giovanna Tornabuoni, ones; shoes, necklines, and shapes in gen- The silk sleeves are slashed, according 1489-1490 eral, echoing the new style of architecture. to the 15th century Italian fashion, with Mixed technique on panel. 77 x 49 cm Italian fashion quickly spread to the rest several openings that show the folds of inv. 158 (1935.6) of . her white neatly tied under her dress. Renaissance painters looked to classical The neckline is square and the bust is antiquity. The human figures were of corseted. At this time women began to ideal proportions, just like the one in this wear corsets, a step that would change the exceptional painting that is a splendid aesthetic ideal of the female figure for the example of the 15th century portrait. The following four centuries. The corset was woman in the painting is Giovanna degli a whalebone structure that would squeeze Albizzi who was married to Lorenzo Torna- a woman’s waist like a funnel to enhance buoni. She died two years later carrying her cleavage. From then on the fashion her second child. for women was very constrictive, forcing Her dress shows her elevated social women to stay very straight pushing their station and the prevailing taste for sump- shoulders back. Headdresses disappeared tuous fabrics. In this case her dress is made at around this time and hairstyles became The evolution of fashion in the Collection THEMATIC ROUTES 3

more natural by reducing the volume and ety and authority of the person who wore wearing ringlets to frame the face. it, as seen in the works of Antonello da Messina, Andrea Solario and Joos van Other paintings in the same room allow Cleve. The black dye was produced by mix- us to assess the differences in European ing tree gall and green vitriol, and as a fashion. The figure in Portrait of an In- result obtained a deep black hue. However fanta by Juan de Flandes, wears a Castilian it faded over time and damaged the fab- typical of the period, independent rics. Superior methods of dyeing black of foreign influences. The most important fabric reached Europe via the Spanish Spanish contributions to fashion were the conquests of the New World and were use of linen , the farthingale (a distributed to the rest of Europe. For ex- hooped skirt), and chopines, women’s ample, logwood was adopted by the Aus- platform shoes that were originally worn trians and called the “Spanish dress” my Muslims. The manner in which the colour, as was cochineal; the dye that Spanish ladies plaited their hair, by inter- created the bright red colour that cardi- twining their hair with ribbon to form nals wore. one plait, was also unique to Spain. The austerity of the Spanish court is The wide variety of male portraits we clear from the sumptuary laws introduced have looked at also show the evolution by the Catholic Kings to curb spending of men’s hairstyles. At the beginning of on luxuries and to maintain social order: the 15th century men would wore their “Those who are not aristocratic may not hair long and loose with a fringe. How- wear , furs or dresses reserved for the ever, by the middle of the century they social elite.” wore more of various shapes: mor- There is a dominance of the colour tarboards with jewels and feathers, bon- black, which was a sign of dignity, sobri- nets and chaplets.

r o o m 5 this portrait of the famous english most of which were made of velvet with monarch is an excellent example of Hol- gold lining. The most spectacular was a HANS HOLBEIN THE YOUNGER bein’s talent and style, which is charac- purple satin bodice with gold and silver Augsburg, 1497/1498–London, 1543 terised by the scale and the psychological thread detailing and pearl trimmings. Portrait of Henry VIII of England, depth of his subject. The painter has Some of his bodices were entirely en- ca. 1537 managed to portray the personality of crusted with diamonds, rubies and pearls Oil on panel. 28 x 20 cm Henry VIII through his stance and the giving extra support to the fabric. inv. 191 (1934.39) position of his hands depicted frontally. Over the bodice, men would wear a In this portrait the king’s bodice takes or (a 16th century tunic in centre stage because it was the most im- Spain). This garment was made of double- portant part of a man’s outfit as it repre- layered fabric that at times could be closed sented his masculinity. The shoulder pads with ties or at the front. On add to this by making the thorax look even of this men would wear a tunic over the larger. The style of the sleeves widened shoulders trimmed with fur. as the century progressed; they were de- Furs were often used for both men’s tachable and were often slashed. Some and women’s clothing; the most popular men also wore two-coloured sleeves. In were lynx, wolf and marten fur, which the early 16th century it became common was used exclusively by the aristocracy. practice to pull out the lining through the and were sewn togeth- rips in the sleeves. er and covered the led. The breeches were Thanks to Henry VIII’s inven- attached to the jacket by straps; i.e. cord tory we know that this monarch owned was passed through small holes and tied a number of bodices of different fabrics, to attach the two garments. The evolution of fashion in the Collection THEMATIC ROUTES 4

th r o o m 9 the reformation in the 16 century trimmed with fur. The schaube became the spread across Europe, especially through- typical piece of clothing that the Humanists HANS BALDUNG GRIEN out Germany, and brought about a more wore. Luther wore one and defined what Schwäbisch Gmünd, 1484/1485 sober style of dressing. the Lutheran clergy still wear today. The –Strasbourg, 1545 Hans Baldung Grien was the most dress of a mayor was similar to the clothing Portrait of a Woman, 1530 (?) gifted disciple of Dürer. This is the only worn by academics, but included a golden Oil on panel. 69.2 x 52.5 cm female portrait painted by Grien that has chain to be worn around the neck. This inv. 28 (1935.18) survived. The identity of the sitter is en- soon became an indispensible item tirely unknown. Most probably it is an of clothing. Initially it was mainly used for abstract representation, an ideal image of riding and outdoor activities, but during a lady, rather than a portrait of somebody the second half of the 16th century it was in particular. used both outside and inside. The woman wears a dark green velvet In Germany the colour red was used a dress with a belt around the waist and great deal. In almost all of the portraits by very wide sleeves with folds of fabric that Cranach of German princes, the sitters are fall to the floor (train). Velvet, silks and wearing at least one item of red. During brocades all adorn her figure. A gold chain this period the lower classes were forbidden and a pearl chocker decorate her square to wear this colour red and therefore it was neckline. She wears a with feathers often included in portraits to emphasise and a string pearl headdress that gathers the nobility of the sitter, for example in the her hair in a hairnet. Portrait of a Woman aged Twenty-Six by In the Portrait of Anne of Hungary and an anonymous German Artist of the School Bohemia by Hans Maler we see a similar of Lucas Cranach, the Elder. During the style of headdress: a hairnet holding the Peasants’ Revolt of 1524 in Germany one hair in place under a hat decorated with of the demands made by the rebels was pearls. to be allowed to wear red clothes like the In paintings such as The Court Jester aristocracy. known as “Knight Christoph” by Hans Fashions changed a great deal in the Wertinger, the Portrait of Ruprecht Stüpf middle of the 16th century due to the per- and the Portrait of Ursula Rudolph by Bar- sonal tastes of Charles V, who was well- thel Beham and the Portrait of a Woman known for his sobriety. This is reflected by Lucas Cranach we can see how men in the Portrait of the Emperor Charles V were beginning to wear a wider variety of by Lucas Cranach displayed in this room. clothes. The jerkin was still the most im- The growing power of the Spanish mon- portant piece in a man’s wardrobe, how- archy influenced tastes in fashion in ever on top of this he would wear a kind other courts. When Philip II came to of called a schaube, which would power, the fashions of the Spanish court usually not have sleeves and would be were admired throughout Europe.

r o o m 1 4 his father’s work in the textile King who converted to Christianity and industry, the significant changes in the was martyred for her faith. Zurbaran does FRANCISCO DE ZURBARÁN fashion industry during the 17th century, not wish to reflect the pain of her martyr- Fuente de Cantos, 1598–Madrid, 1664 the theatre and Francisco de Zurbaran’s dom; on the contrary, here he empha- Saint Casilda, ca. 1630-1635 enormous creative talent were reasons sizes the femininity of the 17th century Oil on canvas. 171 x 107 cm why Zuberan’s series of holy martyrs be- woman, portraying her at the peak of her inv. 448 (1979.26) came an artistic and commercial success virginity, with majestic clothes of rich, on an international level. One needs only flowing and colourful fabric, adorned with to look at the fact that works of this kind precious . She bears her martyr- were exported as far as to the New World. dom with holiness. The artist’s perception of Santa Casilda Zurbaran habitually attended the is modern, even though the protagonist religious plays that were performed in is the daughter of an 11th century Arabian Seville in order to gain inspiration for The evolution of fashion in the Collection THEMATIC ROUTES 5

the outfits of his maiden saints. It was nificent silks were not yet being produced. there that the artist developed his par- He chose the colours, combined the prints ticular stereotype of the female image, and treated the fabrics himself. one that formed part of the baroque ideal The saintly woman is wearing an orange and that centred on the patron’s aesthetic toe guard, over which the velvet brocade enjoyment of the holy image. dress is draped. The bottom border is em- broidered with gold, pearls, emeralds, “No, these are not frivolous fashions. When rubies, and garnet; the sleeve of the dress I paint these holy women dressed like this, is finished with studs, a theatrical decora- I do so in order to impart greater to tive element popular amongst painters. the image. I only have one mission: to move At the back, a voluminous silver silk taf- closer to God. This is no mere personal whim feta cape finished with gold thread bobbin of mine, nor of my clients. It is authentic lacework falls to the floor. religious painting which moves anyone who Zurbaran’s dresses have been an im- sees it.” (Francisco de Zurbaran). portant benchmark and reference point for designers. In 1961 Balenciaga designed The artist was inspired by the fabrics that an evening inspired by Santa Casil- he had brought from Venice to design these da, and even Coco Chanel cited Zurbaran outfits. In 17th century Spain such mag- as one of the first fashion designers.

r o o m 1 9 rubens painted this portrait of an The lace neck ruff first appeared in unidentified lady upon his return from 1570 and marks a great milestone, espe- Italy. He had married and had been named cially in the . It served to keep Siegen, 1577–, 1640 the official painter of the Arch Dukes of the head upright and was a sign of aris- Portrait of a Young Woman Burgundy. He upheld his political com- tocratic privilege. Over the course of the with a Rosary, ca. 1609-1610 mitments in the Netherlands through the century ruffs would increase in size even- Oil on panel. 107 x 76.7 cm fulfilment of many diverse assignments. tually becoming so large that it is hard to inv. 352 (1979.64) As his fame increased, he set up a large imagine how those who wore them were and efficient workshop in order to respond able to eat. to growing demand. With this painting Later the neck ruff evolved into new he broke into a broader market in which variations such as the cartwheel neck ruff, portraits became evermore important. which was made up of numerous starched This picture highlights the masterful tubular pleats. This was achieved by using lace work of the neck ruff, cuffs and head- a stick-work frame upon which the dress. It seems that it was in Italy that the starched cloth would dry and acquire its idea first arose to pull apart the thread of consistent pattern. Once dry, the sticks the white fabric used in handkerchiefs were removed. The invention of this and , and then knit it to create starch-based method, denounced by pur­ transparent motifs and geometric shapes. itan moralists as a sign of vanity, did away This technique is called lace. Silk or linen with the wire frame as well as the support thread are the best fabrics for making lace that had previously been necessary to because of their delicacy and strength. make them. Italian lace makers used needles whilst A defining feature of women’s clothing those in Flanders used spindles. High qual- in Rubens’ portraits at this time was his ity lace was always an expensive item as silver coloured and gold trimmed stom- it was handmade by specialists and in- ach pieces. This garment constituted the volved a very time consuming process. front half of a dress. It was hardened by Other paintings in the room showing cardboard and kept in place by rigid fine lacework include the Portrait of frames that were often made of wood. Jacques Le Roy by Van Dyck and the Por- The skirts would protrude outwards with trait of Antonia Canis by Cornelis de Vos. the support of a farthingale, an underskirt The evolution of fashion in the Collection THEMATIC ROUTES 6

consisting of wire, wooden or whalebone invention, and in fact Spain would set the rings which ran round the inner edge of trends in fashion during the following the skirt. This was originally a Spanish century as well.

r o o m 2 8 together with fragonard, boucher nette fled she entrusted her per- is the most noteworthy painter of the sonal jewellery collection to Leonard, her FRANÇOIS BOUCHER French Rococo style, a style that emerged wig maker. Paris, 1703–1770 in France and spread throughout Europe In the same room Country Concert by La Toilette, 1742 during the 18th century. The enormous Jean-Baptiste Pater, The Swing and The Earth Oil on canvas. 52.5 x 66.5 cm prestige and splendour of Versailles dom- by Nicolas Lancret and Pierrot Content by inv. 58 (1967.4) inated the world of fashion. At this time Watteau show us examples of the crinoline the height of fashion was considered to be, or hoop skirt, which was one of the most at least amongst the upper classes, French. fashionable garments during the 18th cen- Boucher completed this masterpiece tury. The skirt extends to the sides by using during his most productive period. It was wicker rods to accentuate their width. These commissioned directly by the Swedish am- skirts were sometimes so wide that it was bassador to the court of Louis XV in Paris. impossible for two ladies wearing them to La Toilette gives us a glimpse of a pass simultaneously through the same door woman’s intimate space where we see her or sit beside each other in a carriage. Fur- dressed in a deshabillé, which literally niture would adapt to the fashions, and means ‘undressed’. This was the light gar- carpenters would have to remove the arms ment a lady wore as she moved around from chairs to widen them. During this her dressing room. It started out as the period the appearance of printed pam- garment worn just before bed, but soon phlets, magazines and mannequins (small became something to wear in public. The dolls) helped the rapid spread of fashion boundary between the public and the pri- throughout Europe. Marie Antoinette’s vate soon began to blur. personal designer would travel across the Of particular note are the or continent every year in an enormous Lan- heelless shoes, and is emblematic, fanciful, dau filled with dolls dressed in the latest erotic and timeless design. Cinderella loses Parisian fashions. Louis XV officially au- one and Manolo Blahnik ‘goes mad about thorized fabric printing and therefore the them’. In the 18th century this was the foot- fabrics were now bursting with colour and wear of choice to wear around the house. daring new designs. In fact, during the reign of Louis XV, almost As the century progressed, clothing every single type of shoe was invented. became lighter, simpler and increasingly The painting also portrays the hairstyles more comfortable. One Parisian magazine that were popular at the time. Hair was wrote: “comfort appears to be the only preened with rice powder and adorned thing which matters to women”. There were with false curls and touches of white lace. two historical events that helped make Up until the time of the French Revolution this change: the discovery of paintings at wigs had been very popular. They were Pompeii and Herculaneum and the tumul- made from human hair, goat hair, horse- tuous French Revolution. From this point hair, and vegetable fibres. On particularly onwards women were released from wear- smart occasions curls were added at the ing their crinoline dresses and restrictive back forming a ponytail that was held in structures, reflected in their freer poses place by a black band, as we can see in in portraits. For example, this change in the Portrait of Fran Carl von Soyer by fashion can be seen in the Portrait of Mad- George Desmarees. During the Rococo ame Bouret as Diana by Nattier, in the period wig makers were hugely important Portrait of Ann Brown in the Role of Mi- for the upper classes and they enjoyed the randa by Johan Zoffany, or in Thomas trust of their clients. When Mary Antoi- Gainsborough’s Portrait of Sarah Buxton. The evolution of fashion in the Collection THEMATIC ROUTES 7

r o o m 2 8 thomas lawrence was the leading finely polished shoes have a narrow tip. portrait artist to emerge from the English However, as the century progressed shoes SIR THOMAS LAWRENCE school in the 19th century. Already at 21 would become wider. Bristol, 1769–London, 1830 years of age Lawrence was employed by The extravagance and the colour of Portrait of David Lyon, ca. 1825 monarchs and in 1794 was chosen to be men’s clothes had disappeared. A dandy Oil on Canvas. 219.5 x 134 cm a member of the Royal Academy. could be recognised from the cut of his inv. 217 (1981.55) The Portrait of David Lyon is an exem- clothes and from the way he wore his tie: plary work of the highest quality finished the collar of the stiff, starched shirt point- during the last stage of the painter’s career. ed upwards towards the cheeks, which The artist placed the sitter in a broad, open, was kept in place by a muslin handkerchief and tranquil environment giving him an that was tied at the front with a knot. It air of distinction and elegance through is said that some dandies were able to his upright pose and formal dress. spend an entire morning perfectly enter- The position of the subject’s hand in tained fixing and arranging their . the portrait epitomizes the essence of They wore their hair short and uncombed Dandyism. As a result of the skill devel- and were clean-shaven, although on oc- oped by English tailors in working with casion they would sport sideburns and/ wool, men’s clothing fitted more tightly. or a moustache. Tailors took great pride in seeing that the The image of a gentleman did not un- clothes they created did not show a single dergo any major changes until the 20th fold. In this portrait we can see the sub- century. The men’s had become so ject wearing “Brummel” , a boring that by 1850 it ceased to appear in and redingote as well as a fur-trimmed fashion magazines. It is only through frock that is tapered at the waist, changes in tailoring and painted portraits framing the figure in the way that a fash- that we are able to track any developments ionable garment was supposed to. The of the suit during this period.

r o o m 3 0 in the paintings of merritt chase, such articles quite naturally. These new the pioneer of American , objects were made popular by fashion we can see evidence of the important shift magazines and gave clothing a new air Williamsburg, 1849–New York, 1916 that occurred in 1868 when Japan opened of modernity: Japanese style screens, The Kimono, ca. 1895 its port during the Meiji period. The Ori- bamboo furniture, exotic fabrics, orna- Oil on canvas. 89.5 x 115 cm ent became a major source of inspiration ments and other articles such as fans, inv. 501 (1979.24) and Japanese exoticism permeated art and , and porcelain objects were culture. now widely sought after by the social and The kimono (the literal meaning of intellectual elite. which is “something to wear”) soon became In The Kimono we see Merrit Chase’s a hugely popular garment. It could be worn wife looking at Japanese prints. Japanese by both men and women. It consisted of artists caused quite a stir when they ex- a tight-fitting which opened at the hibited in Paris, especially amongst paint- front, and a voluminous waistband called ers such as Monet, Renoir, Degas and an obi which was tied in a knot. The knots Gauguin, as can be seen in the portrait differed according to etiquette and social that Monet painted of his wife wearing norms. The robe itself was made of a a kimono, or the poster which Toulouse- single piece of silk or cotton, and was Lautrec prepared for the Moulin Rouge adjusted to the body on the left by pull- with its distinctive Japanese influence. ing the fabric over the right hand side of In the same room we can also see the the body. Portrait of Millicent, Duchess of Sutherland All sorts of oriental objects flooded by John Singer Sargent. The artist immor- into 19th century houses. As shown in this talized numerous models of the upper painting European women took to using classes in Paris and London. The painting’s The evolution of fashion in the Collection THEMATIC ROUTES 8

subject was one of the most radiant mod- fresh curvaceous look in which her bust els of La Belle Époque in London at that is emphasised. The bell shaped dress cas- time. Modern and confident, she rejects cades to the floor, and the brightly coloured the typical fashion of the constricted waist printed fabric was particularly popular at and abandons the frills in favour of a new, that time.

r o o m 3 2 this work belongs to an unfinished Women’s sports clothes were heavy series of the four seasons that Manet and dark and were inspired by men’s ÉDOUARD MANET painted during the last years of his life . The woman seen here in the paint- Paris, 1832–1883 on request of what was then the Ministry ing is wearing a slim, tight-fitting jacket; Horsewoman, Fullface, ca. 1882 of Fine Art. The artist accepted this com- the starched white coloured shirt fastens Oil on canvas. 73 x 52 cm mission in a state of ill health, and only with a golden broach, a counterpoint to inv. 659 (1980.5) managed to completely finish the first in the otherwise stark, masculine appear- the series, Spring. The Horsewoman was ance. The outfit is adorned with a , most likely intended to represent summer. under which the hair is held together Manet focused his attention on the ward- tightly in a bun. In her hand the rider robe of his subjects, given that at this carries a whip firmly in a long leather time fashion was the key to modernity that is finished with twenty buttons. (according to Baudelaire). The young In the same room we find Berthe Mor- Henriette Chabot, the daughter of a book- isot’s The Cheval Glass. Aside from being seller friend, is seen here wearing an Manet’s sister-in-law, Morisot was one of extremely elegant dark ensemble. The the founders of French Impressionism and artist’s impeccable technique in working actively participated in the group’s exhibi- with dark hues can really be appreciated tions. This work, first exhibited in 1877, here. represents the world of feminine feeling, It was during this period that sports- a recurring subject throughout the entire wear first appeared. Special clothing was collection of her works. A coy, coquettish designed specifically for tennis, cycling woman is seen preparing for the evening and riding. The end of the 1890s would as she looks into her mirror, fastening and see the (for those times) scandalous ar- adjusting her corset. This garment is of rival of trouser-skirt, short baggy trousers course associated with feminine beauty, that were otherwise known as bloomers. flirtatiousness, and the duty to remain slim The passion for riding of so many as dictated by the norms of fashion. This women was reflected in fashion maga- particular article of clothing had both its zines of the time. They clearly show how advocates and detractors. Various studies masculine fashion influenced women’s of the period reveal that the use of the fashion, but only up to the waistline. A corset was associated with what were then woman’s typical attire consisted of a top new physical problems such as the disloca- hat held in place by a chin strap, a man’s tion of the womb. Despite its dubious jacket and vest, and an enormously volu- reputation, one of the most profitable busi- minous skirt which almost touched the nesses at the time was corsetry for bridal ground, making it impossible to dismount . At the end of the day, these corsets from the horse without the assistance of would go on to influence the bustiers of a stable hand. Christian Dior and Jean Paul Gautier. The evolution of fashion in the Collection THEMATIC ROUTES 9

r o o m 3 3 degas came from a wealthy family. The hat shops were located on Paris’ Early on, he opted to give up his law stud- most elegant streets, and these same streets ies and dedicate himself completely to were in turn depicted on canvas. One of Paris, 1834–1917 painting. As an artist he was always as- these is Rue Saint-Honoré in the Afternoon At the Milliners, 1882 sociated with the Impressionists, even Effect of Rain by , which Pastel on paper. 75.5 x 85.5 cm though he considered himself to be a is on display in the same room. inv. 516 (1978.10) realist painter. Throughout his career he In the painting we can see two different was fascinated by the female universe, types of straw hats: the wide-brimmed by fashion in particular, and this would hat adorned with flowers and feathers lead him to immerse himself in the world commonly used to shade oneself from the of Parisian couture. He would often visit sun whilst strolling through the garden, boutiques in the company of his female and a bonnet, held in place with a chin friends. From this socially minded point flap, which completely shut off any per­ of view Impressionism was the art move- ipheral vision. These designs were influ- ment most associated with the ever-grow- enced by the commonly-used headwear ing wellbeing of the middle class. The of past centuries. young bourgeoisie of Paris were the sub- The parasol began to be used as early jects of his paintings, and in an attempt as 1830. From then on and for almost a to make the most of their ample free time, century afterwards, parasols were indis- they became slaves to fashion. pensable for women. They lent an air of With the advent of industrialization elegance, not only because of the richness and mass production, sophisticated gar- and variety of the materials from which ments became more and more accessible they were made, but because of the par- to a wider segment of the population. ticular way in which they were carried. This is the first piece in a series that Throughout the 19th century it was con- was dedicated to the hat shops of Paris. sidered elegant to use them regularly. When it was first shown in public, it Together with the fan, gloves and the caused uproar due to the inclusion of handkerchief, the parasol had its very own pieces made of silk, feathers, straw and language. other materials normally associated with Another example in the previous room, the ‘common man’. The forms and colour Woman with a Parasol in a Garden by palette of the hats allowed the artist to Pierre-Auguste Renoir, illustrates the im- show his skill in using colours, and his portance of the parasol for women. profound understanding of textures.

r o o m 3 5 lovis corinth was a german artist which he employed nine catwalk models. who fell under the spell of the impression- He even went so far as to design a suit, LOVIS CORINTH ists and travelled to Paris. Upon his return from start to finish, scissors and fabric in Prussia, 1858–Holland, 1925 to Germany he was awarded a professor- hand, in front of a live audience. Fashion Show, 1921 ship at the Academy. Fashion Show This painting captures a fashion show Oil on canvas. 201.5 x 100 cm was painted in Berlin four years before in progress: a ’s pose, covering her inv. 490 (1986.7) his death. upper body with a . The tubular dress Fashion shows began as early as 1800 made of yellow silk almost reaches her by the couture houses. At the beginning ankles. The tapering at the waist, which of the 20th century Paul Poiret first cre- is characteristic of this particular decade, ated the modern female figure in Paris gives the body a cylindrical shape. In the with rigid, straight lines and skin-coloured course of just a few years a woman’s out- , rejecting the use of the corset. fit went from weighing three kilos to only Poiret, was also a pioneer in that he was 900 grams. Once corsets were no longer the first to launch his own perfume and worn the décolleté was fairly modest to go on tours to promote his designs, for until the advent of the , when it was The evolution of fashion in the Collection THEMATIC ROUTES 10

fashionable to accentuate and shape the During les années folles women abandoned volume of the bust. the home deciding to lead a more active The revolution truly began in 1925 with social life. It was a decade filled with dance the appearance of the short skirt. The and exuberance - the decade of the Charles- archbishop of Naples even went so far as ton. The female shape became more rec- to insinuate that the earthquake suffered tangular, with a dropped waist – the leit- at Amalfi was a direct result of God’s wrath motif for . brought on by skirts that did not cover Inevitably with the great crash in 1929 more than the knees. In Utah there was came the introduction of new cheaper even a law stating that any woman wear- fabrics. In turn this allowed greater ing a skirt shorter than three inches above of movement and allowed women to take the ankles would be fined and punished. part in athletic activities more easily. Syn- In Ohio no woman over the age of fourteen thetic materials became more wide- was allowed to wear a skirt that did not spread and in 1933 the first pair of reach her feet. appeared on the tennis courts. This was These measures were all, of course, quickly followed by the disappearance completely in vain, and posed no great of stockings at Wimbledon, much to the obstacle in the path towards emancipation. horror of the spectators.

r o o m 3 9 this room brings together a series Schiaparelli. These two rivals were more of portraits of modern women whose per- than just designers; they were both at the sonalities are reflected. Through what they forefront of a new artistic movement, and Leipzig, 1884–New York, 1950 are wearing. This inter-war period saw were cohorts of the most important intel- Quappi in Pink , 1932-1934 the birth of a new style of woman. lectuals of the time. Schiaparelli’s designs Oil on canvas. 105 x 73 cm The new feminine ideal was androgy- were influenced by surrealists such as inv. 465 (1985.16) nous and women made concerted efforts Salvador Dali and Alberto Giacommetti. to appear masculine. All curves were hid- Of particular note were her shoe hats. den. Breasts were covered up completely The Italian designer opened twenty-six and hips were smoothed out as the wom- workshops, with more than two thousand an entered the work force. Neat, short employees. In 1930 alone, it is estimated hairstyles were the fashion now. These that her boutique turned over 20 million later progressed to styles, such as the gar- francs per year. çonne, that could be considered almost This remarkable painting is a mag- boyish, brought on perhaps by Victor nificent example of Max Beckmann’s style. Margueritte’s controversial Garçonne The portrait was exhibited in New York (1922), which tells the tale of a young only once in 1938. In 1925 Quappi became woman’s struggle to break the chains of his second (and final) wife. Work on the social norms and to lead her own inde- piece began in 1932 and was completed pendent life. These new hairstyles fol- in 1934. Beckmann altered not only the lowed the head’s natural contours and date but also Quappi’s expression, making were highlighted by the cloche style hat her smile much more comical to reflect that was so fashionable at that time. the couple’s thoughts and worries of the In Paris various fashion houses were impending Nazi rise to power. forced to close upon the arrival of new In the painting we see Quappi the female talent brimming with revolution- seductress; she has applied makeup to ary ideas, such as Coco Chanel and Elsa her cheeks and her lips, has plucked her The evolution of fashion in the Collection THEMATIC ROUTES 11

eyebrows and is dressed in a fine tailored In the same room we find portraits of two-piece suit and v-neck pink , other modern women who lived indepen- which had been deemed as unhealthy by dently of their husbands and wore short doctors and had ironically come to be skirts and synthetic stockings, such as known as the “pneumonia ”. Karl Hubbuch’s Twice Hilde II. There are “Sometimes all Max needs for inspiration also portraits of men that show the almost for a painting of me is a piece of clothing”, negligible evolution of the formal suit, writes Matilde Beckmann in her memoirs. the undisputed staple in every man’s This time it was a sweater and a pink tur- wardrobe. The only part of the suit that ban that she had bought herself in Berlin. changed over time is the jacket: double Throughout Max’s career he would paint breasted, straight, and with a more than fifty portraits of his wife. This as can be seen in Christian Schad’s Portrait piece was known as The American, named of Dr. Haustein and ’s Hugo Erfurth after the sensually posed, modern and with Dog. sophisticated woman it depicts.

r o o m 4 1 the smoker was painted in ceret, a avoid them getting smoky as this might place in the French Pyrenees that had ac- annoy their female companions. Very soon JUAN GRIS quired the reputation of the ‘Mecca of after this the Fumoir or smoking lounge Madrid, 1887–Boulogne-sur-Seine, 1927 Cubism’ because Juan Gris’ stay there had appeared, a private place where men could The Smoker (Frank Haviland), 1913 coincided with that of Picasso’s, to whom get together to smoke, an activity that at Oil on canvas. 73 x 54 cm the former referred to as ‘maestro’. The the time was associated with luxury and inv. 567 (1978.19) geometric defragmentation seen here exclusivity. Smoking had become evokes Picasso’s series of Cabezas (heads) fashionable after the conquest of the painted in the same year. Americas, but at this time smoking ciga- Thanks to the preservation of a pre- rettes had become fashionable thanks to liminary sketch that included a dedication, a massive wave of imported cigarettes it is widely believed that this may be a from Turkey. portrait of Frank Haviland. Haviland was Women took up smoking in 1925, and a rich American and friend of the Steins as a result the smoking jacket ceased to be who had just recently restored a monastery exclusively for men. In the 1930s the main in Ceret where he had an important col- trendsetters were models. No woman, with lection of African art in storage. the exception of Marlene Dietrich in The Upon analysing the angular fragments Blue Angel, had been so bold as to sport on the canvas and rearranging them men- such a manly outfit. As fashion photogra- tally, we discover the image of a man pher Helmut Newton had noted “there is wearing a smoking jacket and a top hat nothing more sensual than a tall, svelte puffing away on a cigar. and strong woman walking around in a This type of suit had originated in Great pair of high heels whilst wearing a smoking Britain in the 19th century, and was ini- jacket borrowed from a man’s wardrobe”. tially used specifically for smoking before To this day women’s smoking jackets being considered a staple piece of men’s are still considered to be stylish, espe- clothing. This formal attire was normally cially since 1966 when Yves Saint-Laurent made out of black fabric, with satin detail- redesigned the traditionally male garment ing on the jacket and trousers. Gentlemen into something with a distinctive feminine would wear this particular jacket, their touch. Over time the piece has become so-called smoking jacket, after dinner, timeless - a classic piece in the fashionable instead of wearing their frock to woman’s wardrobe. The evolution of fashion in the Collection THEMATIC ROUTES 12

r o o m 4 1 fashion, as with other forms of Calle Serrano called Casa Sonia. It was a visual expression, was affected by the ex- roaring success, and they went on to repeat SONIA DELAUNAY-TERK perimental tendencies of the avant-garde the same formula in Bilbao, San Sebastian Gradizhk, 1885–Paris, 1979 at the beginning of the 20th century. It was and Barcelona. During this time they Simultaneous Dresses (Three during this period that a concentrated worked together with the Diaghilev ballet Women, Forms, Colours), ca. 1925 effort was made for fashion to be recog- company, with Sonia designing the ward- Oil on canvas. 146 x 114 cm nized as art. robe and Robert the stage-sets. The Hotel inv. 519 (1981.30) The Delaunays as a couple were pio- Claridge in Madrid was the venue for many neers of abstract art and claimed that the of their fashion shows. colour in painting was the generator of In 1921, they returned to Paris where shapes and movement. They formulated they created the famous Simultaneous the concept of Simultaneism based on the Boutique, a hybrid space that was part art dynamics and contrasts of colour. gallery and part clothing shop. This new Although Sonia did have success as a concept, as Sonia had imagined it, was in painter, her major contribution was in the line with the changing, turbulent social world of decorative arts and textile design. climate of the time. She worked with hand printed fabrics Looking at the painting we see the mod- and carpets, created designs for curtains, els wearing simultaneous style dresses in umbrellas, furniture, cushions and lamps. vivacious prints. This type of garment She was immensely creative and she left was, in reality, a work of art even though her mark on fashion as well as interior it was not on canvas. In 1913 Sonia de- decoration. The colour combinations she signed her first simultaneous dress, which used broke the traditional mould, and was soon followed by her poem-dress a by using a mix of different fabrics with few years later. The women who wore varied textures she further contributed to Sonia’s designs were living paintings, it this breakthrough. In a magazine in 1913 was art on the female body, three-dimen- she wrote: “I want to create something new sional and it moved. Sonia met with re- and modern where the colour leaps out of sounding success in dressing fashionable the frame”. actresses such as Gloria Swanson. When the First World War broke out Brave, daring and visionary, Sonia De- it caught the Delaunays completely off launay would go on to design prints used guard while they were away on a summer for automobiles by Citroën, and would be holiday in Spain. In 1918, they settled in the first woman to see her paintings ex- Madrid where they would stay until 1921. hibited in the Louvre Museum during her They opened their own boutique near lifetime. The evolution of fashion in the Collection THEMATIC ROUTES 13

r o o m 4 5 in the year 1938, as the nazis were well as the pure lines Le Corbusier’s archi- approaching, Piet Mondrian abandoned tecture. The legendary Chanel Nº 5 bottle PIET MONDRIAN Paris and moved to London. By 1940 he itself incorporates all of her principles: Amersfoort, 1872–New York, 1944 was living in New York, where he would design, reduced to a simple geometric New York City 3, 1941 (1938?) / 1941 live out the remaining years of his life. form and number conveying a message / 1977 Paris fell, but fashion survived despite the of modernity. The essence of her style Oil, pencil, chalk and coloured tape on canvas. scarcity of fabrics, restricted manufactur- went on to influence the next generation, 117 x 110 cm ing capacity and manpower. including Christian Dior and his disciple inv. 679 (1983.17) In the United States the war did not Yves Saint Laurent. have as great an impact as in Europe and Mondrian’s abstract compositions, with fashion evolved rapidly, which to a sig- their straight, simple lines would also in- nificant extent was due to the film indus- spire Yves Saint Laurent’s legendary 1965 try. In 1944 a dress worn by Ginger Rog- collection, a huge commercial success and ers in the film Lady in the Dark was one that was copied ad nauseum. labelled the most expensive dress in the The entire world applauded these cre- world at the time, costing more than ations that went beyond the previously $35,000. established boundaries that lay between Mondrian fell under the spell of Amer- different artistic genres. Throughout their ican culture, jazz, boogie-woogie, its dy- careers great designers would talk about namic metropolitan cities and the sky- their collections in the same way that Van scrapers of Manhattan. His painting Gogh, Matisse and Picasso had done about became less rigid as he gained freedom their paintings. and rhythm as can be seen in New York The idea of design and printed fabrics City 3, painted a few years before his death. as works of art remains very much alive At this time, thanks to the common in the creations of current designers. To- sense of designers such as Coco Chanel, day, fashion is exhibited in museums and fashion centred around simplicity and renowned fashion houses seek out artists functionality. Her no-frills designs reflect who are capable of creating clothes that the geometric paintings of Mondrian as are real works of art. 14 PLANT OF THE MUSEUM

SECOND FLOOR 1 Early Italian Painting 2 Gothic Painting 3 Early Netherlandish Painting 4 The Quattrocento (Italian art) 5 The Portrait (Early Renaissance) 6 The Villahermosa Gallery 7 Italian Painting (16th century) 8 9 German Painting (16th century) 10 Netherlandish Painting (16th century) 11 Titian, Tintoretto, Bassano, El Greco 12 Caravaggio and the Early Baroque 13 14 15 Italian, French and Spanish Painting (17th century) 16 17 18 Italian Painting (18th century) 19 Flemish Painting (17th century) 20 Dutch Painting (Italianate movements) 21 Dutch Painting (17th century: portraits) A Italian Painting (17th century) B Flemish and Dutch Painting (17th century) C Views and Landscapes Gallery D 18 th-century Painting E-F 19 th-century American Painting FIRST FLOOR G Naturalism and the Rural World H Early Impressionism

22 23 24 25 26 Dutch Painting (17th century: scenes of daily life, interiors and landscapes) 27 Still Lifes (17th century) 28 From the Rococo to Neoclassicism (18th-century painting) 29 30 American Painting (19th century) 31 European Painting (19th century, from Romanticism to Realism) 32 Impressionist Painting 33 Pintura Postimpresionista 34 Fauve Painting 35 36 37 Expressionist Painting (20th century) 38 Expressionist Painting (the Blue Rider group) 39 Expressionist Painting 40 Expressionist Painting (New Objectivity) J K Late Impressionism L Gauguin and Post-impressionism (1) m Post-impressionism (2) N German o Fauvism GROUND FLOOR P Cubism and Orphism information ticket desk 41 42 43 44 The Experimental Avant-gardes cloakroom 45 The Synthesis of the Modern (Europe) gift shop-bookshop 46 The Synthesis of the Modern (USA) wheelchair lift to basement level 47 48 Late Surrealism. The Figurative Tradition and Pop Art cafetería-restaurant

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