THEMATIC ROUTES

Images Water, the archetypal and essential human resource par excellence, has been depicted in all cultures since the dawn of humanity up to the present of Water day. Its wide range of symbolic, sociological, literary and aesthetic

Esther Moñivas Mayor connotations within the history of Western painting means that it can be approached from the viewpoint of numerous different issues. These include man’s relationship with nature and conquest of it, our vulnerable position midway between the fertility and destruction that give rise to natural resources, spirituality and ancestral rites associated with the elements, the relationship between water and the female, and pure enjoyment of its contemplation.

The present tour of the Thyssen-Bornemisza Collection spans the 14th to the 20th centuries through a selection of “images of water” that will introduce us to a wide range of expressive landscapes. We will be seeing lakes, with their reflections that so fascinated painters, springs and rivers associated with biblical and mythological stories, unknown seas or ones whose raging waters have tested the courage of seafarers to the limit, majestic winter landscapes, ports and scenes of leisure activities. These are just a few of the themes that the painters in question have bequeathed to us, inviting us to reflect on and look at water in the context of our daily surroundings in a new way.

room 1 our survey begins in the medieval period with the aim of appreciating the LORENZO VENEZIANO sacred significance that water had within Active between 1356 and 1372 Christian religious symbolism. Portable Triptych of the Crucifixion: All the great civilisations of the ancient The Crucifixion (central panel), world grew up around river basins. In ca. 1370-75 addition, in the collective universal Tempera and gold on panel. 83.6 x 30.7 cm consciousness water is associated with inv. 228.a (1979.1.1) the very origins of time and is the funda- mental element in all the world’s oldest cosmologies. Images of Water THEMATIC ROUTES 2

From the outset, the dual nature of The episode of Christ’s baptism by water played an important metaphysical immersion in the waters of the River and religious role in the Judeo-Christian Jordan, which can be seen in the right- tradition. As Jean Chevalier noted, water hand panel of this 14th century portable is the source of life, the vehicle of purifi- triptych, refers to the moment when this cation and the centre of regeneration. It Sacrament was first instituted. Lorenzo appears in the Old Testament as the source Veneziano, the leading Venetian painter of life in the form of the Four Rivers of of the second half of the 14 th century, Paradise, while its apocalyptic dimension depicts the water as transparent, of a is manifested in the Red Sea and the Great greenish tone and with a curved surface. Flood. In the New Testament the act of He painted it in this manner in order to baptism, “charged with profound signi- allow the viewer to see Christ’s nudity ficance”, fuses this dual dimension of during the ceremony of baptism, thus “giving and taking away life”, signifying alluding to his casting off of the “old regression to the inert world of pre-exist- raiment” of corruption and sin in favour ence in order to be reborn into a new life. of a new innocence.

th room 4 the 15 century was a period of perilous journey undertaken by Jason and innovations and an “age of discoveries” that the Argonauts when they crossed the ERCOLE DE’ ROBERTI marked the end of the medieval period. ocean to Colchis in search of the Golden Ferrara, 1455/1456–1496 Advances in engineering encouraged men Fleece. The year 1474 saw the publication The Argonauts abandon Colchis, to conceive of the possibility of controlling in Bologna of the version of the Argonau- ca. 1480 the force of water. In particular, consider- tica by Valerius Flaccus (1st century bc), Tempera and oil on panel. 35 x 26.5 cm able advances in ship construction helped suggesting that it was a theme of contem- inv. 344 (1934.41) to mitigate fear of the unknown realm of porary interest when this painting was the seas. executed in the 1480s. Ercole de’Roberti and Lorenzo Costa The Argos, the ship that bore the heroes (to whom some scholars have attributed on their adventure and which had the this panel) worked together in Bologna, power of speech and the gift of prophecy, depicting Greek myths which until that is depicted here as a nave tonda, a large date had only been depicted in allegorical vessel that was commonly used for trans- series and with little emphasis on formal porting cargo in the 15th century, particu- aspects. Both the artists of their genera- larly in the Mediterranean. Even more tion and a contemporary scholarly interesting and striking is the treatment of aristocracy had begun to rediscover the the marine landscape, which is a depiction classical myths with the aim of casting of the Black Sea, shown here as a whiteish, light on the darkness of previous centu- misty setting of a dream-like nature that ries. This scene, which was part of the undoubtedly reflects the idea of sea travel decoration of a nuptial chest or cassone, as a journey into the unknown. It is clear depicts one of the episodes in the story of that the choice of this subject was not the Argonauts written by Apollonius a random one and rather allowed for a of Rhodes (3rd century BC). Among the old- rethinking of the role of the hero in the est of the Greek myths, it narrates the conquest of the planet over the centuries. Images of Water THEMATIC ROUTES 3

room 9 in order to pursue the idea of water’s Greek mythology recounts that the symbolic meanings in mythology, we lesser goddesses of song and poetry (the LUCAS CRANACH THE ELDER should refer to its association with the so-called Muses) as well as the fresh water Kronach, 1472–Weimar, 1553 concept of the female, an ancient tradi- nymphs (Naiads) would meet near the The Nymph at the Fountain, tion in the majority of world cultures. spring at Delphi. During these encounters ca. 1530-34 Since pre-historic times the association of Apollo played the lyre while the divinities Oil on panel. 75 x 120 cm water-moon-woman was perceived as the sang. On one occasion Apollo fell in love inv. 115 (1986.13) anthropo-cosmic circle of fertility. Water with Castalia. This virginal Naiad plunged is thus like a “dissolved woman”: the prin- into the water in order to escape his atten- cipal source of primary nourishment and tions, for which reason her name was the element that gives life while also given to one of the most important bearing death. The positive/negative view springs in Greece. The Castalian Spring of generative femininity in the Greco- inspired the gift of poetry in all those who Roman tradition gave rise in the medieval drank its waters or listened to its gentle imagination to numerous “aquatic births”. sound, for which reason it was visited by During the Renaissance, the secular philosophers and poets in search of inspi- rethinking of these myths resulted in a ration. Its sacred waters were also used to shift towards an image of woman as the clean the Delphic temples as it was con- incarnation of nature. sidered a “speaking water” that could Among the subjects depicted by Lucas prophesy and reveal a profound knowl- Cranach the Elder (a multi-faceted artist edge of reality. and supporter of Lutheranism) are numer- In Cranach’s painting the water emerging ous mythological scenes that allowed from the rock refers to the transformation him to paint female nudes with the aim of the nymph into the spring, while in the of formulating a new, strictly German background the deer, partridge, quiver and model that was profoundly different to bow are all attributes of Artemis, whom the Italian type. Cranach’s ideal female Castalia served. The text on the cartouche is type, here applied to a depiction of the a Latin poem that reads: fontis nympha nymph Castalia, was a slim, youthful and sacri somnum / ne rumpe quiesco, mean- very sensual one with almond shaped ing “I am the nymph of the sacred fountain. eyes, small breasts and long legs. Do not disturb my sleep. I am resting.”

room 10 another inherent characteristic included in this composition was an ideal of water in its liquid state is its capacity to New Testament theme that allowed him JOACHIM PATINIR move in time and space. Water is the to demonstrate his ability to depict pano- Dinant or Bouvignes (?), ca. 1480–Antwerp, material of time, the basis of formal ramic natural settings and to deploy his before 5 October 1524 changes and as such, of existence. It is gift for observation of realistic detail com- Landscape with the Rest on also a metaphor of continuity, of the cycli- bined with lyrical fantasy. the Flight into Egypt, ca. 1518-24 cal and of an idea of infinitely variable In the biblical account an angel appeared Oil on panel. 31.5 x 57.5 cm repetition that Heraclitus expressed in to Joseph in a dream and told him to flee to inv. 314 (1930.85) his well known phrase: “you will never Egypt with the Infant Christ and Mary bathe twice in the same river.” in order to escape Herod’s murderous Joachim Patinir, the celebrated Flemish decree. According to the Gospel account, painter and the artist who laid the way on their way the Holy Family suffered for landscape as an independent genre, hunger and thirst. Rather than depicting probably painted this panel in the last a Near Eastern desert landscape, which years of his life. Through the use of a would have been the real setting for such markedly horizontal format he gives a journey, Patinir locates the Virgin and most emphasis in the scene to the land- Child in the foreground by a fountain scape. The episode of the Holy Family’s with Saint Joseph collecting fruit for Rest on the Flight into Egypt that Patinir them from the trees. We also see their Images of Water THEMATIC ROUTES 4

donkey peacefully grazing among the are a small lake with a reflection of a meadows of a fertile landscape suggestive building in it and a stream crossed by of Central Europe. Patinir’s view trans- a bridge. In Patinir’s vision the bountiful ports us to a landscape of gentle hillsides nature of the landscape functions to give through which a river runs, with a hori- shelter to the family while the water zon primarily painted in tones of blue. offers them rest and nourishment during The final elements of water in this work their wearying journey.

room 13 claude lorrain’s work transports classical temple among the vegetation, the us to the Italian campagna. Lorrain, who striking form of a pyramid with a wall, CLAUDE LORRAIN was born in France but lived and worked and a ruined bridge. The artist depicts the Chamagne (Lorrain), 1604/5–Rome, 1682 in Italy, was one of the most important Holy Family on their Flight, attended by Ideal Landscape with the Flight representatives of classicising landscape an angel who shows them the way across into Egypt, 1663 during the Baroque period. In the 17th cen- a verdant, living landscape. The river is Oil on canvas. 193 x 147 cm tury in Italy and Antwerp landscape not once more a symbol of movement or jour- inv. 226 (1966.3) only evolved into an independent genre ney, accompanying human travellers on but also became a fashionable theme for their way with its flow and giving rise to which there was considerable demand a wealth of incidental scenes. among collectors. Claude locates an area of trees on Claude was extremely influential due either side of the composition, which lead to his use of a type of landscape that the viewer’s eye into the pictorial depth, aimed to capture the variety and beauty of as does the contrast of the dark fore - nature through first-hand observation, ground planes and the luminous evening albeit modified by a considerable degree light in the background. The presence of of idealisation. His views frequently water allows for the inclusion of a boat include pastoral scenes and bucolic ele- with fishermen at work and a group of ments, reflecting the evocative spirit of a cattle drinking. At the same time the lost, mythical past but one recalled presence of this element permits the art- through an idyllic perfection. This vertical ist to demonstrate his technical virtuosity format canvas, which dates from his in his depiction of the interplay of reflec- mature period, includes such references to tions and in the way in which he creates past time, for example, in the ruins of a a sense of depth in the water.

th room 17 in the late 17 century, at the Neptune (or Poseidon), god of the sea, dawn of the Enlightenment, techno - who is easily recognisable here by his tri- SEBASTIANO RICCI logical advances in harnessing the power dent and his traditional appearance as an Belluno, 1649–Venice, 1734 of water transformed Europeans’ relation- old man, had remained a subject of ven- Neptune and Amphitrite, ca. 1691-94 ship with this element, turning a necessity eration over the centuries despite the Oil on canvas. 94 x 75 cm into a virtue. This period saw the con- Church’s efforts to suppress this cult. In inv. 340 (1982.33) struction of monumental public fountains the extensive aquatic mythology of the with jets, cascades and sculptural ele- Greek world, Poseidon was an Olympian ments that recreated classical allegories god of markedly masculine character, and deities associated with water, in a way wild and moody, who reigned in the similar to that seen in this painting. The ocean over a group of gods, including artificial aquatic worlds created by these Thetis, Nereus and Triton, who were to fountains and by the renaissance of gar- some extent independent of the others. den design perfectly harmonised with the In general, all the aquatic divinities were Baroque emphasis on the pleasures of considered capricious, capable of per- the senses and on theatrical presentation. forming good deeds but also bad ones Images of Water THEMATIC ROUTES 5

according to their whim. They lived longer In this canvas Sebastiano Ricci, an artist than the other gods, outside of time and from Belluno, Italy, who received com- history, and were the deities closest to the missions from the principal European origins of the world. courts, depicts their wedding. The Nereid The story of the Nereid Amphitrite, a and the god occupy a throne that rises sea nymph and the daughter of Nereus, above the waves, surrounded by a retinue recounts how she dared to reject Nep- of putti, Nereids, fantastical beasts and a tune’s marriage proposal and hid on the triton blowing a conch. The piece of cloth sea bed to avoid a second offer, although that Amphitrite throws to the winds is an Neptune eventually persuaded her attribute typical of the marine gods of through the mediation of some dolphins. antiquity.

th room 26 in the 17 century nature was painting. In a way these works functioned exhaustively analysed and progressively to revive the image of the elemental power JACOB ISAACKSZ. VAN RUISDAEL stripped of its mythological associations, of water to which man had been exposed Haarlem, 1628/29–Amsterdam (?), 1682 as a result of which it was freed from over the centuries. These dramatic Stormy Sea with Sailing Boats, previous notions linking it to supernatural episodes reflect an aspect of a newly self- ca. 1668 forces. Crossing the Atlantic and the created national image that located man Oil on canvas. 50.1 x 62.5 cm circumnavigation of the globe were within the context of the forces of nature, inv. 359 (1957.2) indications of the real domination of the albeit conditioned by the conviction that world achieved by Western cultures. human will, the desire for action and faith This canvas by Jacob Isaacksz. van in God could overcome life’s dangers. Ruisdael introduces us to the most impor- Van Ruisdael, a precocious artist whose tant maritime empire of the period, style was influenced by Porcellis and De which was the Dutch. Following the Brit- Vlieger, added a specifically Christian ish victory over the Spanish Armada symbolism of a moralising type to the in 1588, the Low Countries had become elements in his paintings. In this canvas the most important seafaring nation in a group of small boats battle with a storm the world. Navigation became its princi- that makes their hulls keel over. The area pal economic motor and the sea provided of water on the right with protruding the basis for a prosperous, flourishing wooden poles on which the waves are lifestyle. breaking was a maritime signal indicating This is the context for the appearance a safe place to anchor in a stormy sea. A of a large number of depictions of possible symbolic reading of this element shipwrecks and storms at sea, a particular may refer to the journey of life, in which sub-genre of marine painting that is the maritime signal is, “like Christ”, the almost exclusively limited to Dutch safe harbour in which to anchor. Images of Water THEMATIC ROUTES 6

room 28 as a development of the theme of ist significance that would reappear in the shipwrecks and storms that appeared work of the Romantic painters. CLAUDE-JOSEPH VERNET within the context of Dutch art, reference Vernet’s marine views constituted the Avignon, 1714–Paris, 1789 should be made to the important changes genre within his work most highly prized A Stormy Sea and A Calm Sea, 1748 that came about in the 18th century when by contemporaries, particularly by Grand Oil on canvas. 44.5 x 60.5 cm each such scenes ceased to incorporate symbolic Tour collectors. They generally depict a real inv. 420 (1983.22) and 421 (1983.23) Christian elements. This new approach or imaginary rocky coastline with a boat arose from events such as the French in the process of being wrecked and the Revolution and the Industrial Revolution crew attempting to save it, possibly sym- in Great Britain, which gave rise to the bolising the convulsive events taking place most important socio-economic, political in Europe at this period. and cultural transformations known to In the present two canvases of A Stormy humanity since the Neolithic age. Sea and A Calm Sea, Vernet conveys the This dialectic between tradition and dual nature of the sea in two complimen- progress is the context in France for the tary scenes, emphasising the contrast work of Claude-Joseph Vernet, who would between drama and tranquillity through become one of the most important land- his study of light and colour in the two scape painters of the 18 th century. His works. In the first scene, imbued with works were celebrated in their own time movement and darkness, a French ship for their realism and the way that they and other smaller vessels struggle against resembled documentary accounts or the storm near a port while various figures chronicles. Responding to advanced taste in the foreground cling to the rocks or of the time, Vernet contributed to the evo- succumb to the waves. In the second scene lution of painting away from the Rococo the water has the character of a still style, above all liberating marine views reservoir and the interest in atmospheric from any allegorical connotations in order effects focuses on the mist, while tranquil to focus on disasters and their impact on groups of fishermen and various women human life with an essentially existential- rest with their baskets already filled. Images of Water THEMATIC ROUTES 7

room 28 t h e l a n d s c a p e s a n d s c e n e s o f landscape clearly refer to the above-men- classical ruins executed by the French tioned type of “English garden”, which HUBERT ROBERT artist Hubert Robert, one of the most imag- was habitually filled with romantic ele- Paris, 1733–1808 inative and admired painters of the 18th ments such as bridges, walls, areas of The Footbridge, ca. 1775 century, represent the transition from the vegetation allowed to grow wild and sur- Oil on canvas. 59 x 47 cm Rococo to Neoclassicism. In 1778, three prising details, marking a clear difference inv. 342 (1930.97) years after he completed this work, Robert with the “French garden”, which was was appointed designer of the royal gar- more geometrical in design. dens during the reign of Louis XVI and On a wooden footbridge we see a group Marie Antoinette, the only queen to impose of two ladies, a gentleman and a young her personal taste on Versailles. Character- girl, while further into the pictorial space ised by her intellectual independence, a fisherman observes with interest the Marie Antoinette envisaged a type of living activities of an elegantly dressed painter nature that was not imprisoned in hot on the river bank. The painter in turns houses or parterres, aiming to enjoy the contemplates the landscape. As a whole pleasures of a simple, rustic life far from the scene constitutes a succession of royal pomp and ceremony. It is thus easy pleasing elements: a cloudless day with to understand why she sought out Robert the gentle but lively flow of the water per- for the creation of some areas in her pic- mitting a group of swans to remain in the turesque garden in the English style that centre of the pond while in the back - was in vogue at that time. ground the fisherman engage with their The present oil is one of a group of labours. All these anecdotal elements views of gardens by Robert. Its oval for- appear to be present in order to amuse mat suggests that it may have been part and entertain the group of elegant aristo- of the decoration of a room or piece of crats on the footbridge during their stroll furniture. The informal elements in the through this setting of “tamed nature”.

th room 29 from the end of the 18 century, focused on the depiction of nearby land- Romanticism introduced a longing for a scapes, particularly the Newport coast and JOHN FREDERICK KENSETT more symbiotic relationship between man Lake George. These works convey the con- Cheshire, 1816–New York, 1872 and nature, constituting a reaction to the cept of the still untamed and undefiled Lake George, ca. 1860 Enlightenment and to the demythification American landscape as a New Eden. Lake Oil on canvas. 55.8 x 86.4 cm of nature resulting from the technical and George, one of the Hudson River artists’ inv. 612 (1980.78) scientific advances of the machine age. favourite subjects, is the largest lake in the Around 1800 landscape painting also Adirondacks. By the 1850s and with the embarked on a new era, no longer present- arrival of the railway it had become a new ing Sublime views to be appreciated in a tourist destination. It was a place charged serious manner but an expressive, mystical with historical and nostalgic references, and aestheticised landscape that was often while the lake’s placid waters offered the conceived of as a reflection of the divine. perfect motif for representing the Sub- In the 19th century nature became subjec- lime nature of untamed landscape. tive and was transformed into a reflection Influenced by the Luminist style of the of the interior life of the poet or painter. In period, in this work Kensett deploys a works of this type water became the per- soft lighting that gives the scene a dream- fect metaphor for this emotional flux. like mood, thus conveying the idea of the An important development in the purity of this unspoiled place. The reflec- United States was the emergence of the tion of the light on the glassy surface of Hudson River School, of which John Fred- the water, in itself a symbol of both spir- erick Kensett belonged to the second itual richness and life, invites the viewer generation. Kensett moved to New York to relax and to experience a spirit of uni- in 1847 and from that date onwards versal peace. Images of Water THEMATIC ROUTES 8

room 31 we now return to france in order from among the rocks. The depiction of to appreciate a marvellous river land- the reflection of the light on the water, GUSTAVE COURBET scape by Gustave Courbet, a controversial, the intense darkness of the well and the Ornans, 1819–La Tour-de-Peilz, 1877 ground-breaking painter who considered luxuriant vegetation all transport us to a The Stream at La Brème, 1866 that art should be based on the objective multi-sensory environment. Oil on canvas. 114 x 89 cm observation of the real world. Courbet This intense portrait of nature sug- inv. 495 (1986.2) championed an anti-classical, anti- gests Courbet’s fascination with hidden Romantic, anti-academic, forward-looking places and with the sensuality of nature. and social type of realism. The way in which the water gushes from The Stream at La Brème belongs to the the openings and small cracks in the final phase of the artist’s career when he rocks has been interpreted by some focused increasingly on the landscape of scholars as a sexual metaphor. These his native region of the Franche-Comté. experts consider that the present work Courbet offers a scrupulously accurate could constitute a parallel in landscape depiction of a place near Ornans known form of Courbet’s famous work The Ori- as Puits Noir (Black Well), which is the gin of the World, which he painted in the exact spot where the stream emerged same year.

room 32 impressionism was the first modern about by light and time. In addition, art movement to grasp the difficulty of Monet was always particularly interested CLAUDE MONET conveying the constantly changing nature in the ephemeral and changing nature of Paris, 1840–Giverny, 1926 of reality through painting. Within this water, and it is thus easy to understand The Thaw at Vétheuil, 1881 new approach to the passing of time, how he was struck by the thaw of the Seine Oil on canvas. 60 x 100 cm which arose at the end of the 19th century, following the hard frosts of the winter of inv. 680 (1977.86) the work of Claude Monet, one of the great 1879-80. landscape painters, should be singled out. The seventeen oils in this series reveal Between 1878 and 1881 Monet lived Monet’s preference for horizontal planes. with his wife Camille and their children They are painted in a palette of cool tones in Vétheuil, a small town to the north of which, combined with the solitary mood Paris on the banks of the Seine. Here of the landscape, create feelings of silence Monet endured the death of his wife and abandonment. The impermanence of while also experiencing a particularly the ice and the way it is swept along by productive period in his career. It was in the river encourage us to reflect on the Vétheuil that he began to paint his series meaning of continual loss and parting in which he repeated the same motifs and on the cycle of life. However, the under different atmospheric conditions thaw also implies the arrival of spring, in order to record the changes brought charged with new life once again. Images of Water THEMATIC ROUTES 9

room 41 our survey ends with one of the with skyscrapers and the cables of Brook- most influential avant-garde pictorial lyn Bridge. The depiction of water, “in this ALBERT GLEIZES movements of the 20th century. Albert case sea water as the connecting element Paris, 1881–Avignon, 1953 Gleizes was part of the Cubist movement between the two cities”, regains its ances- In Port, 1917 in Paris in the second decade of the cen- tral symbolism present since the dawn Oil and sand on cardboard. 153 x 120 cm tury, contributing to its theoretical dis- of time through the avant-garde device of inv. 555 (1975.40) semination by writing the first essay on schematisation, expressed as undulations the subject. In addition, he was one of the that refer to the fluid movement of water. organisers of the “Salle 41” at the Salon Gleizes’s work is technically interest- des Indépendants of 1911, which first pre- ing as some areas imitate stuck down sented the Cubists to the public. While his fragments recalling Picasso and Braque’s early works are close to Impressionism, papiers collés, which were the first mani- Gleizes soon became interested in Cubism’s festations of the definitive break with analysis of structure and its use of formal the traditional boundaries between the simplification. surface of the canvas and reality. In addi- During World War I Gleizes succeeded tion, Gleizes stuck tiny stones to the in not being called up and lived between surface of the cardboard in a direct and New York and Barcelona. As a result of real reference to the ports or beaches that that experience, In Port reflects a super- he regularly visited in both the United imposition of realities, recollections and States and Spain. This manner of using fragments of images that link the two materials marks a further step beyond cities’ ports. It is possible to perceive the their traditional representation within the grid system of Barcelona’s urban layout history of painting, allowing us to perceive as well, perhaps, as the pointed, Gothic the future path of endless artistic explora- arches of Santa María del Mar, combined tion that would open up in the 20th century.

Bibliography bachelard, Gaston: El agua y los sue- cirlot, Juan Eduardo: «Aguas». In ños. Ensayo sobre la imaginación Diccionario de símbolos. Madrid, de la materia. Mexico. Fondo de Siruela, 2003 (1997), pp. 68-71. Cultura Económica, 2002. [Original eliade, Mircea: «Las aguas y el sim- version: Martí, José: L´eau et les bolismo acuático». In Tratado de rêves. Essai sur l´imagination de la historia de las religiones. Morfolo- matière. Paris, 1942]. gía y dialéctica de lo sagrado. Ma- böhme, Gernot y böhme, Hartmut: drid, Ediciones Cristiandad, 2000 Fuego, agua, tierra, aire. Una histo- (1949), pp. 296-331. ria cultural de los elementos. Barce- waldmann, Susan: «Diluvios, naufra- lona, Herder, 1998. gios y aguas mansas (El agua como chevalier, Jean. (dir.): «Agua». In Dic- motivo pictórico en el arte)». In cionario de los símbolos. Barcelona, Revista de Occidente, nº 306, 2006, Herder, 1986, pp. 52-60. pp. 172-186. 10 PLANT OF THE MUSEUM

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