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Images of Water” That Will Introduce Us to a Wide Range of Expressive Landscapes

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Images of Water” That Will Introduce Us to a Wide Range of Expressive Landscapes 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.
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