THEMATIC TOURS

Food In addition to being an essential source of nourishment, food is also an original idea by Blanca Ugarte object used in cult worship, a sign of wealth, a social ritual and a source adapted by Teresa de la Vega of shared pleasure that involves all the senses and feeds the spirit. Given that, as the well known saying has it, “we eat more with our eyes than with our mouths”, the art of cookery, which involves creativity and colour in a way comparable to painting, has enormous visual appeal. As in an alchemist’s laboratory and surrounded by flasks, jars, paintbrushes and spatulas, both the cook and the artist transform their primary materials — saffron, berries, walnut and linseed oil, casein, fish tail, vinegar and egg white — into a creation that marks the transition from nature to culture through the opposition of the raw and the cooked.

Through this gastronomic survey the Thyssen-Bornemisza Collection aims to satisfy visitors’ appetites, tempting your palate and feasting your eye.

[CENTRAL HALL] our gastronomic survey begins picnics, take part in a range of festivities with a view of the junction between the and celebrations and exchange news. JAN VAN KESSEL III (attributed to) Carrera de San Jerónimo and the Paseo Fountains and water sellers were com- Amberes, 1654–Madrid, 1708 del Prado, which is the location of the mon sights on Madrid’s streets before View of the Carrera de Museo Nacional Thyssen-Bornemisza houses had individual water supplies. San Jerónimo and the Paseo del today. The view of this part of Madrid According to a Treatise on Water of 1637 Prado with a line of Carriages, reflects the way it looked during the “one of the great virtues of the Spanish is 1686 reign of Charles II. It was a meeting place that they drink a lot of water as they are Oil on canvas. 164 x 445 cm for the elite members of the capital’s soci- not as enthusiastic about wine as other inv. ctb.1998.81 ety but also for the working classes. Peo- Europeans.” ple gathered to see and be seen, to have If you look carefully at this painting you will also see a churrera or seller of fried dough strips. Known as “fruits of the frying pan”, these sweetmeats originated in the Arab world. They became extremely popular in Spain and also spread to South America. The strolling vendors who sold them are no longer to be seen on the streets of Madrid but their image in this painting evokes a rich gastronomic herit- age which, like Spain’s artistic patrimony, is an inalienable cultural treasure that should be preserved and appreciated. Naked Eve THEMATIC TOURS 2

[ROOM 3] this scene depicts the last supper, however, be assumed that the empty plat- during which the institution of the Eucha- ter on the table in this scene had been THE MASTER OF THE VIRGO rist forged a New Alliance between God used for a lamb, which was one of the INTER VIRGINES (follower of) and man. Christ, with Saint John resting foodstuffs eaten during this Jewish festival Active in Delft between ca. 1483 and 1498 on his lap, gives Judas the bread dipped in and prefigures the sacrifice of Christ who The Last Supper, ca. 1485 wine and thus points out the person who offered himself up in order to save man- Oil on panel. 69.7 x 38 cm will betray him just a few hours later. kind, according to the Christian interpre- inv. 270 (1956.5) The Jewish festival of the Passover or tation. In some Renaissance paintings, Pesah commemorates the liberation of the however, we encounter various curious Israelites from slavery in Egypt. The word alternatives: in one of the panels for the means “leap”, referring to God “passing Maestà in Siena cathedral Duccio di Buon- over the houses of the people of Israel”, insegna, for example, depicted a suckling who painted their door jambs and lintels pig, which was an animal considered im- with lamb’s blood to save their first-born pure according to Mosaic law; Zanino di children from the plague that would deci- Pietro painted river crabs in a fresco of mate the Egyptians. Food plays a particu- Saint George in San Polo di Piave; while larly important role in the celebration of in the most celebrated Last Supper in the this festival as it commemorates the expe- history of art, Leonardo da Vinci depicted riences of slavery, exodus and liberation. a plate with what seems to be an eel, The Bible does not provide details on which were also creatures forbidden in the the food at the Last Supper as the Gospels Judaic tradition. The inclusion of these only refer to the bread and wine that was dishes may perhaps constitute an allusion transformed into spiritual nourishment, to the Christian rejection of the Judaic dis- signifying the path to eternal life. It can, tinction between pure and impure foods.

[ROOM 6] the woman depicted here by paris food and eroticism, reflecting Terence’s Bordone holds a monkey by a chain, an maxim sine Cerere et Baco friget Venus, PARIS BORDONE animal traditionally associated with the meaning “Without Ceres and Bacchus, Treviso, 1500–Venice, 1571 sense of taste and one that became an Venus freezes”. The secular association Portrait of a young Woman, emblem of greed. Allegories of this type, of sensuality and food is also echoed in ca. 1543-50 which became extremely popular dur- popular beliefs. Thus certain types of Oil on canvas. 103 x 83 cm ing the Mannerist and Baroque periods, pasta are said to have anthropomorphic inv. 55 (1936.5) often had an ambiguous meaning given origins: tagliatelle, for example, were tra- that the senses were considered the ditionally invented by a cook in imita- means to acquire knowledge but also an tion of the blonde hair of Lucrezia encouragement to sin. Borgia, while the original tortellini were The opulent beauty of the model sug- modelled on the navel of an obliging gests a metaphorical association between lady. Naked Eve THEMATIC TOURS 3

[ROOM 9] the sitter, matthäus schwarz, in Augsburg in 1530, which was presided worked in the service of the powerful over by the Archduke Ferdinand I of Aus- CHRISTOPH AMBERGER Fugger family and wrote a number of tria and his brother, the Emperor (?), ca. 1505–Augsburg, 1561/62 treatises on accountancy. He also wrote Charles V. Schwarz commissioned three Portrait of Matthäus Schwarz, 1542 a fascinating work known as the Trach-​ expensive suits for the occasion and man- Oil on panel. 73.5 x 61 cm tenbuch that is now in the Herzog Anton aged to lose weight. In other words, he inv. 4 (1935.1) Ulrich Museum in Brunswick. This went on a diet for the Diet. manuscript, which is essentially bio- By the time he posed for this portrait graphical, includes 137 illustrations of Schwarz had got fat again and his exces- the most important items of clothing sive enthusiasm for eating may in fact that Schwarz owned during the course have been the cause of his subsequent of his lifetime. It is an extremely impor- apoplexy. On the window ledge we see a tant document as it offers highly valua- glass of red wine, which could be a refer- ble information on male dress of this ence to his nature as a bon vivant or to the period. One of the illustrations depicts origins of his family’s fortune in the wine Schwarz naked, aged 29, accompanied trade. There is also a sheet of paper with by an annotation that reads “I have got details about the sitter in the form of a fat and spread out.” calendar and his astrological information. Schwarz’s concern for his appearance Another unusual element is worth not- reached its height with the celebration of ing: Schwarz’s horoscope written in gold the Imperial Diet (Reichstag in German) letters on the sky.

[ROOM 10] All human history attests esis does, however, mention fig leaves in That happiness for man connection with the Fall as a symbol of JAN GOSSAERT — the hungry sinner! - shame for the sin committed. In general, Maubeuge (?), ca. 1478–Antwerp (?), 1532 Since Eve ate apples, the apple was selected as the fruit in Adam and Eve, ca. 1507-08 much depends on dinner. question for reasons of semantic similar- Oil on panel. 56.5 x 37 cm (Lord Byron) ity (apple in Latin is malum, which is inv. 163 (1930.26) similar to mal) and due to its identifica- since the moment when adam and tion with beauty and pleasure in the clas- eve sampled the Forbidden Fruit in the sical world. The latter association is Garden of Eden, food has played an im- reflected in a number of myths includ- portant role in biblical and sacred litera- ing the Garden of the Hesperides and the ture. In fact, the Bible does not state that Judgment of Paris, an episode to which the Fruit was an apple and as a result the basket of apples in Pietro Longhi’s artists have on occasions preferred to de- painting The Tickle may refer (on dis- pict it as an apricot, a peach or a fig. Gen- play in Room 18). Naked Eve THEMATIC TOURS 4

[ROOM 11] in his dictionary of cooking alexan- da tavola, “ornate, temporary decorations dre Dumas (1802-1870) asked: “Do we in made of sugar, marzipan and butter” that ANONYMOUS VENETIAN ARTIST fact owe Titian’s masterpieces to spices. were designed by celebrated artists such Active ca. 1570 I am tempted to think this might be the as Benvenuto Cellini, Giulio Romano, The Last Supper, ca. 1570 case.” The brilliant chromatic range of Giambologna and Pietro Tacca. Accord- Oil on canvas. 121 x 190 cm the Venetian artists made its appear- ing to one account, during the plague of inv. 17 (1934.5) ance in a city dominated by the con- 1630 the sculptor Tacca (who produced stantly changing glint of light on water, the statue of Philip IV in the Plaza de Ori- together with the gleam of mosaics and ente, Madrid) melted the sugar of his silks from the Orient. In comparison creations and mixed it with wine in or- with the frugal simplicity of The Last der to fortify his assistants and avoid Supper that we looked at earlier, on dis- them fleeing with his studio secrets. play in Room 3, this canvas depicts a During the Renaissance the pleasures sumptuous banquet in a sophisticated, of the table became inextricably linked to theatrical setting in which we see a vari- sensibility and refinement. Banquets dur- ety of secular elements such as the serv- ing this period not only satisfied hunger ants and the domestic animals that took and conveyed the host’s social status; full advantage of morsels of food thrown they also offered an excuse for guests to on the floor. display their good manners and elo- Humanist culture, in which artists’ as- quence. Leon Battista Alberti (1404-1472) pirations focused on greater intellectual is better known as an architect and theo- recognition and social status, gave rise to retician but he also wrote Intercenales, the appearance of a number of famous which is a collection of short texts de- cooks and authors of treatises on food signed to be read out during a banquet. such as Cervio, Platina, Scappi and Mes- In 1494 a Milanese pilgrim lamented sisburgo, all of whom recommended that the frugality of a dinner that he attended food should be visually agreeable and on his way through Venice: “In my opin- with a bel colore. In addition, in his writ- ion, the Venetians make do with the sus- ings the painter and theoretician Federico tenance provided by art.” There is no Zuccaro drew a parallel between the no- doubt that the genius of Venice’s artists ble art of painting and the organisation has sustained its citizens, who in the 20th of a banquet, presided over by discern- century paid homage to their painters by ment, good taste, variety and abundance. naming dishes after them: carpaccio for Of equal importance to the food itself thin slivers of raw meat with parmesan, was its presentation on silver or maiolica and a bellini for a cocktail, reflecting the plates, which functioned to emphasise its colours used by these painters, whose appeal. In addition, there were the trionfi works you can see in Room 7. Naked Eve THEMATIC TOURS 5

[ROOM 13] the special relationship between specialising in refined, arcadian land- artists and cookery over the centuries is scapes. Claude was not the only artist to CLAUDE LORRAIN reflected in the traditional attribution to devote time to food. The painter Andrea Chamagne (Lorrain), 1604/5–Rome, 1682 Claude Lorrain of the invention of del Sarto, for example, reproduced the Ideal Landscape with the Flight mille-feuille pastry. Florence Baptistery in sausages and into Egypt, 1663 Born around 1604 or 1605 in the re- cheese as a table decoration, while ac- Oil on canvas. 193 x 147 cm gion of Lorrain, Claude Gellée revealed cording to some accounts the architect inv. 226 (1966.3) his talents for art at an early age. He was, Bernardo Buontalenti invented ice cream however, from a poor family and his bi- while Cesare Ripa, the author of a highly ographies state that he was obliged to influential book on emblems entitled the divide his time between painting and Iconologia, is referred to in the early lit- working in the village bakery. Eventually erature as a trinciante or meat carver in he was able to devote himself fully to art, the service of a cardinal.

[ROOM 20] genesis recounts that jacob, later terpreted as a sign of divine approval, as known as Israel, “he who fights with in the Old Testament the olive was one HENDRICK TER BRUGGHEN God”, purchased his brother Esau’s birth- of the gifts of the Promi-sed Land while Utrecht or The Hague, 1588 (?)–Utrecht, 1629 right for a plate of lentils. According to its oil was a key element in the mass. Esau selling his Birthright, ca. 1627 tradition Jacob was the second of the Another possible interpretation of this Oil on canvas. 106.7 x 138.8 cm two twins to be born to Isaac and Rebecca. episode is that it revolves around the inv. 393 (1981.16) During her pregnancy the boys fought in transition from hunter-gatherer societies their mother’s womb. She received the di- to agricultural ones, symbolised by the vine message that two nations were form- opposition between the dead game ing within her and that the one represent- brought back from the hunt by Esau and ed by the elder son would serve the Jacob’s lentils. In addition, it is interest- younger’s. Rebecca always favoured Jacob ing to note that the lentils, which are rich while Isaac revealed a preference for Esau. in proteins, are accompanied here by a One day Esau returned hungry from lemon, as it has been proved that the iron hunting and asked his brother Jacob for in lentils is more easily absorbed if ac- some of the lentil stew that he was eat- companied by Vitamin C, to be found, for ing. On his mother’s advice Jacob asked example, in citrus fruits. for Esau’s birthright in return for the len- The soft light from the candle helps tils, to which his brother agreed, thus to create a holy atmosphere and also re- scorning the spiritual benefits that the flects the enormous interest in effects of position of first-born implied in favour artificial light on the part of northern of momentary, material benefit. This sto- artists of this period. This is also evident ry is the origin of the popular saying that in another work on display in this room, a person has sold his honour for “a hand- The Supper at Emmaus (ca. 1633-39) by ful of beans”. The plate of olives that the Matthias Stom, in which bread once boys’ elderly mother holds has been in- again plays a crucial symbolic role. Naked Eve THEMATIC TOURS 6

[ROOM 20] in the metamorphoses ovid recounts At Pomona’s feet is the fruit that she how Pomona, the Roman goddess of has carefully grown, including citrus CAESAR VAN EVERDINGEN fruit trees, gardens and vegetable plots, fruit, figs (which were the gift of Diony- Alkmaar, ca. 1617–1678 showed no interest in men despite being sus in Greek culture) and melons. While Vertumnus and Pomona, desired by all the rural gods. Only Ver- melons were an ancient fruit as they are ca. 1637-40 tumnus, god of seasonal changes, truly mentioned in Egyptian texts, during the Oil on panel. 47.9 x 38.9 cm loved her. In order to earn her trust he Renaissance a particularly sweet Armeni- inv. 136 (1983.19) made use of a trick. Disguising himself an variety was planted in the papal or- as an old woman, he visited her to con- chards of Cantalupo near Rome. It is said gratulate her on the fruit from her trees that Pope Paul II died from indigestion then passionately embraced her, reveal- brought on by melons and that Inno- ing his true, resplendent face and thus cent XIII used them as cups for drinking capturing the young goddess’s heart. port in order to bring out its aroma. This story, which was particularly In the 17th century cantaloupe melons popular in Dutch art, may involve a became highly appreciated in France and warning to young women to take care Italy where they were grown under glass against the ruses of seduction. It may to protect them from the weather and also imply a reflection on the illusionistic were watered with water sweetened with nature of painting. honey or sugar.

[ROOM 23] busy market scenes celebrated the pre- vailing commercial boom that was the EMANUEL DE WITTE principal source of income of the wealthy Alkmaar, ca. 1617–Amsterdam, 1691/92 classes. These paintings thus convey a The Old Fish Market on the Dam, sense of wellbeing seemingly intended to Amsterdam, ca. 1650 exorcise the spectre of hunger. Oil on panel. 55 x 44.8 cm In De Witte’s scene a woman examines inv. 438 (1930.127) the merchandise before the attentive gaze of a hungry dog who may at any moment take a bite from one of the enormous fish the 18th century was a period of with silvery scales from the North Sea. notable prosperity in Holland with an un- We also see a young girl touching the tail precedented demand for works of art by of another fish and a surprising detail in the mercantile classes, who wished to see the presence of a stork, which the artist their ideals and lifestyle reflected in them. would include in subsequent paintings of The abundance of foodstuffs depicted in this type. Naked Eve THEMATIC TOURS 7

[ROOM 23] a comparison of this work and preciated cooking, or perhaps the cook, the previous one by Emanuel de Witte as he repeated this subject on two other GABRIEL METSU reveals the polarity between the raw occasions. Leiden, 1629–Amsterdam, 1669 and the cooked, which is a key issue in Some scholars have seen an erotic refe- The Cook, ca. 1657-62 anthropological research on cookery. rence in the cook’s ambiguous gesture, Oil on canvas. 40 x 33.7 cm The cook, depicted here in her work emphasised by the partridges hanging in inv. 285 (1930.74) place, proudly displays the fruits of her the background, which are a traditional labour. Her saucy gesture suggests that symbol also to be seen in two paintings she is offering herself along with her on display in Room 9, The Nymph of the roast. The artist, Gabriel Metsu, also spe- Fountain by Lucas Cranach the Elder, cialised in domestic interiors, market and Hercules at the Court of Omphale by scenes and taverns. He must have ap- Hans Cranach.

[ROOM 23] on display in the same gallery most intimate emotions remain hidden is eating Oysters by Jacob Lucasz. Och- deeply within their psyche, the interior JACOB LUCASZ. OCHTERVELT tervelt. Here the underlying association of the oyster is firmly protected by its Rotterdam, 1634–Amsterdam, 1682 between sex and food, arising from valves. Oysters became habitual elements Eating Oysters, ca. 1665-69 their shared celebration of abundance in the game of love due to their suppos- Oil on panel. 47.6 x 37.7 cm and the pleasures of the senses, arouses edly aphrodisiac properties, as can be inv. 304 (1930.82) the instincts of the figures. seen in another work in the Carmen Oysters, referred to as minnekruyden Thyssen-Bornemisza Collection, Interior (herbs of love) by the Dutch poet Jacob with two Women and a Man drinking and Cats, can be interpreted symbolically giv- eating Oysters by Pieter Hendricksz. de en that in the same way that a person’s Hooch (Room B).

[ROOM 27] during the golden age of dutch painting the broke away from WILLEM CLAESZ. HEDA religious and genre scenes and became Haarlem, 1593/94–1680 an autonomous genre. In addition to its Still Life with a Fruit Pie decorative character and virtuoso illu- and various Objects, 1634 sionism, the sophisticated settings of Oil on panel. 43.7 x 68.2 cm the works on display here (such as those inv. 181 (1958.1) by Willem Kalf, Willem van Aelst and Jan Jansz. van de Velde III) allude to the seduction of the exotic and to the taste Naked Eve THEMATIC TOURS 8

for luxury of the affluent classes, whose everything and to the futility of worldly tables abounded in the most highly pleasures. This notion, however, is para- prized ingredients as a consequence of doxical, as a rejection of earthly pleas- the wealth generated by mercantile ac- ures clearly coexists with the opulent tivities. These foodstuffs included meat indulgence prevailing in the residence of pies, amber or ruby coloured wines in the upper middle classes. fine glasses painted to emphasise their Peeled lemons are frequently to be decorative nature, citrus fruits from hot seen in Dutch still-life paintings, sug- countries, and sugar (previously a rare gesting a variety of meanings. The spiral commodity) in porcelain bowls. of the peel hanging over the edge of the There has been considerable debate as table provokes a sense of precarious - to whether there is an admonitory or ness, as does the protruding knife which moral message in these works, which can bears the artist’s signature in this work. be linked to the type of painting known Another interpretation could be that the as a vanitas that was particularly wide- lemon’s pitted skin contains a fragrant spread in the 17th century. The presence interior, just as the perishable body of watches, broken or tipped over glass- houses an immortal soul. In addition, es, dried fruit peel on the tablecloth and this fruit was a symbol of temperance half-eaten food would thus refer to the and its juice was thought to counteract inexorable passing of time that devours the effects of alcohol.

[ROOM 27] in comparison to dutch still-life paintings with their informal arrangement JUAN VAN DER HAMEN Y LEÓN of luxurious items that evokes a “mascu- Madrid, 1596–1631 line” world of overseas expansion and Still Life with earthenware commercial success, the regular arrange- Vessels and Sweetmeats, ment of the vessels and sweetmeats in this ca. 1627 painting reflects a more homely, “female” Oil on canvas. 77.4 x 100.6 cm environment of everyday foodstuffs in inv. 180 (1935.9) white and earth tones (ochre, orange) that look back to earlier tradition. Van der Hamen’s still lifes, which are influenced by Sánchez Cotán’s compositions, are a model of simplicity. They are imbued with a pervasive tranquillity and a meditative mood that transforms the humble objects depicted in them. “God also walks among the cook pots”, to quote the famous words of Saint Theresa. Naked Eve THEMATIC TOURS 9

[ROOM 28] plements on a sideboard, indicating that the foodstuffs are about to be prepared JEAN SIMEÓN CHARDIN and seasoned with the black pepper in Paris, 1699–1779 the mortar and with the vegetables that Still Life with a Cat and Fish started to replace costly spices in the 18th and Still Life with a Cat and century. Rayfish, 1728 Within the climate of the Enlighten- Oil on canvas. 79.5 x 63 cm each ment, French cooking acquired its own inv. 119 (1986.3) and 120 (1986.6) identity in a process that would lead it to become one of the most refined and sophisticated cuisines in the world. a faithful recorder of petit bour- After the Revolution, the restaurant be- geois life, Chardin (also represented in came the new temple of gastronomy in the Thyssen-Bornemisza Collection by a which to sample refined dishes previ- small still life on display in the previous ously only available to the aristocracy. room) transforms inanimate objects into “Architecture is the most noble of the living ones. He does so through the pres- arts, while art’s most celestial manifes- ence of the cat, the contrast between the tation is that of the pastry chef” affirmed dry fish and the fresh salmon and ray- Carême, one of the great geniuses of 19th fish, and through his warm, “buttery” century cookery and a chef notably in- type of brushstroke. Under a diagonal fluenced by painting in the visual qual- light, Chardin arranges the cooking im- ity of his creations.

[ROOM 41] r e d , w h i t e a n d g r e e n a r e t h e The Futurists opened an experimen- colours of the Italian flag and also the in- tal restaurant called Tavern of the Holy GIACOMO BALLA gredients of a pizza margherita (tomato, Palette. It served dishes such as “intui- Turin, 1871–Rome, 1958 mozzarella and basil), which is said to tive antipasti”, “Fiat chicken”, in which Patriotic Manifestation, 1915 have been created in June 1889 in hon- the chicken was cooked on ball-bearings Oil on canvas. 101 x 137.5 cm our of Queen Margaret of Savoy by a that gave it a taste of aluminium, “Alaska inv. 459 (1978.71) chef in the Pizzeria Brandi in Naples. Salmon cooked with Sunbeam and Mars The subject of Balla’s painting has sauce”, “edible Meteorites” and “visual nothing to do with cookery as it is one of meat”, all only apt for outlandish palates. a series on the demonstrations held in All the senses were involved in the Rome calling for Italy’s involvement in celebration of their “Aero-banquet”, in World War I, a decision finally taken which various perfumes reached the in May 1915. We should bear in mind, table via a ventilator and announced however, that the provocative Futurists each dish, the eating of which was ac - waved the banner of revolution in all ar- companied by poetry and music. The eas of life. The year 1930 saw the publi- sense of touch was also evoked as din- cation of the Futurist cookery manifesta- ers had to touch pieces of silk and vel- tion in which they expressed their dislike vet or strips of sandpaper in order to of pasta, which they considered to have participate in a multi-sensory aesthetic lowered Italians to the most basic level. experience. Naked Eve THEMATIC TOURS 10

[ROOM 41] the nedick’s chain was launched en by its rival McDonald’s, which opened in New York in the 1920s and soon be- its first self-service restaurant in 1937 RICHARD ESTES came one of the city’s icons. This peri- in Pasadena, California, in response to Kewanee, 1932 od saw a radical shift in eating habits as the inhabitants’ dependence on the car. Nedick’s, 1970 a result of changes in food production These chains were joined many years Oil on canvas. 121.9 x 167.6 cm and distribution. These in turn arose later by ones focusing on “ethnic” food: inv. ctb.1993.10 from complex social phenomena such Neapolitan pizzas, Mexican tacos and as industrialisation, the widespread Japanese ramen, all essentially the same incorporation of women into the work- and devoid of personality in their effort force, an obsession with hygiene, a rab- to avoid surprises. id consumer culture and the fact that Nonetheless, it was not only the price, people were not allowed to take much speed and functionality that contributed time off work, leading office workers to the success of these chains. The trans- in the city centre to eat as quickly as gressive pleasure of eating with one’s possible. hands, the soft or crunchy textures and It was Nedick’s that offered these the sweet-and-sour taste of the sauces workers a complete menu of hamburger, reproduce pleasurable oral and taste sen- coca-cola and chips in seconds. It was a sations from our childhoods which is pioneer in fast food until it was overtak- when our palate develops.

bryson, Norman: Volver a mirar: luján, Néstor: Historia de la gastrono- rowley, Anthony: Una historia Bibliography cuatro ensayos sobre la pintura mía. Barcelona, Editorial Folio, 1997. mundial de la mesa. Asturias, de naturalezas muertas. Madrid, martínez llopis, Manuel: Historia Ediciones Trea, 2008. Alianza Editorial, 2005. de la gastronomía española. toussaint-samat, Maguelonne: chamorro, María Inés: Gastronomía Huesca, La Val de Onsera, 1995 Historia natural y moral de los del Siglo de Oro español. Barcelona, (Intro by Rafael Chirbes). alimentos, 9 vols. Madrid, Alianza Herder, 2002. montanari, Massimo (comp.): Editorial, 1991. fernández-armesto, Felipe: Historia El mundo en la cocina: historia, vallés rojo, Julio: Cocina y de la comida. Barcelona, Tusquets, identidad, intercambios. alimentación en los siglos xvi y 2004. Barcelona, Paidos Ibérica, 2004. xvii. Junta de Castilla y León, flandrin, Jean-Louis y montanari, montanari, Massimo: La comida 2007. Massimo (dir.): Historia de la como cultura. Asturias, Ediciones vv. aa.: El bodegón. Barcelona, alimentación, Asturias, Ediciones Trea, 2006. Galaxia Gutenberg, 2000. Trea, 2011. redon, Odile; sabban, Françoise y freedman, Paul (ed.): Gastronomía. serventi, Silvano: Delicias de la Historia del paladar. Comunidad gastronomía medieval. Madrid, Valenciana, Universitat de Anaya & Mario Muchnik, 1996. València, 2009. (Intro by Georges Duby). 11 MUSEUM PLAN

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 (18th-century painting) 29 30 American Painting (19th century) 31 European Painting (19th century, from Romanticism to Realism) 32 Impressionist Painting 33 Post-impressionist Painting 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 American Impressionism K Late Impressionism L Gauguin and Post-impressionism (1) M Post-impressionism (2) GROUND FLOOR N German Expressionism O information P and Orphism ticket desk cloakroom 41 42 43 44 The Experimental Avant-gardes gift shop-bookshop 45 The Synthesis of the Modern (Europe) wheelchair lift to 46 The Synthesis of the Modern (USA) basement level 47 48 Late Surrealism. The Figurative Tradition and Pop Art cafeteria-restaurant

ENTRANCE

Some works may not be displayed in their normal location if they are on loan, being restored or in a temporary exhibition