THEMATIC TOURS This itinerary has been possible on account of the collaboration of

Art and The itinerary Social Challenges from the Thyssen-Bornemisza Sustainability Collection is conceived to encourage sustainable thinking with the permanent collection of the Thyssen-Bornemisza Museum Social Challenges in Madrid. Throughout the itinerary, visitors will notice that the from the works have been selected based on aesthetic-experience criteria Thyssen-Bornemisza interrelating art and sustainable development in terms of ecology, Collection economy and society. To that end, a group of paintings have been brought together to be reinterpreted within a framework under Mariola Campelo Tenoira which empathy with environment and sustainability may be gen- with the assistance and coordination of the Education Department at the erated. These works are not to be considered environmental art Thyssen-Bornemisza but masterpieces of art history allowing links between cultural production, society and sustainable development to be considered from a historical point of view.

This guide is conceived as a resource for self-guided visits by the public and allows exploring the three levels of the Thyssen- Bornemisza Museum and learning about some of the most representative works of the permanent collection.

KURT SCHWITTERS, Merzbild Kijkduin (detail) Art and Sustainability THEMATIC TOURS 2

[FLOOR 2, ROOM 13] claude lorrain (born claude gellée) from the scenes to become insignificant was one of the earliest artists in history in his landscapes). Landscape is a setting to concentrate on landscape as an auton- for reaffirming (moral) values related CLAUDE LORRAIN omous pictorial genre. In his paintings, to mythological scenes or the historical Chamagne (Lorraine), 1604/1605–Rome, 1682 nature became landscape, a segment of question. However, his idealised depic- nature extending as far as the human eye tions stem from invention. Claude Lorrain Pastoral Landscape with the Flight can see. Born in France, Lorrain under- does not merely paint the Roman coun- into Egypt, 1663 took a large part of his artistic trajectory tryside topographically. The light he uses Oil on canvas, 193 x 147 cm in Italy, primarily in Rome, and by the streams in through the scenes with a nat- end of the 1630s had acquired consider- ural effect providing the picture with able standing as a landscapist there. serenity and poetic significance. Further- Lorrain grew out of a tradition of more, the artist fuses in his landscapes the landscape painting by northern artists different Italian cities that he had visited settled in the Eternal City that were (Naples, Capri, Civitavecchia, Genoa, etc.) interested in ruins as an artistic motive Architectural ruins recall in his painting for their drawings. As well as those, Lor- the golden age of the time when Aeneas rain was inspired by the Roman Cam- disembarked and founded Rome, as des- pagna, a natural site outside the city, cribed in Virgil’s poems, triggering a feel- and approached it with genuine aes- ing of nostalgia for the lost greatness. thetic admiration. The painter was not Even though these images show us very interested in the subject matter of an idealised and aesthetised look about his painting, here the Flight into Egypt, nature, Lorrain’s landscapes still evoke a which he brought to his present by harmonious relationship between culture inserting into Bible times daily Roman and nature, an encounter that amounts landscape scenes of his time. to living in nature instead of from nature Most likely because his clients were and requires for societies to commit them- erudite lovers of Roman culture, Lorrain’s selves to the protection of cultural heritage painting ‘deals with religion’ but is not and the preservation of environment for religious (figures will gradually disappear the purpose of reducing climate change.

[FLOOR 2, ROOM 17] since its establishment, venice’s history has been linked to water. In the 5th and 6th centuries, the natural lagoon on CANALETTO (GIOVANNI ANTONIO CANAL) which it lies served as a refuge to those Venice, 1697–1768 peoples who fled from Barbarians. Then, the first palafittes were erected, the islands The Grand Canal from San Vio, were widened and the lagoon was drained, Venice, ca. 1723-1724 thus the famous canals were born. Oil on canvas, 140.5 x 204.5 cm Its unbeatable location provided a suc- cessful economic development related to marine technologies and East-West trade. Wealth accumulation turned Venice into a sophisticated city and this was particularly reflected in its splendid his- torical and artistic heritage. With the emergence of new mari- time routes towards the New World, the ‘Serenissima’ took an economic and polit- ical downward turn. However, the care- free Venetian social life still continued, as it was possible to enjoy parties (carnival), Art and Sustainability THEMATIC TOURS 3

theatre shows and amusement aimed at ism, this long journey through France attracting foreign visitors to the Lagoon. and Italy was in the 18th century an essen- This complex urban and social reality tial step in the education of European is at the root of the veduta, a cityscape pic- aristocrats, who found in these views the torial genre that became particularly rel- ideal souvenir of their youth adventure. evant with Canaletto owing to his ability Tourism is today the driver of Venice’s to integrate urban structures and life. In economic growth, a practice involving a The Grand Canal from San Vio, Venice, highly specialised services sector. This the Italian painter chooses an elevated urban development model has brought place and focuses the perspective on San short-term benefits for the local econ- Marco to show with topographic accuracy omy but, at the same time, rising house sites of interest in Venice while including prices and unemployment have pushed the atmosphere of the city’s busy or idle its inhabitants towards the city limits. inhabitants. However, Canaletto employs Alongside climate change, which has invention. In his images, Venice remains increased the Adriatic Sea level and led unchanged over time. The sun is always to more frequent acqua alta events, the shining in his pictures, as if Venice was poor management of a mass and uncon- perpetually smiling to its visitors. trolled tourism is negatively affecting The veduta were very sought after by the protection of cultural heritage and travellers and art lovers who completed threatens the sustainability of a key eco- the Grand Tour. A germ of modern tour- nomic sector of its economy.

[FLOOR 1, ROOM 26] dutch golden age painting showed lands and the development of a wide a great production of works aimed at network of channels for transport. It thus decorating the civil buildings of a new became a national economic pillar, sup- JACOB ISAACKSZ. VAN RUISDAEL nation independent from the Spanish plying the high demand for energy of the and Collaborators (?) empire as well as the homes of a pros- growing urban centres but, at the same Haarlem, 1628/1629–Amsterdam (?), 1682 perous middle class who had benefited time, posed a threat to land and agricul- economically from the Dutch maritime tural fields due to the aggressive under- Winter Landscape, ca. 1670 and commercial supremacy in Europe. ground operation techniques required. Oil on canvas, 65.8 x 96.7 cm Specialisation becomes crucial in this A wind-powered mill that produces context of great artistic activity. Among inexhaustible and clean energy appears others, landscape painting became in in the background. Holland developed a Holland a separate genre, and winter strong engineering of mills, now inte- was a very recurring theme. Jacob van grated in the country’s industrial land- Ruisdael depicted, with a clear naturalis- scape, for a wide range of uses. Sawmills tic sense of daily issues, this harsh sea- for shipbuilding and water-powered son where life comes to a standstill and mills, used to drain water from coastal keeps pace with nature. areas below sea level suffering from The availability of a fossil fuel energy incessant floods, are possibly the most source was essential in these circum- outstanding examples. stances. Two opposing types of sources The scene showed in our picture may that contributed to economic develop- help us reflect on the type of economy we ment in the Netherlands coexist in our want to adopt in order not to exhaust the picture. A number of warehouses for planet’s energy resources. We human peat, a fuel that was transported by boat, beings must now consider a transition can be found at the bend of the iced from the use of fossil fuels towards canal. Peat is a fossil energy that was renewable, clean and inexhaustible intensively exploited in Holland because sources of energy that do not result in it had low production and distribution greenhouse gas or pollution emissions costs thanks to the country’s vast wet- harmful to the planet and to our health. Art and Sustainability THEMATIC TOURS 4

[FLOOR 1, ROOM 29] in the aftermath of the american icate brushstrokes, subtle tonality modu- war of Independence (1775-1783), the lations and a balanced composition in United States nation begins to form. order to capture the calm, silence and JOHN FREDERICK KENSETT Painting will play a fundamental role in serenity of the natural site. The flight of Cheshire, 1816–New York, 1872 that process of identity construction. birds is a symbol of harmony; the contin- Landscape art was of particular impor- uous horizon lends a sensation of stabili- Lake George, ca. 1860 tance in shaping a social awareness ty to the landscape and evokes the Oil on canvas, 55.8 x 86.4 cm regarding a vast and still largely unex- vastness of North American land. plored territory. Everything in Kensett’s luminist John Kensett was a member of the painting takes us to an untouched place second generation of the Hudson River which is not free of historical associa- School landscape painters. This School tions. Lake George had been an emplace- was embodied by a group of North ment of several military campaigns American artists that travelled to Europe during the wars against the Indians and to absorb the Old Continent’s pictorial the French (1755-1763) as well as during tradition and develop a ‘truly American the American Revolution (1775-1781), scenes’ painting upon their return. Back and James Fenimore Cooper would make in the United States, Kensett’s painting it the setting for Last of the Mohicans expresses a sublime harmony between (1826). In the 1850s it became a tourist the American landscape and its inhabit- site as a result of the arrival of railway. ants, with nature as a comfortable and Thanks to the artists that depicted peaceful place for people. landscape as a general value for the Kensett had visited Lake George, the (North) American nation, the govern- largest one in the Adirondacks (north- ment took conservation action to protect east of New York) in 1830 and sketched natural sites. The United States created its wild mountain range and the region. its first national park (Yellowstone, 1872) The location, time of day and atmos- a few years after this painting was under- pheric conditions were carefully selected taken, which suggests a close relation- by the artist in order to portray the scene ship between such an aesthetic awareness isolated in time and space. and the conservationist spirit regarding As former Flemish painters did, he ecosystems of unique and inimitable works thoroughly on details and uses del- wealth.

[FLOOR 1, ROOM 31] against a relationship with the environment based on occupation and conquest, German Romanticism showed CASPAR DAVID FRIEDRICH a contemplative attitude towards nature Greifswald, 1774–Dresden, 1840 by human beings. Landscape became the romantic genre par excellence. It Easter Morning, ca. 1828-1835 embodied all new aesthetics and was the Oil on canvas, 43.7 x 34.4 cm form of artistic expression ideal for cap- turing the artists’ individual emotions. To do this, painters come into contact with nature and leave the studio to sketch nature outside. They go thus beyond an excessively idealised view of nature and make a spiritual and emo- tional link with the landscape. For Caspar David Friedrich, art played a mediation role between an impressive Art and Sustainability THEMATIC TOURS 5

nature and human beings that feel simul- tree branches. Also, and together with taneously overwhelmed and attracted by the sun (a symbol of rebirth, of return to it. Friedrich used to go outdoors and ob- life) guiding the women, the green buds serve nature; his paintings indicate the in this painting symbolise the revival of a artist’s focus on the local level, as they nation: the German nation, liberated from are a synthesis of the German landscapes the French occupation that had so much he visited. Even if descriptive, Friedrich’s affected the painter emotionally. Frie- landscapes sought to go beyond land- drich succeeds in giving the landscape a scape’s topographical elements. symbolic dimension through which he Everything in this Easter Morning takes connects with the spectator. The back- on a deep spiritual interpretation: groups wards figures, characteristic in his paint- of three women are walking slowly ings, serve as a component of involve- towards a cemetery, suggested by the ment and mediate between the landscape milestones along an infinite path, an East- and the spectators (of the picture), as they er morning on which nature celebrates its face the view as if it was a window on the awakening, as shown by green buds on the world, just us we face the picture.

[FLOOR 1, ROOM 32] vincent van gogh arrives in arles mer imperial town), Avignon (a papal in February 1888. The Dutch artist ex- residence in the Middle Ages), Valence, presses in his paintings the strong impact Vienne and Lyon with the French Medi- VINCENT VAN GOGH that the light in the French Midi, a region terranean ports. At the beginning of the Zundert, 1853–Auvers-sur-Oise, 1890 of southern France along the River Rhone, 19th century, the Industrial Revolution had on him. And he does it in an increas- turned the Rhone into an artery between The Stevedores in Arles, 1888 ingly synthetic style, using stronger the riverside industrial districts. Arles Oil on canvas, 54 x 65 cm brushstrokes and deep pure colours that recovers then its role as a meeting point will now feature his painting. In this between river and maritime navigation. piece, Van Gogh captures the vibrations However, the construction of the railway of dawn light on the river and the coal un- Avignon-Marseille puts an abrupt end to loaders’ efforts. He still continues to take the economic boom of this river port. an interest in the working classes’ world. When Van Gogh painted The Stevedores, The city of Arles is closely linked to Arles port was merely the place of depar- the exploitation of the Rhone’s water. Its ture and destination for the coal distribu- wealth and prestige are in keeping with tion service. periods of heavy exploitation of the river. Today, much of the economic activity The Rhone is the sole waterway connect- of the cities grown on the Rhone banks is ing the Mediterranean with northern still based on the power of river’s water. Europe, and has since ancient times been The Rhone is now an important source of a major axis for movements of people, renewable energy thanks to the dams that cultures and goods, as well as an element were built on its bank and produce 20% that structures the territories through of the hydroelectric power in France. The which it flows. Before roads and railways current management of the river seeks to were developed, it was used as an inland reconcile social development and water route connecting the cities of Arles (a for- physical and ecological integrity. Art and Sustainability THEMATIC TOURS 6

[FLOOR 1, ROOM 34] industrial development and the this Thames riverside, was a model work resultant transformation of cities is in the 1860s. André Derain chose the view rejected and admired to the same extent from that place to paint this picture. The ANDRÉ DERAIN by modern artists. London will be one of fauvist painter (fauve means wild beast in Chatou, 1880–Garches, 1954 the most seductive models, and very pop- French) follows Claude Monet’s topo- ular with artists such as William Turner. graphic tour. However, unlike the latter, Waterloo Bridge, 1906 Following the artistic and commercial that captures London’s fog and mist, Oil on canvas, 80.5 x 101 cm success of the series that Claude Monet Derain uses divisionist brushstrokes as had dedicated to this city some years well as sharp and pure colours to shows us before, art dealer Ambroise Vollard com- an unknown brightness of the capital city. missioned André Derain a suite of views In Derain, the signs of industrialisa- of the trendiest city. London, the capital of tion and the governmental or historical the vigorous British Empire led since elements have the same relevance in 1800 the course of Europe’s economic urban landscape. In this open view from and industrial development. It was the the Victoria Embankment, Derain looks greatest city in the world and continued over Baltic Wharf’s industrial buildings to grow throughout the 19 th century. including the Shot Tower and some fac- Economic prosperity had a substantial tory chimneys; the Victoria Tower of the impact on urban space. New industrial Parliament building is behind it and, areas were developed and their archi- right in the centre, the obelisk known as tectural landscape included new manu- Cleopatra’s Needle which was brought facturing centres. However, the refined from Egypt stands on the bridge; further government institutions and life improve- to the right, the Whitehall Court takes a ment for the middle classes came along mountain-like shape. with overcrowding problems for the The French painter sets both the noble working classes. Wet climate, factory and industrial parts of London at the same smoke and coal soot, as well as wastewa- visual level in a single silhouette dividing ters directly discharged into the River the landscape’s natural elements: sky Thames caused the 1958 plague. A new and water. The strong sun in this view sewer and wastewater treatment system of Waterloo Bridge casts however its that is still a reference in urban infra- powerful rays on the city and dazzles structure will then be planned. it. It seems as if Derain had wished to The redevelopment of the Victoria paint simultaneously a promising and Embankment, which transformed it into apocalyptic vision of London, of modern an avenue to facilitate the traffic flow in cities.

[FLOOR 0, ROOM 42] sonia delaunay was an expatriate Jewish artist that arrived in Paris in 1905 after receiving a quality cosmopolitan SONIA DELAUNAY education in Russia and Germany. She Odessa, 1885–Paris, 1979 approached quickly the most avant- garde artistic circles in the capital city. Simultaneous Contrasts, 1913 In 1908 she met Robert Delaunay, whom Oil on canvas, 46 x 55 cm she later married and with whom she held a very fruitful artistic exchange that resulted in the so-called Orphism. They jointly sought to reproduce the pace of modern life and, under the same theories on light and colour denominated Simul- taneism, they arrived at abstraction in different ways. Sonia quickly recognised Art and Sustainability THEMATIC TOURS 7

the limitations of painting to capture and Futurism also tried to overcome. Her movements and the dynamic interaction models met with great commercial suc- of shapes and colours, and decided to cess and for a short period of time she experiment with tissues; her first purely abandoned painting and devoted herself abstract creation was a patchwork crib completely to design and the applied arts, quilt she made for their son Charles, since this work brought the economic born in 1911, reminiscent of tradi- well-being the family needed. tional Russian quilts. However, the critics at the time never Thyssen-Bornemisza Museum’s Simul- considered Sonia as a complete artist, in taneous Contrasts follows the orphistic opposition to the significant artistic recog- logic of her first works, such as the above nition gained by Robert, as he was deemed mentioned quilt: as if they were rem- to make ‘art’ and she was deemed to make nants, the artist ‘makes’ the different ‘handicrafts’; supposedly, he worked on planes of this abstract picture and differ- formulating aesthetic theories and she entiates them through the contrast applied them to the decorative arts. It was between complementary and discordant only in 1987 that their productions were colours, such as blue and red, which combined in an important exhibition at the vibrate beside each other. Musée d’Art Moderne de la Ville de Paris. Thus, by experimenting with fabric Sonia Delaunay embodies the difficul- design and applying her results to painting, ties that women still face to be recognised Sonia did not only find a way to reflect as key actors in the development of our the dynamics of modern life, but also suc- societies. In the quest for sustainable ceeded in eschewing the traditional dis- development, it is essential and necessary tinction between the fine arts and the for us to socially, politically and economi- applied arts, a gap that the most radical cally recognise the hidden work carried avant-garde movements such as Dadaism out by women throughout history.

[FLOOR 0, ROOM 43] natalia goncharova was part of a several sources. This painting shows us a group of Russian artists that recovered whole battery of rays represented in all NATALIA GONCHAROVA folk art aiming to incorporate it into the directions that make it possible for the Negaievo, 1881–Paris, 1962 avant-garde experiences of Rayonist (ray object and the scene to be observed and of light) abstraction. Also, she was one of allow us to penetrate into this thick The Forest, 1913 the Russian Amazons, the name under abstract landscape. Rayonism has a the- Oil on canvas, 130 x 97 cm which the poet B. Livshits brought togeth- matic background and figures are not er six women artists (Natalia Goncharova, completely abandoned, but it opened the Liubov Popova, Alexandra Exter, Varvara door to abstraction for Russian art. Equat- F. Stepanova, Olga Rozanova and Nadesh- ing arts with crafts was an important fac- da Udaltsova), with strong personalities tor in the development of the Russian and heterogeneous creations, that advo- avant-gardes and also played a central cated for equality with their male col- role in achieving a balanced considera- leagues in the field of art creation and tion of men’s and women’s production. received recognition of their leading role A large share of Goncharova’s oeuvre in the Russian culture. Goncharova, is devoted to the countryside where her together with Mikhail Larionov, will live wealthy family was from. The aesthetics as an expatriate in Paris since 1919 and in The Forest are close to the lubki, the will not take part in the Russian Revolu- woodcut folk tales carved in wood that tion, as some of the Russian Amazons decorated Russian peasant families’ artists did. homes. Thus, this painting’s technical With Larionov, she developed Rayon- work and the evocation of forest bring us ism, a painting style based on the study within this ecosystem, a lung of the Earth of the expansion of light proceeding from that is threatened today by deforestation. Art and Sustainability THEMATIC TOURS 8

[FLOOR 0, ROOM 44] kurt schwitters was one of the ters harvests wood and waste carried by most radical artists in German Dadaism. tides. In this work, the chaos of Dada’s He used to vehemently assert: ‘I’m a paint- chance dialogues with a constructivist KURT SCHWITTERS er and I nail my pictures together’, a com- order, distributed in two rhythmic parts Hanover, 1887–Ambleside, 1948 plete protest against the values of art and that divide this still life. Schwitters res- traditional painting. Breaking with all cues randomly and neatly combines in Merzbild Kijkduin, 1923 artistic standards, he created his undis- his pieces those objects disposed of by Oil, pencil and wood assemblage ciplined Merz (assemblages carried out the (consumer) society because they no on cardboard, 74.3 x 60.3 cm with different technical resources) with longer serve or because they have served most crazy materials found anywhere. their purpose, reusing them and provid- The term Merz was taken by chance after ing them a new existence in the artwork. a fragment of the word Kommerzbank (a This act of rebellion against the tradi- major bank in Germany) in a bank receipt tional way of artistic creation could now and reached its highest point with his be interpreted as a form of recycling. masterpiece Merzbau (1923-1932), a sort Instead of creating out of nothing, the of column destroyed by a bomb during Dadaist artist reuses and recycles waste World War II to which Schwitters every materials and turns them into art. From day added —like a sort of diary—ran- today’s perspective, Schwitters’ work domly found objects that had drawn his invites reflection on a reduced consump- attention. tion and the usefulness cycles of materi- Merzbild Kijkduin is an assemblage al goods. Compared to the philosophy of undertaken in the Netherlands during disposable linear consumption, the artist the ‘Dada Tour’ made by Schwitters and collects wastes at the end of their service other artists in 1923. The word Kijkduin live and transforms them into resources, is the name of a small seaside village that is, products are taken from cradle to near The Hague. By its seashore, Schwit- cradle as a principle of circular economy.

[FLOOR 0, ROOM 46] in the aftermath of the armed conflicts that destroyed de Enlighten- ment values of modern Europe, the MARK TOBEY North America painting of the second Centerville, 1890–Basel, 1976 half of the 20th century removed the con- tradictions of reality from its content Earth Rhythms, 1961 and came back to abstraction in order to Gouache on cardboard, 67 x 49 cm focus on the expression of the existential distress of the human condition. A nomadic and cosmopolitan artist, Mark Tobey pioneered Abstract Expres- sionism in the United States and research on oriental calligraphy and ink drawing. His ‘white writing’ is an expression of several visual cultures and his painting style, delicate and linear, stems from nature observation as well as from Surre- alist automatism and Oriental mysticism, which influenced him since his journey to China and Japan in 1934. He learns and handles oriental callig- raphy even if his own writing is primar- ily occidental. For this American painter, lines are an expression of the easternmost Art and Sustainability THEMATIC TOURS 9

tradition and mass is the result of west- Mark Tobey’s painting is a field for ern culture. In this painting, mass is an reading, for open reflection. He ‘writes’ his all-over in earthy tones, with light touches pictures with the calligraphic rhythm of of red, blue and purplish threading their never-closing white lines that organise the way through a number of floating white balance of the composition as a constella- calligraphic lines that create Tobey’s per- tion of forms, signs and presence. Tobey’s sonal spatial representation of cosmos. meditative study of nature goes beyond Devoted to small size works, Tobey’s a traditional western contemplation and guiding theme is the swarming move- penetrates into biological rhythms. In a ment of crowds on city streets. However, metaphorical sense, the universality of his Tobey does not portray urban chaos but themes turns this painting into a welcome the (white line’s) rhythm that frees the excuse to talk about the urgency of listen- individual from the crowd and from ing to the earth’s rhythms and respecting urban distress. His subject is the artist’s now the limits of the planet in order to microcosm, his experience in the city, guarantee the sustainability of (the needs what is happening there. of) future generations.

[FLOOR 0, ROOM 48] the presence in the thyssen-bornemisza at the Sorbonne, Paris, and discovered museum’s collection of the work of an first-hand European art. African American artist offers us an oppor- Romare Bearden fought actively for ROMARE BEARDEN tunity to talk about social equity and the civil rights of black people in the Charlotte, 1914–New York, 1988 recognition of other cultures within the United States and this concern is always historical account of western art, these expressed in the themes for his works. Sunday after Sermon, 1969 being among the key factors for sustain- Along with other black artists, in 1963 Collage on cardboard, 101.6 x 127 cm able development. Romare Bearden was he was a founding member of Spiral, a born to a wealthy African American fami- short-lived group that promoted the com- ly that took an active part in Harlem’s cul- mitment of the ‘Negro’ artists to the Afri- tural renaissance beginning in the 1920s, can American community’s demands. and grew up in contact with poets, paint- Sunday after Sermon 1969, a street ers and musicians. scene in which several people chat in a While studying educational sciences at group after the weekly church service, is the New York University, from which he a large collage combining newspaper and graduates in 1935, he takes evening class- magazine cuttings. He uses collage to es under German painter and awareness insert, in a Cubist style, snatches of black raiser George Grosz at the legendary Art people’s realities into the pictorial surface. Students League. Perhaps under Grosz’s The artist also finds his inspiration for influence, his first works are cartoons this picture in Dutch genre scenes (the for activist magazines and journals that brick building reminds us of Vermeers’s condemn racial segregation in the Unit- outdoor scenes). Features of western cul- ed States. Bearden also served in World ture (collage and genre scenes) and New War II and, under the G. I. Bill which pro- York City’s African American community vided funding for soldiers demobilized social practices coexist deliberately and in after the conflict, he studied philosophy balance in this work by Romare Bearden. 10 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 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 American Impressionism K Late Impressionism L Gauguin and Post-impressionism (1) M Post-impressionism (2) N German Expressionism 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 wheelchair lift to 46 The Synthesis of the Modern (USA) basement level 47 48 Late Surrealism. The Figurative Tradition and Pop Art cafetería-restaurant

ENTRANCE

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