THEMATIC ROUTES

A walk Since antiquity, painting has made use of flowers in order to convey a wide range of meanings through their scent, vivid colours, endless variety among of shapes and forms, cultivation methods and therapeutic properties. flowers The present tour of the Thyssen-Bornemisza Collection offers a survey

Coro Millares and Teresa de la Vega of Western art from the end of the Middle Ages to the present with the aim of analysing the numerous functions of floral symbols as indicators of heightened spirituality or extravagant display, conjugal fidelity or dynastic allegiance, and saintly innocence or exotic sensuality.

room 3 in contrast to the marked emphasis Each image gave visual form to a spir- on flowers in Greco-Roman culture, the itual truth and involved a universal code ROGIER VAN DER WEYDEN Christian world was initially reluctant to of meanings, the basic elements of which Tournai, ca. 1399–Brussels, 1464 make use of images from nature as a were common to both popular culture The Virgin and Child enthroned, means to express spiritual beauty. and also understood by erudite viewers ca. 1433 Nonetheless, after the long, dark winter who extracted more complex readings Oil on panel. 15.8 x 11.4 cm of the early Middle Ages, characterised from these symbols. inv. 435 (1930.125) by a scarcity of botanical representations, In this panel by Van der Weyden we in the 13th century a new spring dawned see the Virgin as the personification of when artists acknowledged the efficacy the Church, located within an architec- of floral images for transmitting the tural structure that refers to her role as mysteries of the faith to the devout intercessor. The Prophets on either side (many of whom were illiterate). Flowers of the niche support the scenes in the once again came to occupy an important upper level: the Annunciation, Visitation, position in religious imagery as symbols Nativity, Adoration of the Magi, Resur- of a transcendental truth. rection and Pentecost, with the Corona- This gallery includes various works by tion in the centre. An important detail is Early Netherlandish painters, which reveal the presence of four painted, illusionistic the remarkable flowering of the cult of the holes for the supports for scaffolding, Virgin, characterised as the Bride in the which may symbolically refer to the four Song of Solomon, the Queen of Heaven, Evangelists who were the mediators and man’s intercessor in the salvation of between the Old and New Testaments. humanity. During what has been termed Despite the small size of this work the “the waning of the Middle Ages”, the hier- flowers depicted on the far right and atic depiction of the Virgin inherited from left are perfectly recognisable, indicating the Byzantine tradition gave way to more that Van der Weyden aimed to associate tender depictions that emphasise the rela- specific species with Christian iconogra- tionship between mother and son. phy. The flowers here can be identified as A walk among flowers THEMATIC ROUTES 2

columbines, hibiscus, mallows, peonies pink symbolises the nails in Christ’s cross and irises. The decorative elements on the and hence the Passion (as we see again architectural surround also include plant in the tapestry on display in the next gal- motifs such as acanthus leaves, rosettes and lery, which depicts The Lamentation over the clover leaf, which refers to the Trinity. the dead Christ); The Virgin and Child Other works on display in this gallery between Angels, by the Master of the André make use of complex floral symbolism. Madonna; and The Virgin and Child by a They include The Virgin of the Dry Tree follower of Dirck Bouts, in which the Vir- by Petrus Christus, in which the Virgin gin is depicted in the hortus conclusus in is the “rose among thorns”, surrounded reference to a passage from the Song of by a wreath alluding to the rosary; The Vir- Solomon: “A garden enclosed is my sister, gin and Child with two Angels by the Master my spouse; a spring shut up, a fountain of the Saint Ursula Legend, in which the sealed.”

room 5 the back of memling’s panel, which In addition, they are depicted in groups may have been part of a diptych or triptych, of three, referring to the Trinity. The purity HANS MEMLING has one of the first still lifes in the history and fragrance of the white lily inevitably Seligenstadt, ca. 1435–Bruges, 1494 of Western painting. While undoubtedly refers to the Virgin Mary as a symbol Vase of Flowers (reverse), involving religious and moral connota- of purity, innocence and chastity. The iris ca. 1485 tions, it marks the transition towards an had a double meaning; on the one hand it Oil on panel. 29.2 x 22.5 cm aesthetic vision of nature that emerged in is a symbol of Christ and of redemption inv. 284b (1938.1b) the Renaissance. while it is also alludes to the Virgin. The On the other hand, the vase is decorated columbine represents the Holy Spirit as with the anagram of Christ, conveying the its flowers are shaped like doves. idea that a pure and fragrant soul can These flowers are also to be seen in The be housed in a perishable body, just as Annunciation by Jan de Beer in Room 10. this humble earthenware vase contains a Please also go to Room 11 where you will beautiful cluster of the symbolic flowers see The Immaculate Conception by El Greco most commonly depicted in the Christian and Jorge Manuel Theotokopoulos, which tradition: the white lily, iris and columbine. contains a wide range of Marian symbols. A walk among flowers THEMATIC ROUTES 3

room 5 during the renaissance artists made alliances pursued by the Spanish Catholic use of various objects in order to make Kings. JUAN DE FLANDES their portraits more eloquent. These A third option associates the flower (?), ca. 1465–Palencia, 1519 accessories include jewels as symbols of with a nuptial portrait, which would Portrait of an Infanta. social status and plants as the visual strengthen the hypothesis that the sitter Catherine of Aragon (?), ca. 1496 expression of specific virtues. depicted here is the Infanta María, who Oil on panel. 31.5 x 21.7 cm The rose held by this young woman became Queen of Portugal in 1500 on her inv. 141 (1930.36) may be a key element that will help marriage to Manuel I. to identify her. There is some evidence Another nuptial portrait on display in to indicate that she is Catherine of this gallery is Joos van Cleeve’s Self- Aragon, including her obvious resem- portrait in which he holds a pink, which blance to a portrait of her sister Juana la is a symbol of conjugal love and fidelity Loca, also by Juan de Flandes (Kunsthis- due to its delicate scent and the fact that torisches Museum, Vienna). If this is the the flowers are long lasting. Normally, case, it has been suggested that the rose however, it was the wife who held this is the emblem of the Tudor dynasty, symbol of devotion while the husband given that Catherine of Aragon married would be accompanied by items referring Arthur, Prince of Wales, before subse- to his power or social status. This is the quently marrying his brother Henry VIII, case in the double portrait by Barthel whose portrait by Hans Holbein the Bruyn in Room 8. Floral symbols alluding Younger is also on display in this room. to fidelity in works of this type include Another interpretation argues that the thistle (known in colloquial German as the flower is a bud rather than an as “men’s fidelity”) and climbing plants open bloom, it thus refers to the sitter’s such as ivy, vine and honeysuckle. virginal status, which would correspond If you proceed to Room 9 you will see well to her evident youth in this image. Hans Maler’s Portrait of Anne of Hungary Furthermore, at this date Catherine had and Bohemia. It does not contain any flow- not yet married into the English royal ers but modern restoration techniques family and was being courted by various have revealed one beneath the pictorial European houses. This painting may surface, a fact also suggested by the posi- therefore have been used during matrimo- tion of the hand. For some reason the nial negotiations as part of the strategy of sitter decided to have it removed.

room 6 the rose has been a symbol of female the intellect was associated with men, beauty and of amorous matters since while women were associated with the PARIS BORDONE antiquity. The figure depicted here by body and the sensory world. Men were Treviso, 1500–Venice, 1571 Paris Bordone, who trained in Titian’s thus identified with the more rational Portrait of a young Woman, studio, is presented as a woman-flower, senses of sight and hearing and women ca. 1543-50 wearing a dress that looks like a corolla. with the more basic, corporeal ones of Oil on canvas. 103 x 83 cm The vessel sculpted with a design of satyrs touch, smell and taste. inv. 55 (1936.5) on the right contains open flowers (in This gallery also displays The Rape of contrast to the chaste rose bud held by Europa by Simon Vouet, in which Zeus in the Infanta by Juan de Flandes in Room 5), the form of a white bull wearing a garland while in the upper left corner is a mon- of flowers flees with the beautiful Europa. key, considered an emblem of gluttony Many of the Greek myths that recount the since the Middle Ages. seduction of young girls by gods start This painting could perhaps be inter- with the act of picking flowers, as in the preted in terms of the Senses, which were stories of Persephone and Hades, Thalia associated with male and female qualities and Zeus, and Creusa and Apollo. in the pre-modern age. On a basic level, A walk among flowers THEMATIC ROUTES 4

room 7 there has been much debate on this the plant with red berries next to the painting by Carpaccio, whose name knight is an Italian arum (symbolising VITTORE CARPACCIO appears on the cartellino hanging from self sacrifice). The bare tree in the middle Venice (?), 1460/66–1525/26 a branch on the right, as does the date ground may be an oak in reference to Young Knight in a Landscape, 1510 of the work’s execution. It was created spiritual renewal and strength or an allu- Oil on canvas. 218.5 x 151.5 cm in the early sixteenth century and if it sion to the proposed sitter’s name, Rovere inv. 82 (1935.3) is in fact a portrait, it is the first known (meaning oak in Italian). full-length example in Western painting. More difficult to interpret is the lopped- There has also been considerable discus- off tree on the right, from which hangs the sion as to the sitter’s identity, but it seems cartellino with the artist’s signature. most likely that this young knight is Growing from the ground next to it are Francesco Maria della Rovere, Duke of some fruit bearing branches that have Urbino and Captain General of Venice. been interpreted as blackberries and thus Aside from the sitter’s identity the as a negative symbol due to their thorns. canvas contains a message relating to However, the fruit on blackberry bushes the moral allegory of the miles christianus clusters together and the leaves are differ- or Christian Knight, which is based on a ent to those seen here. This may not be a dualistic conception that juxtaposes the shrub but a new shoot from the cut down notions of good and evil in a perpetual tree that grows from the still living root combat reflected here in the heron and and springs up vigorously in order to falcon fighting in the sky. replace it. In that case the tree could be The careful choice of the various plants a mulberry to judge from its appearance. in the painting is fundamental to its over- If the knight depicted is the young Duke all iconographic interpretation. Precisely of Urbino, the cut down tree would refer depicted, they refer to the virtues of the to the death without heir of the last Mon- Christian Knight: the white lily (purity tefeltro and the passing of the ducal title and innocence); the iris (associated with to the della Roveres. Thus the new shoot the sword due to the shape of its leaves, of the tree would refer to the continuity of while its blue colour symbolises nobility the title in the figure of the young Duke or royalty); the columbine (the Holy Spirit); seen here. But why a mulberry and not the violet in the lower right corner (humil- an oak tree? Perhaps to emphasise the ity and modesty); the blue periwinkle in fruit (symbolising descendents) or in refer- the opposite corner (fidelity and friend- ence to the flourishing silk industry that ship); the camomile by the spring (rejuve- was emerging in various parts of Italy at nation or fortitude through virtue); while this date. A walk among flowers THEMATIC ROUTES 5

room 15 francisco de zurbarán’s oeuvre suitable metaphors as they are of an includes numerous paintings of female abstract nature like religious experience. ZURBARÁN martyr saints, some of whom carry flow- This belief was based on the notion that Fuente de Cantos, 1598–Madrid, 1664 ers. Examples of this type are his depic- Christians who lived in a state of grace Saint Casilda, ca. 1630-35 tions of Saint Elizabeth of Hungary, Saint would be impregnated with the divine Oil on canvas. 171 x 107 cm Dorothy and Saint Casilda, the subject of odour of the Holy Spirit. As a result, inv. 448 (1979.26) this work. Casilda was a young Muslim a meritorious soul would take shape girl who converted to Christianity and through different emanations, the picto- died for her faith in the 11th century. This rial equivalent of which is the subtle halo image also refers to the concept of the that crowns Casilda as a sign that she has odour of sanctity, which was part of a been chosen. broader interpretation of smells that con- A comparable interpretation can be ceived of heaven and hell or salvation made of Murillo’s painting of The Virgin and perdition in terms of pleasant and and Child with Saint Rosa of Viterbo, on unpleasant odours. These are particularly display in the next room.

room 17 according to the classical story, nature, although his story can also be Hyacinthus was a beautiful youth whom interpreted as an image of pederasty in the GIAMBATTISTA TIEPOLO the god Apollo loved. While he was playing Greek world as this institutionalised Venice, 1696–Madrid, 1770 with the discus the wind god Zephyrus practice decreed that the relationship The Death of Hyacinthus, was seized with jealousy and diverted between the older lover and his beloved ca. 1752-53 the course of the discus so that it killed ended when the latter reached maturity. Oil on canvas. 282 x 232 cm Hyacinthus. The flower that sprung from Tiepolo’s style falls within the last inv. 394 (1934.29) his blood that had spilled onto the ground glorious phase of the heroic Baroque. has on occasions been identified as a Here he depicts the episode of Hyacinthus delphinium (delphinium ajacis; hyakinthos in a setting that could be described as in Greek) or as an iris rather than as the operatic. Bathed in a soft, diffused light, plant known today as a hyacinth (hyacin- the figures make declamatory gestures thus orientalis). The latter is depicted in under the mocking gaze of a sculpture of the lower right corner in its two varieties, a satyr. In addition, the artist took various a single flower and a double one that was liberties with the text, such as replacing particularly fashionable when this work the discus with the balls and racket of the was painted. game of pallacorda (the forerunner of A metaphor of death and the renewal tennis), and including a hyacinth macaw, of nature, the story of Hyacinthus contains an exotic bird that takes its name from a promise of resurrection like the cycle of the colour of its plumage. A walk among flowers THEMATIC ROUTES 6

room 25 berckheyde specialised in urban interest in plants as striking elements in views and here depicts the canal in the gardens where their new colours, shapes GERRIT ADRIAENSZ. BERCKHEYDE centre of Amsterdam next to which and scents astonished visitors. Haarlem, 1638–1698 the flower market was held. In the 17th- The astronomical prices that these The Nieuwezijds Voorburgswal with century the city’s appearance was trans- exotic plants achieved reflected an extrav- the Flower Market in Amsterdam, formed through Holland’s unprecedented agant passion for flowers of ever more 1686 overseas expansion. Dutch ships arrived outlandish shapes and forms. This botan- Óleo sobre lienzo. 53.7 x 63.9 cm in Amsterdam from distant countries, ical fever in a country with a population inv. 42 (1959.3) loaded with fabulous cargoes of natural traditionally considered the embodiment specimens. Lilies, hyacinths, crown impe- of moderation and common sense has rials, fritillaries, red lilies, double narcissi been explained in terms of the role played and tulips began to arrive from the Otto- by the concept of luxury in a newly rich man Empire. They immediately became society that lacked the traditions of sump- status symbols and manifestations of tuary expenditure associated with the Dutch overseas and maritime dominance. great monarchies or with ecclesiastical In addition, their presence reflects a new patronage.

room 26 this gallery displays a beautiful but which would fall out of favour some group of still-life paintings produced years later due to their unpleasant smell. AMBROSIUS BOSSCHAERT I during the golden age of that genre in Tulips were equally appreciated and Antwerp, 1573–The Hague, 1621 Holland. Liberated from their subsidiary were also imported from Turkey. This Chinese Vase with Flowers, role within religious compositions and flower was responsible for a curious social Shells and Insects, ca. 1609 mythological or allegorical scenes, phenomenon known as “Tulipmania” in Oil on copper. 68.6 x 50.8 cm depictions of flowers no longer involved which the variants with ragged edges and inv. 56 (1958.4) a symbolic content and instead became variegated colours, such as the Semper the principal subject of the work. Augustus, were the most appreciated. In the 16th century botany started to Those who paid up to 5,000 florins (the become a modern science with a greater price of a sizeable house) for a single bulb emphasis given to the morphological and were unaware that the exotic patterns classificatory aspects of plants rather and colours of the flowers were actually than their pharmaceutical properties. caused by a virus, a fact that was only This shift of focus was favoured by the discovered much later with the invention invention of the microscope in the late of the electronic microscope. 16th or early 17th century, which opened All these floral still lifes are character- up the possibility of exploring a new and ised by a negation of the passing of time, previously unknown universe. given that they depict flowers that never Flower painting now reflected an bloom together in their natural state. As a interest in the collecting of exotic objects result, art surpasses nature in these works. that was enthusiastically embraced by the Given that paintings of this type seem mercantile and aristocratic classes. The to lack an overt narrative, some scholars choice of flowers depicted in these still have chosen to read a hidden meaning lifes was not solely determined by their into them close to that of the vanitas, in aesthetic merits as prominence tended to which the ephemeral nature of the be given to the most valuable and exotic flowers would encourage a reflection on species at the time the work was painted, the fragility of human life. Another more mixed in with flowers that had tradition- direct interpretation, however, sees their ally been appreciated in gardens. This beauty as a celebration of nature’s bounty is the case with crown imperials, which and of the immortality of art in contrast appear in this painting by Bosschaert to the perishable nature of human beings. A walk among flowers THEMATIC ROUTES 7

Worth noting are the tiny creatures to Holland’s mercantile might. A universe that artists frequently included in these of sensations encourages the visitor to compositions, including dragonflies, flies pause in this gallery and admire the works and snails. Also striking are the beautiful of artists such as Balthasar van der Ast, Jan Chinese vases and the shells, which allude Davidsz. de Heem and Jacques Linard.

room 31 h e n r i f a n t i n - l a t o u r f o c u s e d In one respect Fantin-Latour’s paint- intensively on the genres of portraiture and ings differ from the Dutch depictions of HENRI FANTIN-LATOUR flower painting. The latter were painted for vases filled with flowers, which present Grenoble, 1836–Orne, 1904 British clients while his portraits were a wide range of varieties that are not Vase of Chrysanthemums, undated extremely successful in France. So mark- to be found blooming together in their Oil on canvas. 42.5 x 39.5 cm edly separate were these two facets of his natural state. In contrast, Fantin-Latour inv. 541 (1971.10) artistic activities that jokes were made selected a limited range of flowers given about it and the artist was referred to as that his principal interest was the chro- “Monsieur Fantin” and “Mister Latour”. matic aspect of the painting. In the pre- Fantin-Latour spent an increasing sent canvas he chose a large bunch of amount of time in the countryside, far yellow, white, lilac, pink and red chrysan- from the bustle of Paris, and flowers even- themums; a harmonious combination tually became the principal subject of his inspired by his love of music. works. Although a contemporary of the It should also be remembered that Impressionists, he did not depict lush gar- the 19th century saw the organisation of dens or rural scenes but chose to focus on the first floral exhibitions and that inter- cut flowers. He carefully arranged the est in botany reached a new height, stalks and branches that he would then particularly with regard to oriental spe- paint in the dim light of his studio, almost cies thanks to the prevailing fashion always against plain backgrounds in the known as japonisme. Chrysanthemums manner of the great 17th century flower are Far Eastern flowers that symbolise paintings. The Impressionist works on beauty and vitality in their native region. display in Rooms 32 and 33 thus offer an In the West, however, they have become interesting comparison and contrast to a symbol of mourning due to the fact that Fantin-Latour’s compositions. the flowers appear in the autumn.

room 34 l i b e r a t e d b y t h e i n v e n t i o n o f artist’s emotions and impressions or as the photography from the obligation to rep- ideal vehicle for daring chromatic experi- HENRI MATISSE resent the visible world in an objective ments. In contrast to the minutely detailed Le Cateau-Cambrésis, 1869–Nice, 1954 manner, artists enthusiastically embarked depiction of cut flowers in the 17th century, Yellow Flowers, 1902 on the great adventure of modern art, flowers now metamorphosed into patches Oil on canvas. 46 x 54.5 cm exploring different directions within the of pigment and light that are at times so inv. 664 (1968.9) depiction of the perceptible. imprecise as to make identification of the In this sense, Impressionism can be particular species impossible. seen to have formulated a new approach to This is the case with the present paint- the representation of flowers as it replaced ing by Matisse, which was painted prior the traditional still life with a radically dif- to the emergence of the Fauve move - ferent vision. Such works were now emp- ment. Here the reflection in the mirror of tied of any narrative or anecdotal content a simple bunch of flowers, possibly and no longer involved concealed mes- ranunculi, conveys a sensation of vibrant sages relating to religion or to the transi- colour. The effect is comparable to the tory nature of beauty. Flowers were now one achieved by Emile Nolde in Glowing used as a surface on which to project the Sunflowers, also on display in this room. A walk among flowers THEMATIC ROUTES 8

room 34 on her death georgia o’keeffe left gaze, swept along by the imagination, more than two hundred depictions of could penetrate their nooks and crannies GEORGIA O’KEEFFE flowers, many of them painted in mono- in the manner of an insect. Sun Prairie, 1887–Santa Fe, 1986 chrome. The shapes of her giant, swollen O’Keeffe herself, however, rejected such White Iris No. 7, 1957 flowers have been compared to those of interpretations, as she stated, for example, Oil on canvas. 102 x 76.2 cm a varied landscape or have been seen in in a catalogue text of 1939: “Well, I have inv. 697 (1979.36) terms of barely concealed self-portraits. managed to get you to see what I have seen Always ambivalent, these images oscil- and when you take the time to really see late between realism and abstraction, my flower you will attribute to it all your between immaculate purity and a power- own associations about flowers, and you ful sexual charge, as if the petals of this will write about my flower as if I were iris were starched petticoats that allow thinking and seeing what you think and access to the female genitalia or as if our see in that flower, but which I don’t see.”

room 48 like georgia o’keeffe, who derived tion of a florist’s shop. The stickers on the numerous ideas from photography and door are particularly telling: human rela- RICHARD ESTES who in turn influenced the sensual floral tionships often start with flowers and end Kewanee, 1932 photographs taken by artists such as with them. And flowers, as the images on People’s Flowers, 1971 Robert Mapplethorpe, Richard Estes made credit cards and the name of this shop con- Oil on canvas. 153 x 101.2 cm use of the photographic aesthetic in his vey, are serially produced goods that have inv. 1975.24 compositions, as we see here in this depic- become available on a mass scale.

Bibliography chong, Alan: «Alegorías de la abun- lópez terrada, María José: «El mun- bólico. Madrid, Ediciones Encuentro, dancia: la pintura del bodegón do vegetal en la mitología clásica y 1995. en Flandes». In Various Authors: su representación artística». In Ars schneider, Norbert: Naturaleza La senda española de los artistas Longa 14-15, 2005-2006, pp. 27-44. muerta. Madrid, Taschen, 1992. flamencos. Barcelona, Galaxia Gu- Pintura española de bodegones y flo- tervarent, Guy de: Atributos y sím- tenberg, 2009, pp. 215-232. reros de 1600 a Goya. [Exhib. cat.]. bolos en el arte profano. Barcelo- bergstrom, Ingvar: Maestros espa- herbert, Zbigniew: «Tulipanes de amar- Madrid, Museo Nacional del Pra- na, Editorial El Serbal, 2002. ñoles de bodegones y floreros del go aroma». In Naturaleza muerta do, 1984. (Introduction by Alfonso vv. aa.: Los cinco sentidos y el arte. siglo xvii. Madrid, Insula, 1970. con brida. Ensayos y apócrifos. Bar- Emilio Pérez Sánchez). [Exhib. cat.]. Madrid, Museo Nacio- bryson, Norman: Volver a mirar: cua- celona, Acantilado, 2008. quiñones, Ana María: El simbolismo nal del Prado, 1997. tro ensayos sobre la pintura de na- impelluso, Lucía: La naturaleza y sus vegetal en el arte medieval: la flora turalezas muertas. Madrid, Alianza símbolos: plantas, flores y anima- esculpida en la alta y plena edad Editorial, 2005. les. Milán, editorial Electa, 2003. media europea y su carácter sim- 9 PLANT OF THE MUSEUM

SECOND FLOOR 1 Early Italian Painting 2 Gothic Painting 3 Early Netherlandish Painting 4 The Quattrocento (Italian art) 5 The Portrait (Early Renaissance) 6 The Villahermosa Gallery 7 Italian Painting (16th century) 8 9 German Painting (16th century) 10 Netherlandish Painting (16th century) 11 Titian, Tintoretto, Bassano, El Greco 12 Caravaggio and the Early Baroque 3 1 14 15 Italian, French and Spanish Painting (17th century) 6 1 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

2234 2 2 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 5 3 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 12 4 4 43 44 The Experimental Avant-gardes cloakroom 45 The Synthesis of the Modern (Europe) gift shop-bookshop 46 The Synthesis of the Modern (USA) wheelchair lift to basement level 47 48 Late Surrealism. The Figurative Tradition and Pop Art cafeteria-restaurant

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