Five overlooked art museums in Madrid

by Sean McLachlan on

Madrid is famous for its art. The Spanish capital boasts a “Golden Triangle” of world-class museums: the Prado, the Reina Sofia, and the Thyssen-Bornemisza. While these are all worth a visit, Madrid has dozens of other art museums that are generally overlooked by the casual visitor. Here are five local favorites.

Museo Sorolla
The house of one of Spain’s most famous painters from the turn of the last century is preserved much the way he left it. The Museo Sorolla is an elegant old mansion with a quiet Moorish courtyard. The walls of the high-ceilinged rooms are covered in the paintings of Joaquín Sorolla Bastida, a prolific painter who favored sunny beach scenes like the one shown here. As interesting as the paintings are the many antiques he collected and knickknacks from his daily life, like a palette covered in colors next to a shelf stuffed with used tubes of paint. Looking at little details like this, you feel like Sorolla has just stepped out for a coffee.

%Gallery-127477%Museo del Romanticismo
Visit a mansion built in 1776 to see how rich folks lived in the 18th and 19th centuries. At the Museo del Romanticismo the ballroom, dining room, bedroom, and nursery are all fitted up with period furnishings. There’s even a velvet commode. The furnishings and artwork are all good examples of Romanticism, an art movement that was hugely influential at the time because it reacted against industrialization and science and hearkened back to a simpler age. Nostalgia is nothing new! The paintings often show Arcadian scenes or the exploits of famous adventurers. The collection of personal objects includes a bit too much lace and porcelain for my taste, but my wife loved this place.

Real Academia de Bellas Artes de San Fernando
The Royal Academy of Fine Arts of San Fernando is a Madrid institution. Founded in 1744, it’s still teaching aspiring artists today. It’s housed in a grandiose Baroque palace and has an impressive permanent collection of Renaissance and early modern art, including works by Francisco de Goya, who used to be the academy’s director. The ground floor has a temporary exhibition space that attracts small but interesting shows. I saw an amazing exhibition on Ottoman calligraphy there once. Not what I was expecting but good on the eyes!

El Monasterio de las Descalzas Reales
Not technically an art museum, “The Monastery of the Barefoot Royals” houses a large collection of religious art. These nuns went barefoot as penance for their sins, but they lived well in other ways. First off, they were daughters of noblemen, so they came to the order with their dowries. This often included fine art. Since they’d been given a 16th century royal palace to live in, there was plenty of room to decorate. Check out the soaring church, fine tapestries, and even some religious relics such as a portion of the True Cross. This is still an active nunnery so dress respectably.

Museo Lázaro Galdiano
Another house museum like the Museo Sorolla, the Fundación Lázaro Galdiano has recently reopened after a long renovation. It’s a beautiful palace along Calle Serrano in Madrid’s poshest district. Galdiano was a millionaire and one of Spain’s most passionate collectors of art. When he died in 1947 his collection was turned into a museum. It’s especially strong in Old Master paintings, so if you didn’t get enough of that at the Golden Triangle, here’s your chance to see more. Plenty of Romanticism too, if visiting the Museo del Romanticismo left you wanting more of that too.

[Image courtesy Wikimedia Commons]

Italian art in London

by Sean McLachlan on


One of the best collections of Italian art in the world can be found in an unlikely place: a quiet street in the London borough of Islington.

The Estorick Collection of Modern Italian Art is housed in an elegant Georgian mansion and boasts a comprehensive collection of Italian Futurist paintings. Futurism was a style born out of the havoc of industrialization and the carnage of World War One. It emphasized the speed and technological advance of modern society.

Typical of this style is Umberto Boccio’s The City Rises, shown here courtesy of Wikimedia Commons. This totally blew me away when I saw it at a special Futurist exhibition at the Estorick a few years ago. The people and buildings seem to be swept along by a windstorm of colored motion. It’s currently at the Museum of Modern Art in New York. Other paintings show Futurism’s trading ideas with Cubism, like Gino Severini’s Portrait of Eric Estorick, the museum’s founder. It’s more a study of angles and shading than an actual image of a man.

It’s not all Futurism here and the current exhibition, United Artists of Italy, is a collection of photographs of leading Italian artists. You can also get a taste of Italy at the cafe, where they serve up excellent cappuccinos (hard to find in London) and snacks.

Vorticism: avant-garde art at the Tate Britain, London

by Sean McLachlan on

In the years before the outbreak of World War One, European artists developed a variety of different styles to reflect the pace of change and industrialization in what used to be a traditional continent.

Cubism and Futurism were two of the biggest movements. One of the briefest and most vibrant was Vorticism. The Vorticists started around 1913 and focused on the hard lines and quick pace of the machine age.

Now the Tate Britain in London is hosting a major exhibition on the movement called The Vorticists: Manifesto for a Modern World. It brings together more than 100 Vorticist works from all the major players.

One of the leaders of the movement was Wyndham Lewis, although some Vorticists say the only reason he was popularly seen as the leader was because he gave more interviews to the press. He was certainly important, though. Lewis was the founder of the Vorticist journal Blast, the first issue of which had a hot pink cover and featured writings by T.S. Eliot and Ford Madox Ford. A whole section of the exhibition is dedicated to this journal and its groundbreaking design and typography.

Some of the rarer works on display include those from the many women welcomed into Vorticist ranks, a daring move at the time. There are also the Vorticist photos of Alvin Langdon Coburn, often hailed as the first abstract photographs. These photos will blow your mind and hurt your eyes.

%Gallery-126430%While Vorticism was mainly a British movement, this exhibition also explores its influences on the New York modern art scene. In fact, it was an American poet, Ezra Pound, who gave the movement its name.

The output of this movement was remarkably small. Blast only had two issues, and there were only two Vorticist exhibitions. World War One killed some of the Vorticists and left others embittered against the modern world. Yet Vorticism had a major impact on modern art and its works are still discussed and copied today. The two issues of Blast are still in print almost a century after they first appeared. One advantage of its brevity is that an exhibition of this size can encompass a majority of the major works, giving the visitor a full understanding of the meteoric life of one of modern art’s most intriguing avant-garde movements.

The Vorticists: Manifesto for a Modern World opened yesterday and will run until September 4.

[Image of Workshop c. 1914-5, by Wyndham Lewis courtesy of the Wyndham Lewis Memorial Trust]

Ancient faces: the Fayum mummy portraits of Egypt

by Sean McLachlan on

The pyramids, Tutankhamen’s gold, the massive temples of Luxor and Karnak. . .the civilization of ancient Egypt has left us an incredible legacy, yet of all of these impressive monuments and treasures none has a more personal effect on the viewer than the Fayum mummy portraits.

During the Graeco-Roman period, after Egypt had fallen first to Alexander the Great and then to the Romans, the old traditions continued. Temples were still built, priests still wrote in hieroglyphics, and the wealthy were still mummified in order to guarantee their place in the afterlife.

The new rulers of Egypt took on some local customs. They often chose to be mummified in the Egyptian fashion, but added the touch of putting a portrait of the deceased over the wrappings covering the face. Painted on thin slats of wood, they were part of a trend called panel painting, considered by Classical writers to be one of the highest forms of art.

Panel paintings were hung in houses and public buildings all over the Greek and Roman world. Two thousand years of damp, mold, and fire destroyed all of them except those buried in the preserving sands of Egypt, so these mummy portraits give us a look at what would otherwise be a lost art. Panel painting was hugely popular in its day and later influenced the Coptic and Byzantine icons of the Middle Ages.

Looking at a mummy portrait brings you face to face with a real person from the past, like this image of a priest courtesy user Eloquence via Wikimedia Commons. Painted around 140-160 AD, it’s realistic enough that we’d know him if he passed us on the street. The portraits vary in quality, but each gives us an individualistic look at a man or woman or child, often with fascinating details like jewelry or hairstyles.

%Gallery-126247%Mummy portraits appeared around the first century BC and continued in fashion for about 300 years. Many were found in the Fayum, an oasis west of modern Cairo that was a popular place to be buried, but examples have been found all over Egypt.

The Museo Arqueológico Nacional in Madrid has a display of 13 of the best mummy portraits showing until July 24. Most of the museum has been closed for more than two years for refurbishment so it’s nice that something is going on there. There’s also the exhibit Tesoros del Museo Arqueológico Nacional, a “greatest hits” collection like the British Museum did while it was remodeling.

If you aren’t going to Madrid this summer (don’t–the autumn or spring are better with fewer tourists and milder weather) there are plenty of other places to see mummy portraits. In London, The Petrie Museum of Egyptian Archaeology and the British Museum have two of the largest collections in the world, although many of the best examples from the British Museum are in Madrid at the moment. In New York there’s the Met, in Edinburgh the National Museum of Scotland, in Paris the Louvre, in Vienna the Kunsthistorisches Museum, and in Amsterdam the Allard Pierson Museum. And of course there’s the Museum of Egyptian Antiquities in Cairo!

Images of Paris in La Belle Époque

by Sean McLachlan on

Paris has always captured the imagination with its architectural beauty and interesting inhabitants. La Belle Époque from the late 19th century to the start of World War One is considered a high point of Parisian life, and this life was captured by an eccentric photographer named Eugène Atget.

Atget started taking photographs of Paris in the 1890s. Working in the early hours of the morning with large-format negatives in order to catch as much detail as possible, he photographed many fine old buildings that have since disappeared. He photographed people too, preferring street vendors, shopkeepers, prostitutes, and the homeless. Instead of the rich and famous, he focused on people you’d commonly see on the street in those days, like this little girl singing along to an organ grinder, courtesy the Gilman Paper Company Collection.

Atget continued to work after the war until his death in 1927, documenting a Paris that even then was beginning to disappear. He was a bit of an anachronism, using the same equipment and same techniques he had thirty years before. A photo of him from the 1920s shows him as a shabby, hunched old man. He must have been an object of fun among the Bohemian set, for his looks, mannerisms (in old age he only ate bread, milk, and sugar) and outdated photographic style. The art world never really appreciated him until after his death, but now he’s renowned as one of the most important artists of the era.

Atget’s work is now the subject of a free exhibition at Madrid’s Fundación Mapfre, one of the best private galleries in the city. Eugène Atget, Paris 1898-1924 runs until August 27.

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