There’s a clutch of very famous 17th century Dutch painters whose paintings we usually take to define the style. You can walk through a gallery of paintings from this period pausing only at the Rembrandts and Vermeers and Hals. But this time and place also produced a set of very skilled still-life painters. Walking through the galleries in the Thyssen-Bornemisza Museum in Madrid, I was reminded of this. The names Ambrosius Bosschaert or Balthasar van der Ast were not familiar to me, but when I stopped in front of their canvases (detail from van der Ast’s just below, from Bosschaert’s in the featured photo and the last one in this post) I was immediately drawn into their world.
The Thyssen-Bornemisza is one of Madrid’s Golden Triangle, the others being The Prado and the Reina Sofia Museum. This was the private collection of the Baron Thyssen-Bornemisza, who started by buying up the collections of American millionaires who had fallen on hard times during the Great Depression. I decided to spend half a day in this museum because it was extremely hot outside, and I had half a day between checking out of my hotel and catching my flight back home.
With these three examples of the many butterflies I followed in this part of the collection, I thought I’d managed to spend one of the hours in this museum quite fruitfully. In slow stages I moved on to the abstractions of the early 20th century. This museum is the missing link between the collections of the Prado and the Reina Sofia, so it was an afternoon well spent.
Prado is a blank in my camera. With its ban on photography, one of the world’s greatest museums of European art is that enigmatic. The Museo del Prado was the first stop in our visit to Spain, and the five hours we spent there was barely sufficient to get an overview of their collection of Spanish art.
If the Mona Lisa is the most visited painting in the Louvre, Las Meninas by Velazquez (below) is the single most visited painting in the Prado. I was with the majority. When The Family picked up a floor plan, I looked for the quickest route to Las Meninas. The huge painting dominates the gallery it is in, and has an enormous crowd which moves around it. The audio guide at the Prado is very informative, and a large number of people here were using it. One interesting fact, not mentioned by the guide, but visible in the statue of Velazquez outside the Prado (featured photo), is that Velazquez used special long-handled brushes for such large paintings. This made it possible for him to gauge the effect the painting would have for a viewer standing at a distance. Another wonderful painting by Velazquez in the Prado is The Fable of Arachne, perhaps one of his last paintings.
The Prado holds the Royal Collection of Spain. Although this is the nucleus, much has been added over the years. The original building, designed by Juan de Villanueva, has long been insufficient. New wings and galleries were added over the years, three independent buildings now hold gallery space for the Prado, and new space is currently being added. A day or two is not enough to see it all. It is best to buy a ticket on-line fairly far in advance. You are given a 15 minute slot for entry, but you can use the ticket for the full day, and even leave and come back in the same day. The cafeteria is very good and you do not need to leave if you don’t want to. We had a quick lunch in the museum’s cafeteria after taking in the extensive collection of paintings by Goya.
The paintings on display change, some come out of the holdings on to the walls, others circulate around the world. There is a limit to how much art you can absorb in a day. The Prado is immense, and one needs to visit it several times in order to take in all that it has.