Espai Carme Thyssen

The exhibition

Cities and inhabited places

From 13 July to 19 October 2014

The ideal in the landscape. From Meifrèn to Matisse and Goncharova

Carmen Thyssen Collection

From an aesthetic point of view, the exhibition explains the evolution of the view through the landscape. Also, it points out the change in the pictorial techniques by communicating the received emotions. There is a recurrent theme: the sea landscape, and specially, the sea as a place of enjoyment, a holiday spot. This is a concept from the 20th century. In the paintings about mountains and gardens, the ideal in the landscape is also represented as an evocative space of the lost paradise.

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The exhibition in detail

Exhibition's tour

  • I. The naturalist landscape

    I. The naturalist landscape

    The aesthetics of the naturalistic painting do a realistic treatment of the landscape, but it moves away from the natural representation that photography used to employ. The aesthetics of the imitated nature are based on an objective analysis, nearly scientific, of the contemplation of the objects, without fully leaving a subjective (romantic) view of the landscape.

    · Room 1. The painting “en plein air” is one of the remarkable aspects of this style. Works by Jongking, Daugbiny, Regoyos, Urgell...

    · Room 2. The feelings that the contemplation of the landscape awake are expressed in the painting, as well as a realistic perception of the surroundings. Works by Meifrèn, Martí i Alsina, Thompson Bricher...

    · Room 3. The American naturalistic language will be inclined to impressionism, including the leisure and the summer holiday among its themes. Works by Homer, Carr, Duez, Potthast... 

  • II. Capturing the moment

    II. Capturing the moment

    The first Impressionist exhibition took place on 15th April 1874 in Paris. Renoir, Sisley and Monet were among the prominent participant authors. Émile Zola saw in these artists what he required for a literature and art renovation: be able to capture the colour sensations, produced by effects of light on objects, that is to say, to capture the instant of the light.

    · Room 4. According to Impressionists, painting takes as an object the experience in the landscape. Works by Gauguin, Monet, Renoir, Sisley...

    · Room 5. The desires of the ideal are recognized in the landscapes of our surroundings. Works by Matisse, Bonnard, Dufy, Mir, Meifrèn...

  • III. Towards expressionist landscape

    III. Towards expressionist landscape

    In the early 20th century, a new art movement started as a reaction to positivist character that painting achieved in the late 19th century. It was called Expressionist. This movement leads to a more subjective perception of reality. The mood is moved to the surroundings, creating spaces that are usually agitated and restless.

    · Room 6. The artists use the pictorial art as a mean to communicate their feelings and moods (usually close to Neo Romantic melancholy). They nearly understand art as a spiritual relief. Works by Kirchner, Pechstein, Rohlfs, Münter... 

  • IV. Progress to the modernity

    IV. Progress to the modernity

    The 20th century art explores the plastic language beyond the imitation of the nature and what comes from it. The diversity and the coexistence of languages ​​that have been developed from the artist’s subjectivity causes an obvious aesthetic eclecticism.

    · Room 7. These are spaces of complicity, plays and laughs. It is a modern time, in which leisure and pleasure are linked to a sea landscape. Works by Goncharova, Amat, Kuhn, Sunyer ...

    · Room 8. The ideal in the landscape, questioning multiple views, remains unanswered. Works by Andrews, Léger, Torres-García...