Pablo Picasso
Two Women running on
the Beach (The race),
, 1922
Deux Femmes courant sur la plage (La course)
Gouache on plywood.
34 x 42.5 cm
Musée Picasso, París
Auguste Renoir
Large Nude, 1907
Grand Nu
Oil on canvas.
70 x 155 cm
Musée d'Orsay, París
Henri Matisse
Skittle Players
(Game of skittles),
, 1908
Boulistes. (Jeu de quilles)
Oil on canvas.
113,3 x 145 cm
Hermitage State Museum, Saint Petersburg
Paul Cézanne
Apples and Biscuits, 1879-1880
Pommes et biscuits
Oil on canvas. 45 x 55 cm
Musée national de l'Orangerie, París (Colección Jean Walter and Paul Guillaume)
Pierre Bonnard
The Bath, 1925
Le Bain
Oil on canvas.
86 x 120, 6 cm
Tate, Londres
(Presented by Lord Ivor
Spencer Churchill through the
Contemporary Art Society, 1930
Pablo Picasso
Three Women at the Fountain, 1921
Trois Femmes à la fontaine
Oil and red chalk on canvas.
201 x 161 cm
Musée Picasso, París
Pablo Picasso
Standing woman, 1927
Femme en pied
Oil on canvas,
133x105 cm
Marina Picasso Collection
(Inv. 12471)
Courtesy Jan Krugier Gallery,
Nueva York
Exhibition information:

9 October 2001 to 13 January 2002

Opening hours
Tuesdays to Sundays, 10am to 7pm. Closed on Mondays, open all day Sundays. Ticket office open until 6.30pm.

Exhibition rooms of the Thyssen-Bornemisza Museum. First Basement level.

Entrance charges
General: Temporary Exhibition: 600 pta/3.61 Euros
Combined entry to the Permanent Collection and the Temporary Exhibition: 1.100 ptas/6.61 Euros

Students with proof of status and visitors aged over 65:
Temporary Exhibition: 400 pta/2.40 Euros
Combined entry to the Permanent Collection and the Temporary Exhibition: 600 pta/3.61 Euros

Free entry for children under 12 accompanied by an adult

Catalogue: On sale in the Bookstore/Giftshop

How to get there
Metro:Banco de España station
Buses:1, 2, 5, 9, 10, 14, 15, 20, 27, 34, 37, 45, 51,
          52, 53, 74, 146 and 150
RENFE (overland train):
Atocha and Recoletos stations

Tel: 91 369 0151

Ground Floor

First Basement level

Audio-guide available

Palacio de Vilahermosa. Paseo del Prado, 8, 28014 Madrid

Exhibition organised by the Thyssen-Bornemisza Museum and the Fundación Caja Madrid

Please do not use your mobile telephone while visiting the exhibition

This exhibition proposes a new interpretation of the relationship between classicism and modern art in the first half of the 20th century. The key to this interpretation is the notion of form. Formalism, a theoretical position which placed greater emphasis on form over content in the work of art, was fundamental to the birth of the new, avant-garde art of the 20th century and to its break with the art of the previous century. In addition, formalism encouraged one key trend of modern art, which was the quest for a new classicism in the 1920s and 1930s.

The exhibition is structured thematically around eight rooms.

1.- The nude, form, repose
This room includes late works by artists trained within the context of Impressionism, such as Renoir and Cézanne, as well as paintings from the first decade of the 20th century by artists of the next generation, such as Matisse and Picasso. Also on show are sculptures by Maillol and Bourdelle which have close links to the subject examined in this room.

2.- Line, movement, the Golden Age
In this room works by Matisse and Picasso, also produced in the first decade of the 20th century, are juxtaposed with others by Degas. All reveal the ambivalence of line when it has to define both the form and movement of the figures at the same time. Dance, paradigmatic of the human body in movement, is associated with the classical idea of the Golden Age.

3. Order in Nature. Landscapes

4. Order in Nature. Things
Following his death in 1906, Cézanne became the key reference for Matisse¹s development and for that of the Cubist painters, as well as for Derain and the post-war classicist painters. Looking to Cézanne, these artists favoured the genres of still-lifes and landscapes with figures (generally nudes).
In room 3, four landscapes by Cézanne are shown alongside early Cubist landscapes by Derain and Braque and landscapes with classicising figures by Sunyer and Carrà.
In room 4, three still-lifes by Cézanne are shown with paintings by Derain, Morandi and Sironi. The hanging is completed by a number of works by Juan Gris in which still-life and landscape are combined together to form one image.

5.- Masks and portraits
In addition to landscape and still-life, the return to the traditional genres of painting encompassed the portrait. However, this genre involved the need to capture the physical likeness of the subject and his or her most distinctive features, demands difficult to reconcile with the basic principles of formalism and classicism. This contradiction was resolved through recourse to the theatre and the notion of the theatrical role, whether social or professional. Role, personal identity and mask are presented as equal. Three important works by Picasso are shown in this room, together with works by Gris, Derain, Sironi and Dalí.

6.- Painting, discipline of the visible
The earlier rooms in the exhibition demonstrated how Cézanne's genius was the basis for an exploration of pictorial qualities related to line, volume, space and composition. Bonnard and Morandi, however, focused on line and colour, and can therefore be seen to be continuing Cézanne's Impressionism to some extent. The phenomenology of vision is at the basis of the discipline of painting; while, conversely, the discipline of painting with its continuing evolution is what teaches the painter to look.

7.- Form, weight, myth
This room is dedicated to the classicising works which Picasso painted from around 1920-1925. Their stylistic features reveal a process of development which the artist had started in 1906 and which was interrupted by Cubism. Nonetheless, alongside their purely formal characteristics, Picasso's work of this period is increasingly imbued with emotional content and is also inclined towards the mythical.

8.-Line, the dance, metamorphosis
At the beginning of the 1930s, Picasso and Matisse each independently painted a series of paintings in which the representation of movement through line became the key element in the painting. The linking together of forms through the imagination (the principle of metamorphosis), displaces the intention towards stability and objectivity of the forms. Classicist formalism has exhausted its historical cycle and breaks down in order to give way to a variety of aesthetics which characterise the arrival of fully developed modern art.




© Sucesión H. Matisse 2001
© Pablo Picasso.Sucesión Picasso/VEGAP. Madrid, 2001
© Pierre Bonnard. VEGAP. Madrid, 2001