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Posts tagged ‘Museum’

Oxford-v-Cambridge: Masterful Museums

Not all the nation’s artistic treasures are in London it seems. For Oxford and Cambridge play host to two of the most spectacular museums in the country. Both the Ashmolean Museum in Oxford and the Fitzwilliam Museum in Cambridge hold stunning collections of art and antiquities which befit the learned character of their sponsor universities.

They are, in effect, like all the museums of London rolled into one, conveniently collected under one respective roof. Here, a plethora of ancient relics including treasures from ancient Syria, Egypt and Rome, sit alongside collections of art with a broad sweep across the ages, from Italian renaissance altarpieces to works by Edouard Manet and Pablo Picasso. They host temporary exhibitions so significant that they bring culture lovers from across the world to these alternative cultural capitals. And their collections are hosted in buildings so grand that they out-do some of the world’s most prominent palaces and museums.

Oxford’s Ashmolean


It is on those buildings, and not the collections themselves, that this smaller set of photographs concentrates. Both buildings share a common theme, with ostentatiously grand classical facades imposing themselves upon the visitor with an immediate magnificence. Designed by Charles Cockerell in the 19th century, the yellow stone and marble mix of Oxdord’s Ashmoleon harmonise with the yellow colleges scattered about the city, but stands out for its unapologetic Palladion grandeur in amongst buildings fashioned out of medieval Britian.

The Fitzwilliam building was designed along similar lines, coincidentally with the contribution of the same architect, Charles Cockerell. It is whiter, grander almost from the outside, but here the real treasure is within – in an entrance hall of startling beauty, laced with gold, mosaic, stained glass and marble statutory, designed by Edward Middleton Barry and screaming with Victorian splendour. How can one choose between these two magnificent spectacles?

Cambridge’s Fitzwilliam


My photos focus on that Fitzwilliam interior, and on the yellow-stone exterior of the Ashmoleon (the latter view being conveniently enjoyed from the windows of my hotel room!). To see the magnificent collections contained within… you must visit, as soon as you can!

© Nicholas de Lacy-Brown and The Daily Norm, 2019. Unauthorised use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

From Illyria to Italy, Part 6: The Treasures of the Vatican

The treasures of the Vatican undoubtedly represent collectively the most famous art historical hoard in the world. Containing works such as Raphael’s School of Athens, Caravaggio’s Entombment of Christ, the incredibly preserved pre-Roman sculpture Laocoön and his Sons, the Belvedere Torso, and of course Michelangelo’s most famous masterpiece, the ceiling of the Sistine Chapel, there are few in the world who would enter without feeling as though they had seen something of its contents before. Indeed I had seen it all before, having first visited the museum during my art history studies, a period of absolute enlightenment which opened my eyes to the aesthetic possibilities of the present via the past. But since that trip, unbelievably some 15 years ago, I have routinely put off reentering this temple of art, for fear of the crowds who regularly collect there.

On this year’s trip to Rome, we decided to break the stalemate. Dominik had never been in, and my last trip was too confined into distant memory to be of proper value. Besides, as far as the Sistine Chapel stakes went, I was no longer satisfied to content myself with the (albeit rather good) replica in Goring-by-Sea, nor the probably computer generated scenes in Angels and Demons. While we found the entrance to be a good 20 minutes walk in the merciless heat around the enormous outer perimeter of the Vatican City, upon our arrival at the museum, we were surprised to find our pre-bought ticket entitled us to immediate entrance without so much of a hint of a queue…That was until we got inside.


To say that there were crowds inside the museum would be suggest a beach is endowed with a few grains of sand. It was packed, rammed! There were so many coach parties, each plugged into headphones bearing the monotonous tone of their flag-bearing guide, that at times we felt as though we might be forcefully parted by the tidal wave of tourists, rather like that traumatic scene in Empire of the Sun. Just as one wave was swept along the corridors in search of the predetermined scheduled “highlights” another would sweep into the vacuum left in its wake. Moments of reflexion and breathing space were few. Once we got up to the corridor of maps, the bottle necking effect was so intense that we had no choice but to continue with the flow of the coach tours. Turning back was no longer an option. Finally we shuffled into the Sistine Chapel. So too did the coaches. And any attempt to enjoy the serenity of Michelangelo’s masterpiece was resolutely destroyed, not so much by the crowd´s chatting, but by the screaming guards shouting into the microphone “SILENCE!!!!”, the words booming out of the speakers so loudly they practically cracked the great work. Lord, I think the shock of it shaved at least 5 years off my life.


Despite all of this, the Vatican museum remained an immense treat to behold. There are elements of the collection so arrestingly beautiful, and so incredibly well known, that one can’t help but get lost in the historical aura given off before them. However, knowing already what famous pieces lay in store, I actually found myself more happily drawn to the lesser known objects… the gallery of over 1000 marble busts was disarmingly beautiful, as well as some of the frescos painted in the Galleria deli candelabra for example, or in the long corridor of maps. And even better, since the works weren’t marked on the tourist trail, most of the hoards left them alone!

Somewhat surprisingly, we were allowed to take photos, so the images featured on this post were taken by yours truly. Don’t expect to see the Sistine Chapel though. Photo (and indeed bare knees and shoulders) were strictly banned there… so it looks as though you may need to rely on the Goring-by-Sea replica after all.


All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2016 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. 

From Illyria to Italy, Part 2: Muzeji Ivan Meštrović

Day two of our holiday in the beautiful Adriatic city of Split on the Croatian coast, and scandalously, it started cloudy. Panic stricken at the lack of blue skies, our first question to our hotel receptionist, after choosing a hearty dish of fresh pancakes for breakfast (a recurring gym-body busting pattern I might add) was to ask what we could do in such weather. For culture vultures like ourselves, she recommended the Muzeji Ivan Meštrović, that is the museum of the renowned Croatian sculptor, a fine cultural beacon in the city where he made his name.

The sun had actually come out again by the time we walked along Split’s sunny promenade and made it to the museum set within the lush leafy suburbs of the city. But just as well, or we might have missed out on enjoying the exteriors of the museum which are every bit as stunning as the inside. Surrounding the impressive facade of the perfectly imposing museum building (I tried to find out the history of the building… to me it looks like a fine palace from the Communist era, but it’s hard to tell exactly when it was built) were gardens bounteous in dancing lavender, aromatic pine trees, and a ground scattered with a bed of pine needles, and the best surprise of all, baby little tortoises!


Much charmed by these garden residents, we almost forgot what we had come to see, however the various sculptures created by one of Croatia’s most renowned creatives led us up through the garden, and into the museum itself. Born in 1883 in the small village of Vrpolje, Meštrović completed his artistic training at the Academy of Fine Arts in Vienna, where he fell under the influence of the art nouveau era, and debuted in the first Secessionist exhibition.His work quickly became popular, even with the likes of Auguste Rodin who is reported to have declared Meštrović to be the greatest phenomenon among sculptors and, with characteristic modesty, an even greater sculptor than he was. This early popularity sewed the seeds of his career success, and the sculptor was soon exhibiting internationally as well as setting up home in the city of Split.

His success in the city was not enough to guarantee his safety during the Second World War, and after a brief spell in jail in order to prevent his escape from Croatia, Meštrović eventually secured himself a visa via friends in the Vatican and in Switzerland, emigrating to the US where he was to remain for the rest of his life, unwilling to live under communism. However upon his death he remembered his country, leaving a legacy of some 400 works to Croatia, many of which today form the collection of the Meštrović museum.


What struck us as we traversed the lofty space of this palatial museum were the viscerally real emotions the sculptor managed to capture in sculptures made of plaster and bronze. In the faces of Christ, or Mary, or in the portraits he made of friends, you are struck by an intensity of emotion, as though metal could talk, or scream, or cry. There is a sensitivity to these sculptures which is truly hyperreal even though, with their elongated heads and exaggerated features, there is a very painterly, interpretative aspect to the works.

We didn’t know the work of Meštrović before our hotel suggested we visit the museum, but as the days in Split continued we started to notice the presence of his work all around the city. And enjoying those works both in his museum, its gardens and in stunning locations in and around Split, it was not at all difficult to imagine why the city has adopted Meštrović as its favourite adopted son.


All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2016 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited. 

Onwards to Vienna, Part 3: Palaces of Art

To say that there is a lot of art in Vienna is like saying there are a lot of paellas in Spain. The city literally lives, breathes and exudes art from its every corner and facet. Everywhere you go, large posters advertise the latest sensational exhibition appearing at the Leopold, or the Albertina, while inside the Belvedere and the Kunsthistoriches museums, some of the most famous paintings ever known to the history of art happily reside. We were literally astonished by the wealth of art contained within a small central core of the city, and by the end of our trip were rendered utterly exhausted by the amount of art we saw. But we were all the more fulfilled as a result.

If I were to reproduce a photo of all the paintings we saw in permanent collections and temporary shows alike, the single blog post resulting would probably keep you scrolling downwards for a lifetime. Rather than do that therefore, I wanted to focus a little on the majestic buildings which host Vienna’s amassed artistic treasures, before showing you just a few of the works on show within them.

Almost unable to take in the breadth of art at the Kunsthistoriches Museum

Almost unable to take in the breadth of art at the Kunsthistoriches Museum

There was no missing the incredible grandeur of the building hosting the Kunsthistoriches Museum (The History of Art Museum), which sits opposite its domed twin – a duo of palaces built some 150 or so years ago upon the advent of the Ringstrasse. With an art collection mainly built up over successive generations of Hapsburg rule, and containing breathtaking masterpieces by the likes of Titian, Rembrandt, Caravaggio and Velazquez, it is no wonder that the museum is visited by more than 1.5 million people every year. But beyond the art on the walls, what is truly momentous is the building itself which, tailor-created especially to hold the very collection which graces the building today, is filled with every kind of creative lavishness, from murals to sculptures, friezes and reliefs, and chief amongst them all, some beautiful wall murals by Gustav Klimt himself.

Klimt murals in the main hallway of the Kunsthistoriches Museum

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Klimt was of course to take centre stage across Vienna’s artistic offerings, not only in the galleries but in every manifestation of souvenir and guidebook. At the core of the city’s multifaceted Klimt showcase, his famous painting The Kiss lords over all the rest, glimmering with its multi-layered gold leaf in a long gallery on one side of the Upper Belvedere gallery. This equally spectacular palace is just one half of an iconic centre of art which offers exhibitions in both the Upper and Lower galleries and whose buildings are laced with all of the elaborate pomp intended by the original owner, Prince Eugene of Savoy, to evoke the magnificent of his various 17th century military successes.

The beautiful Belvedere

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But back to the 20th century, and my favourite of all the Klimt spectacles is the Secession building, a glimmering gold spectacle of modernism constructed in the Jugendstil style as a showcase for the Secession movement’s artists, chief amongst whom was of course Klimt himself. And today, the star attraction is Klimt’s allegorical Beethoven Frieze, one of the most iconic of the artist’s works.

The Secession Building and Klimt’s Beethoven Frieze

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In all, during 4 days in the city of Vienna, we visited some 8 galleries, an equal number of permanent exhibitions and an additional 12 temporary exhibitions. The vast wealth of art on offer was simply mind blowing, from the ancient treasures of the Kunsthistoriches museum and the delicate 19th century works of the Belvedere, to the in depth studies of Klimt and Schiele in the Leopold museum, and the incredible collection of impressionist art in the Albertina. Below are just a few photos of the many artistic treasures we saw. Far too many to take in, but we made and enjoyed our every attempt.

Onwards to Vienna, Part 1: Imperial City

It felt like we had returned to the glory days of the 20s. Fresh from a cosseted beverage in Harry’s Bar, the venerable watering hole of Hemingway, and having headed along the Grand Canal by vaporetto to the Stazione Santa Lucia, we left Venice one foggy freezing night by night train. With our own little private compartment complete with bunk beds, complementary towels (and bubbles!), and even a tuck away sink and wardrobe, the only thing missing was the inevitable Agatha Christie-esk murder. And while things certainly did go bumpety-bump-bump in the night, we (and as far as I know, the other passengers) arrived early the following morning very much alive and vibrating. Our new destination: Vienna.

Vienna is synonymous with New Year thanks to its famous New Year’s Day concert from the grand Musikverein, and likewise with the festive season owing to its multitude of Christmas markets perfumed with the scent of mulled wine and spiced pastries. The city was therefore an obvious choice after our Christmas in Venice, and with our night-journey also doubling as a hotel, it was the most convenient of onward travels.

Vienna, first views


If Venice was remarkable for its decadent, fading grandeur, Vienna was notable for its utterly breathtaking majesty. While Venice’s palaces and piazzas were to be found nestled alongside a maze of tiny canals, and hidden in cosy corners, from our first steps within Vienna, it presented as a city on show. A city-spectacular, straight out of the gilded pages of its imperial past. A city built as a manifestation of an empire’s utmost power, spectacular riches and the very best of refined taste and unceasing elegance. It felt like a city almost untouched by the turbulence of past centuries, as its resplendent monuments and palatial public buildings glittered as though brand new.

This was no more evident than on the Ringstrasse, Vienna’s principal boulevard and main inner-ringroad, an avenue whose construction 150 years ago coincided with a race to build alongside it the most spectacular buildings the city had ever seen.

Our location in the comparatively village-like Josefstadt region led us directly onto the Ringstrasse, and our first encounter was with the phenomenal neo-gothic Neues Rathaus, the new city hall built by architect Friedrich von Schmidt and including an impressive 100m central tower topped by a 3m statue of a knight in shining armour.

The Neues Rathaus


Just a few metres onwards and we came face to face with the classical masterpiece of Theophil Hansen’s Parliament Building, a temple-like construction whose positioning up a gentle sloping hill and collection of grand mythological statues imbued the site with all the majesty and power which would be expected of such a key component of the state. Meanwhile, just opposite across many of the grassy gardens which also line the Ringstrasse, further majesty could be found in the form of the Hofburg Complex, the sprawling network of former imperial apartments and the Presidential offices; a cluster of palaces whose impressive scale is softened by the elegance of its green cupolas and gilded details.

The Parliament building and the Hofburg Complex


And so with each and every step we took along this impressive broad avenue, we encountered a new masterpiece of architectural prowess, from the twin places of the Kunsthistorisches Museum and the Natural History Museum to the stunning State Opera House, one of the first of the grand Ringstrasse buildings to be completed, and of course the famous Musikverein, home of the Vienna Philharmonic Orchestra. And these views only got better as night quickly fell, and the grandeur was aptly illuminated against a starry blue sky.

The Opera, and the Musikverein


As Sigmund Freud once noted, Schein über Sein – looking good is better than being good. And while Vienna struck us almost immediately as a veritable showpiece rather than a place of cosiness and homely welcome, we couldn’t help but be impressed by the show being laid out before us, a performance whose protagonist would continue to dazzle as this next leg of our winter journey moved onwards.

The Ringstrasse at night


All photos and written content are strictly the copyright of Nicholas de Lacy-Brown © 2016 and The Daily Norm. All rights are reserved. Unauthorized use and/or duplication of the material, whether written work, photography or artwork, included within The Daily Norm without express and written permission from The Daily Norm’s author and/or owner is strictly prohibited.

The Gaudi which eluded me: Palau Güell

While I am as familiar with the works of Catalan architect Antoni Gaudi as the next Barcelona aficionado, there is one Gaudi masterpiece which has managed to elude me in all of the years I have been visiting the city: the Palau Güell. For many years this was due to extensive renovations of the property which saw it closed to the public both partially and entirely for some 7 years. But latterly I just never seemed to be in the city when the palace was open to the public. But no longer is this unsatisfactory position the case! As soon as our Barcelona trip was booked, the first thing I did was to reserve our entrance to the Gaudi masterpiece, and within hours of our arrival in the city, we had entered its impressive lofty interior. 

The Palau Güell

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Built between 1886 and 1888 in the El Raval neighbourhood of Barcelona, the Palau Güell was in fact one of Gaudi’s earliest works, and the first major collaboration with the industrialist Eusebi Güell who was to become Gaudi’s most significant patron. Although its sombre interiors show somewhat more restraint from the man who was later to go on to design such fantastical masterpieces as the Sagrada Familia and the Casa Mila, the exterior of the house already showed the young architect pushing the boundaries of socially acceptable architecture, filling his facade with magnificently twisted wrought iron, animal forms, and his terrace with his now iconic multi-coloured tile chimneys. 

The famous terrace

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That is not to say that the interiors were boring. Far from it. Past the initial somewhat gloomy entrance which was intended to be the preserve of carriages, the upstairs rooms showed every sign of the virtuosity for which the architect would become know, with magnificently intricate woodwork, wrought iron and personalised furniture heavily influenced by the Moorish design which is so prevalent in Spain as well as the innovations of line and shape which were becoming modish in what was to be known as the modernist or art nouveau era. By far the most spectacular feature of the house is the main atrium: a dazzling space which cuts through the entire height of the house, topped with a dome into which little holes cut are like stars twinkling in space.

The impressive central atrium

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So the house which had long eluded me did its best to impress, and certainly received from me the admiration it deserved. I did however leave somewhat concerned by some of the renovation works undertaken, not least the extent to which staircases have been modernised, for example, with swish inlayed lighting which is clearly out of character with the original house, and worst of all the adaptation of the roof’s famous chimneys such that on one, a contemporary artist has shamelessly attached a tacky toy lizard as some kind of new interpretation of an otherwise perfect Gaudi icon. Why this was allowed I will never know. As they say: if it ain’t broke, don’t fix it.


Art on the Riviera: The Fondation Maeght

There can be no doubting the significance of the French Riviera to the history of modern art. Since the time of the Impressionists, the Riviera has been inspiring artists with its incredible light and the potency of its colours. Renoir lived in Cagnes-sur-Mer, Picasso in Antibes, Cezanne in Aix, Fernand Leger in Biot and Matisse in Nice, and surrounding them a seemingly relentless flow of visiting and other artists came to the Riviera in turn. The result is an artistic heritage which is almost unrivalled by other European regions.

Amongst the many artist-museums which consequently pepper the area, the Fondation Maeght is amongst the most important. Located only minutes from La Colombe d’Or, the foundation was entirely conceived and financed by Marguerite and Aimé Maeght to present modern and contemporary art in all its forms. Painters and sculptors collaborated closely in the realisation of this Foundation with Catalan architect Lluís Sert by creating frequently monumental works integrated into the building and gardens: the Giacometti courtyard, one of the world’s most famous ‘in-situ’ works, the Miró labyrinth filled with sculptures and ceramics, the mural mosaics by Chagall and Tal-Coat, and the pool and stained glass window by Braque.

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When we ventured to the foundation after some hours languishing by the Calder mobile of La Colombe’s pool, we were somewhat disappointed by the extent of the famed collection. Entire galleries were given over to temporary exhibitions, with only one room seemingly devoted to a permanent collection. However, we could not deny being impressed by the gardens, so sumptuously saturated in art, densely packed under the canopy of a pine-tree forest. There amongst the faded light, a labyrinth collated from sculptures by Miro formed unique and startling silhouettes against a stormy sky, and as the earth rumbled with a humid thunderstorm, the atmosphere seemed charged with the almost surreal atmosphere created by these sculpted forms.

More than 200,000 visitors come each year to the Maeght Foundation, which has put on over 100 monographic or thematic exhibitions since its opening. We were perhaps unlucky to visit when only a fraction of the permanent collection was on display, but for the uniquely conceived art of its gardens, it lived up to its fame. The photos in this post show the best of the incredible outside installations permanently on display.

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Málaga | Part 1 – Capital of Culture

Whether it’s because the city was recently working towards a bid for European Capital of Culture (which disappointingly, was won instead by San Sebastian in Spain’s North – not entirely sure why), or just because it was sick of being forever overshadowed by the glitz and glamour of Marbella to the West, and the popularity of tourist spots such as Nerja and Granada to the East, Málaga – the 6th biggest city in Spain and the most southern large city in Europe – has certainly upped its game of late. Following on from the introduction of the phenomenal Picasso museum a decade ago (Málaga is the artist’s birth-town), the city has gone on leaps and bounds to develop its cultural and leisure landscape, making it easily one of the most enriching and enjoyable places to visit in Southern Spain.

Asides from the Picasso Museum and a host of other novel museums dedicated to the likes of Flamenco, bull fighting and Semana Santa, Málaga also boasts two major archaeological treasures – the Moorish Alcazaba, whose walls crown one of the prominent hills encircling the city, and an excavated Roman Theatre. Its wide sandy beach is now accompanied by a brand new leisure port, following a huge reconstruction of the area in which an industrial marina has been transformed into a glitzy promenade boasting glass fronted boutiques and restaurants and a palm-lined avenue. And as for its art scene – well it’s alive and kicking, with the CAC Contemporary Art Museum showing some of the most prominent artists of the contemporary art world, and the latest and most exciting addition of all: the new Carmen Thyssen museum, an outpost of the world-famous Thyssen-Bornemisza Museum which is one of the “big three” art galleries (together with the Prado and the Reina Sofia) drawing art lovers in their millions to Madrid.

The elegant streets of Málaga

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Having learnt that the Carmen Thyssen museum had now opened (it actually opened in 2011, but I was a bit slow in picking up on this), my partner and I were quick to arrange ourselves a little trip from Marbella to Málaga, leaving behind the beaches for a short immersion within Málaga’s cultural offerings. But what with the opening of the new port, and the attraction of Málaga’s elegant Modernista streets beckoning, we felt it only reasonable to turn our initial plans of a day trip into a one-night stay. And so it was that our trip to the city was enriched by the silky lining that only the comfort of a night in a splendid hotel can offer, comfort which comes no more so that at the hands of the Molina Lario Hotel which we made our home for the night, a newish hotel based in a hybrid renovation of modernist palace and brand new building, and which boasts a stunning rooftop pool with unbeatable views over Málaga’s “one-armed lady”: the Cathedral whose second bell tower was never finished owing to a lack of funds, and which today is the most famous icon of the city.

Now how about this for a pool with a view…

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As the photos above will more than demonstrate, we certainly made the most of all that the hotel had to offer, and sipping wine on the pool side terrace overlooking a vast panorama of the city in the dying light of the day has to have been one of my highlights of the whole Spanish holiday. But what about that museum? Well once we had managed to pull ourselves away from the plentiful distractions which our hotel provided, we headed straight for the Thyssen, our passage being interrupted only once or twice by the pull of the beautiful Plaza del Obispo, whose iconic red and yellow Episcopal Palace and its viewpoint straight onto the façade of Málaga’s imposing Cathedral made a stop in the idyllic square for a glass of something ice cold and thirst quenching a practical prerequisite. But thanks to the Thyssen’s superb location, just west of the main Plaza de la Constitucion, we soon made it to this impressive new museum, whose architecture, based around the old Palacio de Vaillalon but benefiting from innovative new extensions is, in itself something to be admired before the collection is even surveyed.

The Plaza del Obispo

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…and the Carmen Thyssen Museum

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Having entered through the museum’s sun drenched traditional courtyard, and helped ourselves to a small cortado coffee and a miniature lemon meringue pie in the café, we slowly made our way around the museum’s four floors of Andalucía-based art, largely emanating from the 19th century. I have often heard this period of Spanish art, between the golden age greats of Velazquez and El Greco, the traumatic masterpieces of Goya, and the 20th century brilliance of Picasso and Dali, to be dismissed as insipid; even boring. But for those who love the rich history-rich culture of Southern Spain, this collection is a treat. From street scenes showing the Easter Semana Santa parades in all their lavish details, and almost impressionistic depictions of the Spanish coast, to stunningly detailed paintings of traditional Andaluz patios, and crowds bursting into local bull rings, there really is something for everyone in this perfectly located collection which really does beat to the rhythm of Andalucía’s heart.

Our visit also coincided with a temporary exhibition of Cordoba based Julio Romero de Torres (1874-1930), a master of  Andalucían symbolism, with an oeuvre associated with popular and folk trends, interspersed with the wide-eyed females who languish so prominently and poetically across his canvases against strangely surreal, often looming skies.

A selection of Romero de Torres’ work

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Back at the hotel, our feet pulsating after an afternoon exploring both the Thyssen and the elegant streets and Plazas surrounding it, all that remained was to enjoy that incredible view from the comfort of our hotel’s rooftop swimming pool, and later to dine in the city’s bustling tapas-bar lined streets, with a stroll along the glittering new port before bed. The perfect end to a day as rich as Málaga is abundant – in culture, in architecture, in beauty, and in progress: No longer just the gateway to the Costa del Sol, Málaga has surely earned its place as one of Spain’s must-visit cultural centres.

Málaga’s glittering new port

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Details of the Carmen Thyssen Museum, including temporary exhibitions and future shows can be found here.