Masterpieces from the Museo Nacional Thyssen- Bornemi

Positioned within the coronary heart of Xiao Lujiazui in Shanghai, the fashionable Museum of Artwork Pudong (MAP) was constructed from September 2017 and opened to the general public in July 2021. Designed by Ateliers Jean Nouvel, the MAP is managed by the Lujiazui Group and has the principal mission of promo�ng public educa�on, devising cultural ac�vi�es, organising exhibi�ons and inspiring interna�onal trade with the goal of changing into a cultural level of reference in Shanghai and a serious pla�orm for interna�onal cultural trade.

A survey of six centuries of Western artwork

The exhibi�on is organised to current a chronological survey, divided into eight sec�ons which prolong from the Renaissance to twenty^th-century European and American artwork. The first focus is on the genres, ar�sts, colleges and actions which might be par�cularly nicely represented in the Museo Nacional Thyssen-Bornemisza, resembling portraiture and panorama, Dutch and American ache�ng, Impressionism, Expressionism and the early avant-gardes.

1. Faces of the Renaissance. The portrait in northern and southern Europe

Each for the variety of ache�ngs and their high quality, the style of portraiture is undoubtedly essentially the most notable inside the Thyssen collec�on. This first sec�on options 15^th– and 16^th-century examples from the Flemish, German and Italian colleges by ar�sts such as Rogier van der Weyden, Bernhard Strigel, Lucas Cranach the Elder, Raphael, Correggio and Bronzino, amongst others.

Bronzino (Agnolo di Cosimo di Mariano). Cosimo de Medicis in Armour,

ca. 1545. Oil on panel, 76,5 x 59 cm

2. Baroque ache�ng. Realism and emo�on

The second sec�on presents notable examples of the different genres that turned each autonomous and more and more appreciated from the late sixteenth century and par�cularly in Seventeenth- century Holland, resembling panorama, the s�ll life, interiors and ache�ngs of animals, together with works by Ruisdael, Hobbema, Peter de Hooch and Van de Velde III. There are additionally examples of historic and mythological composi�ons, resembling Rubens’s Venus and Cupid and by the French Baroque faculty.

Peter Paul Rubens. Venus and Cupid, ca. 1606 – 1611.

3. The 18^th century in Europe. Views, landscapes, portraits and different topics

In 18^th-century Italy the Baroque reached its top with the triumph of the city view or veduta with Venice as its protagonist and Canaleto as its main representa�ve. The ar�st’s large-format canvas of The Grand Canal from San Vio, Venice is displayed alongside the work of different Italians resembling Longhi and Foschi, main representa�ves of the French Rococo resembling Wateau, Chardin and Vernet and of the English faculty of portrai�sts such as Reynolds and Zoffany.

Canaletto (Giovanni Antonio Canal). The Grand Canal from San Vio, Venice, ca. 1723 – 1724. Oil on canvas, 140,5 x 204,5 cm

4. The 19^th century in Europe. Realism and French Impressionism

With works by Courbet, Manet and Pissarro, this sec�on exhibits the evolu�on of ache�ng from the mid-Nineteenth century. Panorama turned the principal field of ar�s�c experimenta�on as plein air ache�ng and the direct observa�on of mo�fs triumphed, whereas the experiences of metropolis life and its characters now seem as a pictorial topic. The sec�on concludes with the subjec�ve representa�on of nature achieved by Van Gogh and the decora�ve character of ache�ng exemplified by Bonnard.

Édouard Manet. Horsewoman, Full-Face (L’Amazone), ca. 1882. Oil on canvas, 73 x 52 cm.

5. 19^th-century American ache�ng

Maurice Prendergast. The Race Monitor (Piazza Siena, Borghese Gardens, Rome), 1898. Watercolor on paper, 35,6 x 46,6 cm.

The significance of panorama in 19^th-century American artwork is revealed by a gaggle of works that features examples by the first genera�on of panorama painters. Of European origin or educated there, they tailored the Roman�cism of the chic to the exuberant nature of the New World with a spiritual, patrio�c sen�ment. They are adopted by the second genera�on, who had been nearer to the beliefs of naturalism, after which, on the finish of the century, by painters who reveal the influence of French Impressionism, using a unfastened, colourist method, resembling Prendergast and Chase.

6. The twentieth century in Europe. Expressionism

Influenced by Van Gogh, Munch and Gauguin, the earliest Expressionist teams – the French Fauves and the Germans of Die Brücke and Der Blaue Reiter – rejected the ar�s�c conven�ons of naturalism and Impressionism, championing a brand new an�-naturalist concep�on of kind and color in the service of expressivity. Ma�sse, Kirchner and Kandinsky are among the many main names represented on this sec�on, which additionally contains the work of Russian ar�sts resembling Larionov and Chagall.

Emil Nolde. Crimson flowers, 1906. Oil on canvas, 52,4 x 55,8 cm.

7. The 20^th century in Europe. The Cubist tradi�on

Invented by Picasso and Braque round 1907, Cubism broke with the tradi�onal representa�on of quantity and area by an ar�s�c language based mostly on fragmenta�on and simultaneity with a view to give rise to a brand new dimension of the pictorial area. That is evident in a gaggle of works that begins with examples by Braque himself and contains deriva�ons of Cubism by painters resembling Léger from France, Feininger from the USA and the Hungarians Bortnyik and Huszár, in addition to Italian Futurism.

Fernand Léger. The disc, 1918. Oil on canvas, 65 x 54 cm.

8. Submit-war European and American artwork

Summary Expressionism dominated the American artwork scene a�er World Battle II whereas in Europe a vary of Informalist actions prevailed. Each tendencies priori�sed a new idea of ache�ng based mostly on gesture and color. That is evident

within the works on this sec�on by Georgia O’Keeffe, Nicolas de Staël, Josef Albers and Charles Sheeler, amongst others. James Rosenquist’s ache�ng illustrates the emergence of Pop Artwork within the Sixties, with its exalta�on of on a regular basis objects, shopper items and adver�sements, whereas works by Andrew Wyeth and Raphael Soyer reveal the survival of realism in the second half of the 20^th century.