Figueres - Dali Theatre-Museum (Teatro-Museo Dali), Gala-Salvador Dalí Square, 5:
Duration: 3 hours (at least) in the museum and the exhibition. 5-6 hours for the transportaion and walks to/from the museum.
How to arrive: The best way to arrive from Barcelona to Figueres is by RENFE (Inter-city and long distance Trains)) train (almost 2 hours - every direction). For timetable: http://www.renfe.com/CA/viajeros/index.html
The main (perhaps only) reason for going to Figueres is to visit the Salvador Dali Museum. Figueres is quite far to go to 'just' see the Dali museum (even if it is an amazing one), The AVE (high-speed) train has made the travel times much shorter than they used to be.
How to arrive to Dali Museum: the Figueres Vilafant station is not close to the Museum, but there is a bus connecting the station with the city center (200 meters from the Museum) within less than ten minutes. The bus ticket costs 1,25 €, and there is a bus every 25-30 minutes. Taxis are also available at the Figueres Vilafant station. There are no lockers in Figueres Vilafan train station.
Prices: we recommend purchasing entry to the jewel exhibition, which is housed in a separate building less than 100m away.
12 €/adult ((including the separate jewellery exhibition).
REDUCED 9 € Dalí ( including Jewels exhibition): Students, pensioners and unemployed people with the appropriate documentation.
01/11 - 28/02 From 10.30 to 18.00.
01/03 - 30/06 From 09.30 to 18.00.
01/07 - 30/09 From 09.00 to 20.00.
01/10 - 31/10 From 09.30 to 18.00.
General hints: The different collections managed by the Gala-Salvador Dalí Foundation include all kinds of works of art: painting, drawing, sculpture, engraving, installation, hologram, stereoscopy, photography, etc., up to a quantity of some 4,000 pieces. Of these, some 1,500 are on show in the Dalí Theatre-Museum Dalí of Figueres. The whole museum-gallery is more a maze-alike. A bit chaotic in layout but , it only adds to the atmosphere. The museum is a free-flowing kind of place with different routes that you can take. Many kinds of paintings, sculptures, murals, exhibitions, other types of media and objects - a feast for all your senses - but, not many explanations. Several rooms contained art that Dali collected - and not made by him. For Surrealism lovers.
We suggest staying in beautiful Girona one night at least. You can combine your visit in Figueres with 1-day in Girona.
From Figueres Vilafant station to the Dalí's birth house, Carrer Monturiol, 20 - it is a 1.7 km. walk: head southeast on Carrer de les Pedreres toward Polígon Ua3 Puig Grau, 350 m. At the roundabout, continue straight onto Carrer d'Avinyonet, 550 m. Continue onto Passeig Nou, 290 m. Turn left onto Av. de Salvador Dalí i Domenech/N-IIa
12 m. Turn right onto Carrer Pep Ventura, 130 m. Turn right onto Pujada del Castell, 70 m. Slight left onto La Rambla, 170 m (we'll return to the Rambla). Continue onto Carrer Monturiol, 140 m. At Carrer Monturiol, 20
- is Dali's birth house.
Salvador Dalí Domènech was born in Figueres on 11 May 1904 to a wealthy family. His father was a solicitor. The house is located at no. 20 Carrer de Monturiol, and is known as Cara Puig. It is a modernist building designed by a famous architect, Josep Azemar, the city's chief architect between 1899 and 1914. Figueres also boasts several other buildings designed by Azemar, including a number of houses on La Rambla. The painter's only sister, Anna María Dalí, was also born here. The house is currently closed to visitors due to an ongoing legal dispute. There are long-standing plans to convert this publicly owned property into a cultural centre showcasing personal items belonging to Dalí, but no public opening date has yet been set:
From Dalí's birth house, Carrer Monturiol, 20 to Dalí Theatre-Museum
Plaça Gala i Salvador Dalí, 5 -it is a 450-500 m. walk: head southwest on Carrer Monturiol toward Carrer Sant Rafael, 140 m. Continue onto La Rambla, 170 m:
La Rambla turns slightly right and becomes Pujada del Castell
160 m. On your right - Dalí Theatre-Museum, Plaça Gala i Salvador Dalí, 5.
Exterior: externally, the building itself is fantastic. The museum is surreal like Dali, very surprising and not like any museum you might have seen earlier. The building is in itself a huge Dali installation with the giant egg battlements and spiraling columns.
Fantastic figures adorn the south facade:
A big sculpture standing opposite the entrance:
Dali sculpture outside the artist's Museum in Figueres:
Interiors: an amazing range of artwork, sculptures, drawing, objects on display. All very well laid out. An easy to follow guide leaflet available free and in many languages. Aside from Salvador Dalí's works, there are works by other artists that the painter invited to be exhibited in his museum, such as Antoni Pitxot and Evarist Vallès, accompanied by other artist from the painter's own private collection, such as El Greco, Marià Fortuny, Modest Urgell, Ernest Meissonier, Marcel Duchamp, Gerard Dou and Bouguereau. In various galleries of the Theatre-Museum we can also find works by John de Andrea, Wolf Vostell, Meifrén and Ernst Fuchs. Since Salvador Dalí death in 1989, the crypt where he is buried can also be visited at the centre of the museum. This area was remodeled in 1997 to exhibit a collection of gold jewels designed by the artist.
Dalí Jewels: one of the annexes to the Dalí Theatre-Museum houses a collection of 37 gold and precious stone jewels that Dalí produced between 1940 and 1970. Alongside the jewels, the exhibition also features the associated design drawings and paintings.
Smiling Venus (1921):
First days of Spring (1922):
Self-Portrait with l'Humanité (1923):
Port Alguer (1923-4):
Figures Lying on the Sand (1926):
The Spectre of Sex-Appeal (1932):
Portrait of Gala with Two Lamb Chops Balanced on Her Shoulder (1933):
Autumn Cannibalism, 1936. As with many artists, Dali was to depict war and conflict in several of his major works. Autumn Cannibalism was painted in the year the civil war began in Spain. The painting is an interpretation of the horror and destruction of war, and also containts hints on the nature of sexual relationships:
Soft self-portrait with grilled bacon (1941):
Poetry of America / The Cosmic Athletes (1943). Dalí painted this oil painting in the United States. The landscape is a mixture of the Empurdá plain and Cap de Creus and of the vast American deserts. The skin shaped as Africa appears in the background, on the tower of time, with the clock marking the time and the athletes - American football players - with the vertical symbolism of the Coca-Cola bottle between them, and the black telephone, encrusted into the bottle, from which comes a huge black stain that falls onto a white cloth that is attached to the athletes. The black stain has been the object of different interpretations, one of which ponders with the idea that it is a representation of the American racial problem. For me - it symbolizes the racial tension in the USA:
Geopoliticus Child Watcing the Birth of the New Man, 1943. This painting depicts the large egg-shaped globe of the world out of which a man from North America is struggling to hatch. There is blood running out of the crack in the egg and the new man's hand has England firmly in its grasp. In the foreground two figures are watching; one an adult the other a small child. The adult, of indeterminate sex, is drawing the child's attention by pointing at the new man being birthed, which is seen as Baku, Azerbaijan. The child is standing as if afraid - both hiding behind and holding on to the adult's knees. The painting is thought to be the parody during World War II, which shows the man emerging from the egg is rising out of the "new" nation, United States, which was in the process of becoming a new world power. Africa and South America are both enlarged, representing the growing importance of the Third World, while Europe is being crushed by the man's hand, indicating its diminishing importance as an international power:
Galarina (1944-45). Gala was the love of Dali's life, his one and only Gala. Gala was not only his wife but his endless source of inspiration. Salvador Dali had a pure, raw, some would even say a spiritual passion for Gala, and it is reflected in much of his art:
The Basket of Bread (1945). There is another painting of Basket of Bread from 1926:
Leda Atomica (1949). Dali himself described “Leda Atomica” as a picture created “in accordance with the modern ‘nothing touches’ theory of intra – atomic Physics”. “Leda does not touch the swan; Leda does not touch the pedestal; the pedestal does not touch the base; the base does not touch the sea; the sea does not touch the shore . . .” he explains. Thus, presenting a suspended world similar to the one of the atomic scale. The design of the composition is purely mathematical and carefully prepared as is revealed in a 1947 study of the artist. Leda (portrayed as his wife Gala) and the swan are inscribed in a regular pentagon, closely connected to the golden ratio. Dali conceived the design influenced by the Romanian polymath Prince Matila Costiesco Ghyka. The mathematical formula for the length of the pentagon’s side appears in the lower right side of the study:
Galatea of the Spheres (1952). A marvelous portrait of Dali's wife known as Gala. Gala was born Elena Ivanovna Diakonova (7 September 1894 – 10 June 1982) in Russia, to a family of intellectuals. As a young woman she graduated as a school-teacher in 1915 from a University in Moscow. Dali first met Gala in 1929 while working on the film Un Chien Andalou (the Andalusian Dog) by Luis Bunuel, Gala was the wife of another Surrealist Paul Eluard. Causing a rift in his family and tensions with other Surrealists Dali seduced Gala away from Eluard. In 1934 Dali and Gala were married in a civil ceremony in Paris and in 1958 the church permitted a Catholic ceremony (Gala's former husband died in 1952) and forever after she became known as Gala Éluard Dalí. Gala managed Dali's business affairs for their entire marriage a task to which the artist was unsuited. Dali considered Gala his world and his saviour and signed many of his works with her name. This amazing portrait is one of the many works in which Dali paints his feelings for Gala. This painting today sits in the Palace of the Wind Gallery:
Abstract paintings which seen from two metres as Three Lenines - changes into the Head of a Royal Tiger as seen from six metres, 1962:
Car Naval. Rainy taxi (1974-1985) in the central patio of the museum:
Queen Esther, by Dali's friend Ernest Fuchs - opposite the Rainy Car or Taxi:
Below is a painting in the great room that looks out to the Rainy car sculpture:
The central patio glass geodesic dome roof. You see this "Dome" also from the outside. It is one of the museum's landmarks:
The central Patio in the Museum - behind the Rainy Taxi:
Queen Esther opposite the Rainy Car or Taxi:
Face of Mae West Which Can Be Used as an Apartment (1974). In this installation at Dali Theatre-Museum, he created a reconstruction of a portrait he did of Mae West in the 1930s. The elements representing her lips, nose, eyes, are framed by platinum hair which isn’t shown in this photo, unfortunately. On the same level as the exhibit, they look like individual pieces, as shown below. But from a platform above, the full picture is visible...:
Gala Nude Looking at the Sea (1975)
which at 18 metres appears as President Lincoln.
The Pearl. After the Infanta Margarita and Las Meninas by Velázquez, 1981. Salvador Dalí's admiration for the character and work of Velázquez is well known:
Ceiling fresco in the Palace of the Wind. One of the ceiling paintings in a fairly large room packed with paintings and sculptures. Many people believe that the legs (in red) belong to Dali's wife - Gala. The opposite couple of legs, opposite, with the mustache - belong to Salvador Dali himself:
The connotation of limp clocks:
Michelangelo’s Moses – with octopus perched on top. The real Moses statue is in Basilica San Pietro in Vincoli, Rome (see Tipter "Christian Rome - Tour of Four Major Basilicas" blog:
Salvador Dali bedroom (his own design):
Although the work exhibited is basically by Dalí, there are also works by other artists who Dalí wanted to include: Antoni Pitxot, Evarist Vallès, the private collection of Salvador Dalí with works by El Greco, Marià Fortuny, Modest Urgell, Ernest Meissonier, Marcel Duchamp, Gerard Dou, etc. Similarly, in different galleries of the Theatre-Museum, works can be found by Bouguereau, John de Andrea, Wolf Vostell, Meifrén and Ernst Fuchs, among others.
Pitxot, Antoni - Sleeping Beach, 1974. One in a series of paintings comprised of "pebbles" and broken stones:
Pitxot, Antoni - Woman lying on red background, 1976:
Pitxot, Antoni - Giorgione's Maternity, 1977:
Pitxot, Antoni - The Allegory of the Memory, 1979:
More surrealistic paintings:
Pitxot, Antoni (?):
Dali's surrealistic sculptures:
There are several Kaliedescopes / prisms with surrealistic optic-illusion sights:
Another one - Dali touches a dancer's leg:
Poster of Bulls Fight (Corrida de Toros) from the 1950s with the name of salvador Dali:
1968 Aliyah to Israel - the series of graphic work entitled "Aliyah" dates from 1968, and was an assignment to commemorate the twenty years anniversary of the proclamation of the State of Israel. Dalí created a series of 25 mixed media paintings including gouache, watercolors and Indian ink on paper. They were reproduced as photolithographs and published in a limited edition presented in a folder with a letter of introduction by David Ben-Gurion, a key figure in the history of Israel. In order to illustrate the various meanings of the Hebrew world "aliyah", which means literally "migration to the land of Israel", the artist took inspiration from the Old Testament as well as contemporary history. Dalí depicted the vessel "Eliahu Golomb", full of refugees from the concentration camps, setting sail to Israel in 1946, despite the prohibition imposed by Palestine under the British Mandate. He also portrays David Ben-Gurion reading the Declaration of Independence in 1948. As usual in Dalí's work, the pieces also contain elements from his own iconography. This is the case with two lithographs that contain references to a major painting of that period, Tuna Fishing, an oil painting inspired by the Mediterranean coastal fishing practice which dates back to antiquity:
Since the death of Salvador Dalí, in 1989, one can also visit the crypt with his grave, situated in the centre of the museum; a space which was remodelled in 1997 in order to exhibit there a collection of gold jewellery designed by the artist. Dali was attracted by the materials and not by the money concerned. Salvador Dali designed these jewels in the 1940's and 50's and the original pieces were made up by the silversmith Carlos Alemany under the close supervision of the artist himself. As well as designing the jewels, Dali personally selected all the materials and precious stones used in each one. They were chosen not only for their quality and value, but for the symbolic meanings of each. In 1958 the Dali Jewel Collection was purchased by the Owen Cheatham Foundation and exhibited to raise money for various charitable organizations in the United States. The original pieces now reside at the Figueres Museum. It’s dark there. Taking photographs is difficult:
The human eye - with the tear in the left bottom corner:
Look and stay breathless:
Leaf Veined Hands:
Dali's Tristan & Isolde Brooch:
Short history: Inaugurated in 1974, the Dalí Theatre-Museum rises on the remains of the former Municipal Theatre of Figueres and is considered to be the last great work of Salvador Dalí. Everything in it was conceived and designed by the artist so as to offer visitors a real experience and draw them into his unique and captivating world. At the beginning of the 1960s Ramon Guardiola, Mayor of Figueres at the time, asked Salvador Dalí to donate a work for the Museu de l'Empordà. Dalí's reply came quickly: he would donate to Figueres not just a single work, but an entire museum. From the 'seventies onwards, Dalí devoted his entire attention to the museum project, taking part in it and designing its tiniest details, until it became real with the official inauguration of the Dalí Theatre-Museum on 28 September 1974. Dali’s relationship with his place of birth is powerful, deep and intense. He rescued and restored the burned out theatre across from the church where he was baptized, and where he held his first exhibition as a painter. The museum is his personal design based on his own aesthetics. It holds the representative range of all his works created during his lifetime. One of the most noticeable features of the museum, the transparent reticular-shape like a geodesic dome that crowns the building, was entrusted by Salvador Dalí to the Murcian architect Emilio Pérez Piñero (1935-1972). That dome has now become the main icon of the Theatre-Museum and a great landmark for the city of Figueres.
Around Dali Museum:
Church of Sant Pere: while queuing-up to the museum cashier - the church is on your right (east). Figueres' largest church is where Dalí was baptised and where his family regularly attended mass. The site dates back to the year 1020, and it still houses some remains of its Roman past. However, the current building is mainly of Gothic construction, although it has undergone multiple extensions over the years. The baptismal font is the same one in which Dalí himself was baptised:
Tip 4: Italian and Spanish Renaissance and Fine Art.
The Main Attractions:
The New Hermitage: Raphael Loggias - Room 227, The Small Italian Skylight Room - Room 237, The Large Italian Skylight Room - Room 238, The Small Spanish Skylight Room - Room 239, The Spanish Skylight Room or the Spanish Cabinet - Room 240, The Italian Cabinet - Room 230, The Majolica Room - Room 229.
The Great (Old) Hermitage: Giulio Romano, A Pair of Lovers - Room 226, The Veronese Room - Room 222, The Titian Room - Room 221, The Leonardo da Vinci Room - Room 214.
Part of the Italian Renaissance galleries (where we start, now) reside in the eastern wing of the New Hermitage with paintings, sculpture, majolica and tapestry from Italy of the 15th–16th centuries, including Conestabile Madonna and Madonna with Beardless St. Joseph by Raphael. The first floor of the New Hermitage contains three large interior spaces in the center of the museum complex with red walls and lit from above by skylights. These are adorned with 19th-century Russian lapidary works and feature Italian and Spanish canvases of the 16th-18th centuries, including Veronese, Giambattista Pittoni, Tintoretto, Velázquez and Murillo. In the enfilade of smaller rooms alongside the skylight rooms the Italian and Spanish fine art of the 15th-17th centuries, including Michelangelo's Crouching Boy and paintings by El Greco. The other rooms of Italian Renaissance Art are on the first floor of the Old Hermitage and were designed by Andrei Stakenschneider between 1851 and 1860, although the design survives only in some of them. They feature works of Italian Renaissance artists, including Giorgione, Titian, Veronese, as well as Benois Madonna and Madonna Litta attributed to Leonardo da Vinci or his school.
Italian Sculpture - 18-19th centuries - Room 242:
Giovanni Duprè, Cain, Room 242. Giovanni Duprè, 1817 – 1882, was an Italian sculptor, settled in Tuscany, who developed a reputation second only to that of his contemporary Lorenzo Bartolini (see below):
Lorenzo Bartolini, Nymph with a Scorpion, Italy, Between 1846 and 1851.
Lorenzo Bartolini, 1777 – 1850, was an Italian sculptor who mixed his neoclassicism with sentimental piety and naturalistic detail. He drew inspiration from the sculpture of the Florentine Renaissance:
From room 242 continue northward and, immediately, turn right to the long Raphael Loggias - Room 227. The Raphael Loggias in the New Hermitage Museum are copies of the famous gallery created during the 16th century in the Vatican Palace. The gallery known as the Raphael Loggias, was designed by Giacomo Quarenghi and painted by Cristopher Unterberger and his workshop in the 1780s as a replication of the loggia in the Vatican in Rome frescoed by Raphael Sanzio da Urbino (1483-1520), runs along the eastern facade. The vaults of this gallery are decorated with paintings based upon Biblical stories, and the walls are covered with human and animal forms interwoven with flowers and foliage. This decorative ornamentation was found in the ruins of Nero’s Golden House, referred to as grotesques. The Raphael Loggias in the Hermitage reveal the links of 18th century Classicism with Renaissance and Classical art. But that is also where the comparisons end.
Now, we change direction and move westward to a series of three halls lit from the outside. We start with The Small Italian Skylight Room - Room 237. The vaults of the room are richly decorated with gilded mouldings. The room is adorned by the works of 19th-century Russian stone artisans. The 16th- and 17th-century paintings to be seen here are part of the display of Italian art, one of the largest in the Hermitage. Particularly noteworthy in this room are works by Veronese and Tintoretto, and also those of artists of the Bolognese and Roman schools, including Annibale Carracci, Guercino, Guido Reni and Carlo Maratti.
Paolo Veronese, Conversion of Saul, Italy, Circa 1570 - The Small Italian Skylight Room - Room 237. An enormous canvas of chaos and confusion and no obvious subject until you focus on Saul laid low in the composition:
Jacopo Robusti or Tintoretto, Birth of St John the Baptist, Italy, 1550s - The Small Italian Skylight Room - Room 237:
Massimo Stanzione, 1585-1656, Death of Cleopatra, Italy, 1630s - 1640s - The Small Italian Skylight Room - Room 237:
The next (westward) hall is The Large Italian Skylight Room - Room 238. This large room contains a display of 17th- and 18th-century Italian painting of celebrated artists as Canaletto, Tiepolo, Giovanni Battista Crespi and Francesco Guardi. The vaults of the room are decorated with moulded ornament in which Renaissance motifs predominate:
Michele Marieschi (school of Canaletto), Rialto Bridge in Venice, Italy, 1740s - The Large Italian Skylight Room - Room 238:
Giovanni Battista Tiepolo, 1696-1770, Coriolanus at the Walls of Rome, Italy, Circa 1730 - The Large Italian Skylight Room - Room 238:
Giuseppe Maria Crespi, 1665-1747, Death of St Joseph, Italy, Circa 1712 - The Large Italian Skylight Room - Room 238:
The collection of Spanish painting occupies two halls on the first floor in the New Hermitage: the Small Spanish Skylight Hall and the Spanish Cabinet (rooms 239-240).
The Small Spanish Skylight Room - Room 239. Designed by Leo von Klenze 1851. You find here Spanish 17th- and 18th-century painting: two paintings by the great Spanish master Velazquez - Luncheon and Portrait of Olivares (1638), as well as works by other celebrated 17th-century artists - Ribera, Zurbaran and Cano, and a large collection of Murillos.
Diego Velazquez, Portrait of Gaspar de Guzman, Count-Duke Olivares, Spain, 1638 - The Small Spanish Skylight Room - Room 239:
Bartolomé Esteban Murillo, 1617-1682, Isaac Blessing Jacob, Spain, Circa 1660 - The Small Spanish Skylight Room - Room 239:
Bartolome Esteban Murillo, Jacob's Dream, Spain, Between 1660 and 1665 - The Small Spanish Skylight Room - Room 239:
Move northward from room 239 to The Spanish Skylight Room or the Spanish Cabinet - Room 240. Far smaller room than the former one. Again, Spanish artists of the 15th to early 17th century. Visitors' attention is drawn to one of the masterpieces of the picture gallery - El Greco's painting of The Apostles Peter and Paul and other works by that great Spanish painter:
El Greco, The Apostles Peter and Paul, circa 16th-century - The Spanish Skylight Room - Room 240:
El Greco , St Bernard, Spain, 1579 - The Spanish Skylight Room - Room 240:
Juan Pantoja de la Cruz, Portrait of Diego de Villamayor, Spain, 1605, FANTASTIC PICTURE - The Spanish Skylight Room - Room 240. This vibrant portrait of a 17-year-old courtier in burnished black and gold armour by a much less-well known artist is a remarkably successful study of power and character !
From the Spanish Skylight Room we continue to a long series of inner rooms in the New Hermitage: the majority include Italian Art and the minority of them - Spanish Art. We start with rooms 230 -236, continue to the Majolica Room and finalize with rooms 207-226. We shall show, here, the most notable masterpieces or famous highlights - displayed in these rooms. The sequence of the inner rooms, in this tip - is according to our course of walking. From Room 240 we move eastward, first, to room 236.
Francesco Guardi, 1712-1793, View (Veduta) of the Island of San Giorgio Maggiore in Venice, Italy, Between 1765 and 1775 - Italian Art - Room 236:
Giovanni Battista Tiepolo - Maecenas Presenting the Liberal Arts,1743 - Italian Art - Room 236:
Pietro Rotari, Portrait of Countess A.M. Vorontsova, Italy, Between 1756 and 1762 - talian Art - Room 235:
Francesco Solimena, 1657-1747, Rebecca and Eliezer at the Well, Italy, Late 1690s - Italian Art - Room 234:
Mattia Preti, Concert, Italy, Circa 1630 - Italian Art - Room 234:
Alessandro Algardi, 1598-1654, Portrait of Olimpia Pamphilj (aristocrat and art-lovers Italian, Roman family), Italy, 1640s - Italian Art - Room 233:
Gian Lorenzo Bernini, 1598-1680, Constantine the Great, Italy, Circa 1662-1663 - Italian Art - Room 232:
Bernardo Strozzi (Il Cappuccino), 1581-1644, St Secundus and Angel, Italy, Circa 1635-1640 - Italian Art - Room 232:
Andrea Sacchi, 1599-1661, Venus at Rest, Italy - Italian Art - Room 231:
Guido Reni, 1575-1642, St Joseph with Infant Christ in his Arms, Italy, Circa 1635 - Italian Art - Room 231:
The last room and most eastern in this roow of inner rooms with Italian Art - is room 230 - the Italian cabinet. Here, you find one of the most famous highlights of the Itallian Renaissance art: The Crouching Boy by Michelangelo:
Buonarroti Michelangelo, Crouching Boy, Italy, Between 1530 and 1534. Originally the sculpture was intended for the Medici chapel in the Church of San Lorenzo in Florence - The Italian Cabinet - Room 230:
Baccio Bandinelli, Faun - The Italian Cabinet - Room 230:
From room 230 we turn left, north, to The Majolica Room - Room 229. This is one of the grand halls of the New Hermitage. Constructed in the mid-19th century to the design of Leo von Klenze for the purpose of displaying the collection of cameos. The interior decoration of this room is based on motifs of Renaissance art. The hall features the collection of Italian art of the 15th and 16th centuries.
Raphael (Raffaello Santi), 1483-1520, Madonna and Child (The Conestabile Madonna) - The Majolica Room - Room 229:
Francesco Xanto Avelli, circa 1487-circa 1542, Tile, The Battle of Achilles and Hector, Italy - The Majolica Room - Room 229:
Francesco Xanto Avelli, circa 1487-circa 1542, Plate. Polyphemus, Galatea and Acis, Italy, 1535 - The Majolica Room - Room 229:
From the Majolica room - we turn right, EAST, the small room number 226. Browse it quickly.
The Workshop of Orazio Fontana, Dish. Minerva and Muses, Italy, Between 1565 and 1570 - room 226:
WE ENTER, NOW THE The Great (Old) Hermitage.
Continue north to room 224 and, later, to room 216.Here, YOU FOND ONE OF THE MOST MONUMENTAL PICTURES IN THE WHOLE HERMITAGE. STUNNING. BREATH-TAKING. Giulio Romano (1499-1546), A Pair of Lovers or The Two Lovers, (Due Amanti), c. 1525. This painting illustrates Giulio Romano's tendency for erotic subject matter. It may show the encounter between Zeus and Alcmene. Alcmene was the mother of Hercules and the wife of Amphitryon, but the night she conceived Hercules and his twin brother Iphicles, Alcmene mated with both Zeus, who had disguised himself as her husband, and Amphitryon. As a result, Zeus was Hercules's father, but Amphitryon was the father of Iphicles. The alarmed dog at the maidservant's feet points to a breach of marital fidelity. The bed's carved decoration of a satyr and nymph may allude to another of Zeus's amorous adventures, when he assumed the guise of a satyr to make love to the nymph Antiope. Giulio Romano was an Italian painter and architect and notably a prominent pupil of Raphael. His stylistic deviations from Renaissance’s Classicism help define the 16th-century style known as Mannerism. This picture stood in Catherine-the-Great bedroom for tens of years. What an inspiration !!!
Room 216 provides a wonderful view over the little Winter (Zimnaya) Canal and the Hermitage Theatre.
The next series of rooms: 217-222 are centered around Venetian art. Turn LEFT, WEST to room 223 (NOT TO room 215 !), pass it quickly and arrive to, the more interesting, The Veronese Room - Room 222.
Paolo Veronese (1528-1588), Mourning of Christ, Pietà - The Veronese Room - Room 222:
Paolo Veronese, Resurrection of Christ, Italy, 1570s - The Veronese Room - Room 222:
The next, westward room is The Titian Room - Room 221. The room is used to display works from the later part of the career of Titian (1488-1576), the great Venetian Renaissance artist. They include Danaë, The Repentant Mary Magdalene and St Sebastian. The Titian Room is one of the courtyard-side suite of rooms in the Old (Large) Hermitage that was decorated by Andrei Stakenschneider in the 1850s.
Titian - Venus in Mirror- Titian Room - Room 221:
Titian - Danae - Titian Room - Room 221:
Titian - Pope Paul III - Titian Room - Room 221:
Titian - Repentant Mary Magdalene- Titian Room - Room 221:
Titian - St. Sebastian - Titian Room - Room 221:
Room 220 is full with Italian painters. Most of the pictures are portraits.
Lorenzo Lotto - Old Man - Room 220:
Lorenzo Lotto - Family Portrait - Room 220:
Room 219 includes, among others, pictures of Titian, Sebastiano del Piombo and Paris Bordone:
Titian, Portrait of Young Lady - room 219:
Titian, The Flight into Egypt, c. 1506-07- room 219 (or room 217):
Paris Bordone, 1500-1571, Portrait of a Lady with a Boy, Italy, Mid-1530s - room 219:
Leandro Bassano, Carrying of the Cross, Italy, Early 1580s - Italian Art - Room 218:
Jacopo Bassano (another Bassano...), 1517-1592, Autumn, Italy, 1577-1578 - Italian Art - Room 218:
Giorgione (Giorgio Barbarelli da Castelfranco), Judith, Italy, 1504 - Italian Art - Room 217:
Room 217 opens to the smallish room 208 - Italian Painting of 13th-15th centuries. (room 206 - see Tip 3).
Simone Martini, circa 1284-1344, Madonna from the Annunciation Scene, Italy, Between 1340 and 1344 - Italian Art - Room 207:
Continue eastward to room 209.
Fra Angelico, 1387-1455, Madonna and Child with Four Аngels, Italy, Early 1420s - Italian Art - Room 209:
Fra Filippo Lippi, circa 1406-1469, Vision of St Augustine, Italy, Circa 1460 - Italian Art - Room 209:
Room 210 is about early Florentine art.
Andrea della Robbia, Boy with a Garland, Italy, Florence, 15th - early 16th century - room 210:
We pass (our face eastward) through rooms 211 and 212.
Perugino, Portrait of a Young Man - Room 213:
Perugino, circa 1450-1523, St Sebastian, Italy, 1493-1494 - Room 213:
We arrive to The Leonardo da Vinci Room - Room 214. The Hermitage holds only two pictures of Leonardo da Vinci - and they are, both, in this room.
The two paintings from Leonardo Da Vinci are probably the biggest attraction of the whole museum. Especially in summer there will be a huge crowd (the above pictures was taken in June !
Leonardo da Vinci. 1452-1519, The Benois Madonna (Madonna and the Child), Italy, 1478-1480 - Italian Art - Room 214:
Leonardo da Vinci. 1452-1519, The Madonna Litta, Italy, Circa 1490 - Italian Art - Room 214:
In the last, most north-eastern room no. 215 - you find pictures of Lenardo da Vinci pupils.
School of Leonardo da Vinci, 1452-1519, Nude Woman ("Donna Nuda"), Italy - room 215:
Correggio (Antonio Allegri). 1489-1534, Portrait of a Lady, Italy, 1518-1519 - Room 215:
Francesco Melzi. 1493-1570, Flora, Italy, Circa 1520 - Room 215. This portrait by one of Leonardo da Vinci followers is so appealing - that it reminds you, something of, the famous Mona Lisa:
We arrive, again, to Room 216 - where resides the MONUMENTAL picture of Giulio Romano (1499-1546): A Pair of Lovers or The Two Lovers (Due Amanti). In our eyes - one of the most sensational and impressive masterpieces in the Hermitage.
Tip 2: The Small Hermitage: French Art , Art of the Western European Middle Ages, Dutch Art and the Pavilion Hallt:
Main Attractions: Poussin Room - room 279, Lorrain Room - room 280, Room 284 (Antoine Watteau), Room 285 (François Boucher) (Etienne Maurice Falconet), Bernard Palissy - French Porcelains - Room 273, Rooms 255-262, The Pavilion Hall - Room 204.
French Art - rooms 263-281:
Now, we browse the most southern rooms in the central section of the 1st floor - numbered 263-281. Coming from the Great Church (room 271) you might start at room 270 (anti-clockwise) or room 272 (clockwise). In the 18th century increased the popularity of French art among art collectors. This trend was reflected also in the putchases of Catherine the Great. She was responsible for bringing to St. Petersburg of most of the French famous art treasures - found in these rooms. With twelve works by Nicolas Poussin and the same number by Claude Gellee (Lorrain), paintings by the Le Nain brothers, Antoine Watteau, Francois Boucher, Jean-Honore Fragonard, Hubert Robert, Jean-Baptiste Greuze, Jean-Baptiste Chardin, the exhibition of French paintings from the 16th to 18th century is one of the highlights of the Hermitage. The most known French painters represented in the Hermitage collection are: Claude Gellée, known as Lorrain (1600-1682), one of the foremost French Classicists of the 17th century (room 280) and the great French Classical artist of the 17th century Nicolas Poussin (1594-1665) - room 279.
Evening Landscape - Claude Lorrain (room 280). Claude Lorrain also known as Claude Gellée. C. 1600 – 23 November 1682 was a French painter who spent most of his life in Italy, and is admired for his achievements in landscape painting.
Landscape of River Tiber - Claude Lorrain (room 280):
Italian Landscape - Claude Lorrain (room 280):
Tancred and Erminia - Nicolas Poussin (room 279). Nicolas Poussin - June 1594 – 19 November 1665, was a leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by favor of line over color. He worked in Rome for a circle of leading collectors there and elsewhere, except for a short period when Cardinal Richelieu ordered him back to France to serve as First Painter to the King. Most of his works are history paintings of religious or mythological subjects that very often have a large landscape element:
Rest on the Flight into Egypt - Nicolas Poussin (room 279):
An Embarrasing Proposal (1715) - Antoine Watteau (1684-1721) - room 284. Jean-Antoine Watteau, 1684 – 1721, better known as Antoine Watteau, was a French painter whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. Watteau best known subjects were drawn from the world of Italian comedy and ballet:
The Capricious Girl - Antoine Watteau (1684-1721) - room 284:
Coypel, Charles-Antoine - Fury of Achilles - room 284. Charles-Antoine Coypel ,1694 – 1752, was a French painter, art commentator, and playwright. He lived in Paris and was the son of the artist Antoine Coypel and inherited his father’s design and painting duties as First Painter to the King at the French court when his father died in 1722. He became premier Painter to the King and director of the Académie Royale in 1747. He received a number of commissions for paintings for the Palais de Versailles, and worked for Madame de Pompadour, the king’s mistress. Coypel was an excellent tapestry designer. He designed tapestries for the Gobelins manufactory. His most successful tapestries were created from a series illustrating Don Quixote. These illustrations were painted as cartoons for tapestries, and were engraved and published in a deluxe folio in Paris in 1724. Coypel created twenty-eight small paintings for these tapestries over a number of years. Over two hundred pieces of the Don Quixote series were woven between 1714 and 1794. He received a commission to design a series of theatrical scenes for tapestries for the queen of Poland in 1747.Coypel also wrote prose, several comedies, two tragedies, and some poetry:
Apollo and Daphne - Jean-Francois de Troy - Room 284. Jean François de Troy, 1679 - 1752, Rome, was a French Rococo painter and tapestry designer. He was one of a family of painters, being the son of the portrait painter François de Troy (1645–1730), under whom he first studied, and at whose expense he first went to Italy from 1699 to 1706, staying in Rome, but also visiting many north Italian cities:
Pastoral Scene - François Boucher - room 285:
François Boucher - Landscape Near Beauvais - room 285:
Cupid - Etienne Maurice Falconet - room 285:
Bernard Palissy - French Porcelains - Room 273:
Room 273 - French Icons:
Lamentation - Jacques Bellange - room 273:
Portrait of a Young Man - Pierre Dumonstier, 1570-75 - room 273:
Allegorical Portrait of Anna of Austria - Simon Vouet (1590 - 1649) - room 275 or 276:
Hercules Among the Olympians - Simon Vouet (1590 - 1649) - room 275 or 276:
Presentation of the Virgin in the Temple - Eustache Le Sueur - room 275 or 276:
Jacob Burying Laban's Images - Sebastien Bourdon - room 276:
Room 297 - see Tip 1.
Art of the Western European Middle Ages - Rooms 255 -262: These rooms reside in the central part of Floor 1. We are in the Small Hermitage. We move from south to north.
Group Portrait of the Shooting Company of Amsterdam, 1532 - Dirk Jacobsz (1496–1567, was a Dutch Renaissance painter) - Room 262:
Brueghel, Pieter the Younger - Winter Landscape with a River, The Netherlands, 1615-1620 - room 262:
Brueghel, Pieter the Younger - Fair with a Theatrical Presentation,
The Netherlands, First Half of 17th century - room 262:
The Lamentation - Goes, Hugo van der, The Netherlands, Early 16th century - room 261:
From room 261 turn left to the small room no. 260:
We found in room 260 - a quartet of singers:
Return to room 261 and continue north to the LONG hall or room 259:
Figurine of the Sitting Madonna with Child, France, Early of the 14th:
Plaques with Scenes from the Novel of Tristan, France, First half of 14th century:
Cross the smallish room 203 and enter The Pavilion Hall - Room 204. Pavilion Hall, designed by Andrei Stackenschneider in 1858. Andrei Stakenschneider is the most significant Russian architect of the Eclecticism style. In the design of this interior he intermingled architectural elements of Classical Antiquity, Renaissance and the Orient. The Pavilion Hall occupies the first floor of the Northern Pavilion in the Small Hermitage. The hall is adorned with an arcade of columns supporting a graceful gallery. The combination of light marble with gilt stucco ornaments and the brightly shining twenty-eight crystal chandeliers make it particularly impressive. It features the 18th-century golden Peacock Clock by James Cox and a collection of mosaics. The floor of the hall is adorned with a 19th-century imitation of an ancient Roman mosaic:
The Golden Peacock - Pavilion Hall - room 204:
The Neva river from the Pavilion Hall:
From the Pavilion Hall - it is easy to have a glance at the Small Hermitage Garden:
From the Pavilion Hall we move southward to a further series of 3-4 rooms of Western European Middle Ages and Dutch Art: rooms 255 - 258. Later, we move eastward to the New Hermitage and a large group of rooms of Flemish, Dutch and German Art (rooms 206-248).
European Middle Ages - Room 255: - Cranach the Elder - Portrait of a Woman:
European Middle Ages - Room 255: - Cranach the Elder - Venus and Cupid:
Dutch Art - Room 256: Frans hals - Portrait of a Young Man Holding a Glove, Holland, Circa 1650. Frans Hals the Elder c. 1582 – 1666, was a Dutch Golden Age portrait painter who lived and worked in Haarlem. He is notable for his loose painterly brushwork, and he helped introduce this lively style of painting into Dutch art. Hals played an important role in the evolution of 17th-century group portraiture:
Dutch Art - Room 256: Dirck Hals - Home Concert, The Netherlands, 1623. Dirck Hals, 1591 – 1656, born at Haarlem, was a Dutch painter of festivals and ballroom scenes. He was influenced by his elder brother Frans Hals:
Dutch Art - Room 257: Adriaen van der Werff - Sarah Bringing Hagar to Abraham, Holland, 1696. Adriaen van der Werff, 1659 – 1722, was an Dutch painter of portraits and mythological scenes:
Dutch Art - Room 257: Jan Steen, Idlers, Holland, Circa 1660. Jan Havickszoon Steen, 1626 – 1679, was a Dutch painter of the 17th century (also known as the Dutch Golden Age. His works are known for their psychological insight, sense of humour and abundance of colour:
You may skip room 258. We recommend returning to room 255 or room 205 or even back to the Pavilion Hall - and from there move eastward to the New Hermitage and a large group of rooms of Flemish, Dutch and German Art (rooms 206-248). The first room, there, will be room 206 or the Council Staircase. Skip to Tip 3.