Do you like art and wine? If so, you might be interested to know that there is a way to combine these two passions: collecting wine labels designed by famous artists. Yes, you read that right. Many artists have lent their talent and creativity to create unique and original labels that adorn the bottles of some of the best wines in the world. In this article we tell you everything you need to know about this fascinating world of art and wine.

The history of artistic wine labels dates back to 1924, when Baron Philippe de Rothschild, owner of the prestigious Château Mouton Rothschild, one of the top five Bordeaux crus, commissioned the cubist painter Georges Braque to design the label for that year's vintage. The baron wanted to celebrate the end of alcohol prohibition in the United States, a very important market for his wines. The result was an elegant and modern label, with a geometric motif evoking the shape of a bottle and a glass.

Since then, Baron Philippe de Rothschild continued the tradition of commissioning a different artist each year to create the label for his most emblematic wine, Mouton Rothschild. Some of the most prominent names that have participated in this initiative are Picasso, Miró, Dalí, Chagall, Kandinsky, Warhol, Haring, Bacon, Freud and Kapoor. Each of them has captured their style and personality in these small works of art that have become objects of desire for collectors.

![](https://onlinelicor.es/wp-content/uploads/Pablo-Picasso-Record-Guinness-profesional_TINIMA20111028_1033_19.jpg)

*Pablo Picasso was one of the illustrious artists whose work has been used on wine labels.*

But Château Mouton Rothschild is not alone in using art to dress its bottles. Other wine producers have also collaborated with renowned artists to create original and attractive labels. For example, Château Lafite Rothschild, another early Bordeaux crus, has collaborated with artists such as Henry Moore, Balthus and Gu Gan. Château Pichon Longueville Comtesse de Lalande has commissioned its labels from artists such as Arman, Corneille or Zao Wou-Ki. And Château Beychevelle has relied on artists such as Antoni Tàpies, Valerio Adami or Nalini Malani.

These artistic wine labels are not only a way of expressing the personality and quality of the wine they contain, but also a way of bringing art closer to the public and creating an emotional link between producer and consumer. They are also a profitable investment for collectors, as their value increases over time and they can fetch very high prices at auction.

![](https://images.ctfassets.net/iv9w9q8xwqpv/201807romitorio-crop.jpg/84a2ec6ec0383c90df068b22d88b43fd/Romitorio-Crop.jpg?fm=jpg&w=1024)

*Some of the hand labels of great artists in the history of art.*

If you are curious and want to know more about this subject, we recommend that you visit the website of the Mouton Rothschild Wine Museum (<https://www.musee-mouton.com/>), where you can see all the labels created by artists from 1924 to the present day. You can also consult the book "Mouton Rothschild: The Paintings for the Labels" (<https://www.amazon.com/Mouton-Rothschild-Paintings-Labels/dp/208030121X>), which collects the images and stories behind each of them. And if you have the opportunity, don't hesitate to try some of these exceptional wines that combine art and flavor in every sip.


The greatest artists in history who made... wine labels?

Fauvism was an avant-garde pictorial movement that emerged in France in the early twentieth century, between 1905 and 1907. Its main characteristic was the use of pure and arbitrary color, without concern for the naturalistic representation of reality. Fauvist artists sought to express their emotions and instincts through plastic language, with loose and spontaneous strokes, without perspective or modeling. The term Fauvism comes from the French word fauve, which means beast, and was coined by the critic Louis Vauxcelles when he saw the works of this group at the 1905 Salon d'Automne.

Among the main representatives of Fauvism were Henri Matisse, André Derain, Maurice de Vlaminck, Georges Braque and Raoul Dufy. Some of them were inspired by post-impressionist artists such as Paul Gauguin and Vincent van Gogh, who also used color in a subjective and expressive way. Fauvism was a brief but influential current, which paved the way for other avant-gardes such as Cubism and Expressionism.

<center>![](https\://historia-arte.com/_/eyJ0eXAiOiJKV1QiLCJhbGciOiJIUzI1NiJ9.eyJpbSI6WyJcL2FydHdvcmtcL2ltYWdlRmlsZVwvbWF0aXNzZV92ZXJkZS5qcGciLCJyZXNpemVDcm9wLDYwMCwzMDAsQ1JPUF9CQUxBTkNFIl19.vkKoKaGeGK8Ohi0whN3FY5JQjjBmSF1uVftJAaTqOW8.jpg)</center>
The Green Stripe, Henri Matisse, Musée d'Orsay

## Fauvism at the Musée d'Orsay.

The Musée d'Orsay is a French national museum dedicated to 19th and early 20th century art, located in Paris, in the former Orsay railway station. The museum houses an important collection of Impressionist and Post-Impressionist paintings, as well as sculpture, photography and decorative arts. Among its highlights are Edgar Degas' The Dancing Class, Édouard Manet's Lunch on the Grass, Paul Cézanne's The Card Players and Gustave Courbet's The Origin of the World.

The Musée d'Orsay also has some Fauvist works. Most of them can be found in room 33 on level 5 of the museum, dedicated to modern art between 1900 and 1914. Among these works are Henri Matisse's The Green Stripe (Amélie Parayre), Maurice de Vlaminck's The Girl from Rat Mort, André Derain's The Bridge over the River Marne at Créteil and Georges Braque's The Port of Collioure. These paintings show the intense and contrasting use of color, the simplification of forms and the absence of depth typical of Fauvism.

If you want to learn more about other Impressionist works, we recommend "Musée d'Orsay Art Guide", our book about the museum that houses the largest amount of Impressionist work in the world, as well as a must-have art guide to discover and learn the essentials of the great works, artists and styles of the Musée d'Orsay, available on Amazon.

Buy it here: <https://www.amazon.es/dp/8418943483/>

Sources:

*   Fauvism: what is it, characteristics, artists and works - Cool Culture <https://www.culturagenial.com/es/fauvismo/>

*   Fauvism - What was it, characteristics, background, artists and more <https://enciclopediadehistoria.com/fauvismo/>

*   Musée d'Orsay: Painting <https://www.musee-orsay.fr/es/colecciones/obras-comentadas/pintura.html>



What is Fauvism and where can you see Fauvist works?

Did Vermeer use a camera obscura to paint his masterpieces? This is the question that many art historians have asked themselves when observing the precision and realism of the Dutch master's paintings, especially those depicting domestic scenes with characters in their daily activities. In this article we will analyze two of his most famous works: The Lacemaker and The Astronomer, which are currently in the Louvre Museum in Paris.

## Analysis of 'The Lacemaker' and 'The Astronomer'.

The Lacemaker is an oil painting on canvas, mounted on wood, measuring 23.9 cm high and 20.5 cm wide. It is estimated to have been painted around 1669 - 1670, when Vermeer was at the height of his artistic maturity. The work depicts a young woman engaged in lace making, hunched over her work, with a concentrated gaze and skilled hands. The theme of the lace-maker was common in Dutch literature and painting, as a symbol of feminine domestic virtues and of the patience and care required for this work. Vermeer emphasizes the lace-maker's total concentration on her work through her forced posture and the lemon yellow of her clothing, an active and psychologically intense color. Even her hairstyle represents in part her physical and psychic state, for it is firmly pinned but at the same time flowing in her ringlets.

![](https://arsmagazine.com/wp-content/uploads/2017/06/22.-vermeer_la-dentelliere_louvre-1.jpg)

*The Lacemaker, Vermeer, Louvre Museum.

The Astronomer is another oil painting on canvas, measuring 51 cm × 45 cm. It was painted around 1668, and is thought to be part of a diptych with The Geographer, another similar work depicting the same character. Some have suggested that it is of the scientist Anton van Leeuwenhoek, a Delft-based friend of the painter. The character's profession is symbolized by the celestial globe (modeled after Jodocus Hondius) and the book on the table, entitled Institutiones Astronomicae Geographicae (or Manual of Metius), opened in chapter III, a section in which the astronomer seeks inspiration from God. Finally, the painting on the wall evokes the discovery of Moses, a representation of knowledge and science.

## Vermeer and the *camera obscura*.

These two works have in common the use of light and shadow, detail and perspective, which make the figures seem three-dimensional and real. Some experts have hypothesized that Vermeer used a camera obscura to create his paintings. This was an invention that consisted of a box with a small hole through which light entered and projected an inverted image of an exterior scene onto a wall or paper inside the box. The camera obscura allowed lighting effects and proportions to be captured more accurately than the human eye. It has been suggested that Vermeer may have used this device as an aid to drawing his sketches or to directly copy the images projected onto the canvas.

![](https://upload.wikimedia.org/wikipedia/commons/thumb/1/1d/VERMEER_-_El_astr%C3%B3nomo_%28Museo_del_Louvre%2C_1688%29.jpg/784px-VERMEER_-_El_astr%C3%B3nomo_%28Museo_del_Louvre%2C_1688%29.jpg)

*The Astronomer, Vermeer, Louvre Museum.

However, this theory is not without its problems and controversies. On the one hand, there is no documentary or material evidence that Vermeer used a camera obscura or had access to one. On the other hand, there are aspects of his paintings that do not correspond to what would be seen through a camera obscura, such as color differences or optical effects. In addition, it has been argued that Vermeer had a great mastery of painting technique and a deep knowledge of geometry and optics, which allowed him to create his works without the need to resort to any artificial instrument. Finally, it has been pointed out that the use of a camera obscura does not detract from Vermeer's artistic genius, but rather demonstrates his curiosity and innovation.

In conclusion, The Lacemaker and The Astronomer are two examples of Vermeer's mastery in depicting everyday life with striking light and perspective. The question of whether or not he used a camera obscura to paint his works remains an open and fascinating debate, inviting us to look at his paintings with more attention and admiration.

If you would like to know more about the works exhibited at the Louvre Museum and, above all, information about the greatest works of art housed at the Louvre Museum in Paris, we recommend ["The Louvre Art Guide"](https://www.amazon.es/dp/8418943424/)

[**Already available on Amazon by clicking here. **](https://www.amazon.es/dp/8418943424/)


Did Vermeer use a camera to paint his masterpieces?

Did you know that the Mona Lisa has her own mailbox in the Louvre for all the love letters she receives? That's right, Leonardo da Vinci's famous painting has captivated many admirers over the centuries, who have left her offerings of flowers, poems and, yes, love notes. Some have even gone to unusual extremes, such as the artist Luc Maspero, who allegedly committed suicide in 1852 by jumping from a hotel balcony because "For years I have struggled desperately with his smile. I would rather die." Who knew that artistic appreciation could be so obscure?

In this article we will tell you more about the fascination that the Mona Lisa has generated, the reasons why she has become a cultural icon and some of the secrets hidden in her enigmatic expression. We'll also show you some of the most curious love letters the lady of the Louvre has received and how you can send her yours if you're so inclined. Don't miss it!

![](https://images2.minutemediacdn.com/image/upload/c_crop,w_3000,h_1687,x_0,y_63/c_fill,w_720,ar_16:9,f_auto,q_auto,g_auto/images/GettyImages/mmsport/mentalfloss/01h3z3bsh8kgwzzfby58.jpg)

The mailbox is located in a room next to the one housing the portrait, and is decorated with a reproduction of the enigmatic woman's face. There, visitors can deposit their letters, which are collected by the museum staff and stored in a special archive.

What do these letters say? According to some testimonies, there is everything from intimate confessions to questions about the identity or meaning of the work. Some write him poems, others ask for advice or tell him about their problems. There are those who thank him for inspiring them or for accompanying them in difficult moments. And there are also those who propose marriage or declare their passion.

It is not known exactly when this tradition began, but it is believed to date back to the 19th century, when the Mona Lisa became a worldwide icon thanks to the reproductions and copies that were made of her. Since then, its popularity has continued to grow, and it has become one of the most viewed and photographed works of art in history.

![](https://api-www.louvre.fr/sites/default/files/2020-12/leonard-de-vinci-la-joconde-portrait-de-monna-lisa-detail.jpg)

But the Mona Lisa also hides many secrets and mysteries, which have fueled the imagination and curiosity of admirers. For example, who was the woman who posed for Leonardo? What did she want to express with her smile? What hidden symbols are in the painting? Is it a self-portrait of the painter?

These and other questions have been the subject of numerous investigations and theories, some more plausible than others. What is certain is that Leonardo da Vinci never quite finished the work, and that he continued to work on it until his death in 1519. It is believed that he painted it between 1503 and 1506, and that it depicts Lisa Gherardini, the wife of a wealthy Florentine silk merchant named Francesco del Giocondo. Hence it is also known as La Gioconda.

The technique Leonardo used to paint her was very innovative for the time, and consisted of applying very thin and transparent layers of oil on poplar, creating an effect of depth and luminosity. También usó el sfumato, un método para difuminar los contornos y crear una atmósfera nebulosa. Estos recursos le permitieron crear una obra maestra de la perspectiva y el realismo, que sigue fascinando a millones de personas.

If you are one of them too, and would like to send a letter to the Mona Lisa, you can do so by visiting the Louvre or writing to the museum's postal address:

<div style="text-align: center">

*Musée du Louvre*

*Service des publics*

*A l'attention de Mona Lisa*

*75058 Paris Cedex 01*

*France*

</div>

If you would like to find out more about the Louvre Museum and, above all, information about the greatest works of art housed in the Louvre Museum in Paris, we recommend ["The Louvre Art Guide".](https://www.amazon.es/Louvre-Art-Guide-essential-masterpieces/dp/8418943459/)

[**Already available on Amazon by clicking here. **](https://www.amazon.es/Louvre-Art-Guide-essential-masterpieces/dp/8418943459/)

![](/images/1689000208-d3aa3593.png)

The mailbox for Mona Lisa lovers at the Louvre

La Gioconda or Mona Lisa is one of the most famous and enigmatic paintings in the history of art. Its author, Leonardo da Vinci, was a Renaissance genius who excelled in many fields of knowledge and creation. His portrait of Lisa Gherardini, wife of Francesco del Giocondo, is a masterpiece of the *sfumato* technique, which consists of blurring the contours and creating a soft and mysterious atmosphere.

But did you know that there is another version of La Gioconda, very similar to the original, which is preserved in the Prado Museum in Madrid? It is a copy made by one of the students of Leonardo's workshop, probably at the same time the master was painting his work. This copy, known as La Gioconda del Prado, is the oldest and most faithful of those known, and offers a clearer and brighter view of the portrait, as it has not suffered the darkening of the varnishes as the one in the Louvre.

![](https://www.elimparcial.es/galerias-noticias/galerias/236598/sala-leonardo-prado3.jpg)

This work, which was in the museum's storerooms, came to light in 2012 and caused great excitement among the public and experts. For a time, it was exhibited next to the original at the Louvre, where the differences and similarities between the two could be appreciated. Now, the Spanish copy can be seen in a room at the Prado, without much hype or fanfare.

What is so special about this version of the world's most famous smile? Well, according to some, it is prettier and more feminine than the original. It has a rounder face, bigger and more expressive eyes, looser hair and more pronounced eyebrows. In addition, the dark background has been restored and the landscape that Leonardo had painted has been recovered. Some believe that this copy is more faithful to the real appearance of Lisa Gherardini, the woman who posed for the Renaissance master.

The identity of the author of this replica is a mystery. It is believed that it could have been one of Leonardo's students or collaborators, who worked at the same time as him or shortly after. Some point to Andrea Salai, a young painter who was Leonardo's lover and protégé. Others suggest Francesco Melzi, another advanced disciple of the Italian genius. Whoever it is, the fact is that this copy is a jewel.

![](https://img2.rtve.es/v/1310346?w=1600&preview=1328130723362.jpg)

The Prado's Gioconda was discovered in 2010, when it underwent a process of study and restoration. Until then, it was believed to be a later and inferior copy, as it had a black background that hid the landscape. However, removing the background revealed the same landscape that appears in the original, with the same corrections made by Leonardo. In addition, the underdrawing was found to be very similar to that of the masterpiece, indicating that the copyist followed the same process of elaboration and had the supervision of the master.

The Prado's Gioconda is a work of great historical and artistic value, as it allows us to better appreciate the details and colors of Leonardo's portrait. It also shows us how Leonardo's workshop worked, where students learned by imitating the master and collaborating on his projects. The copy is not intended to compete with the original, but to complement and enrich it.

If you want to know more about La Gioconda del Prado, you can visit the Prado Museum or consult its website: <https://www.museodelprado.es/coleccion/obra-de-arte/la-gioconda-o-mona-lisa-del-taller-de-leonardo-da/9c1f2f9c-8b0a-4b6d-8d3c-7e1f5c9f0b4e>

And, if you are interested in learning more about the museum and its history, we recommend El Prado Guía de Arte, an essential art guide to discover and learn the essentials of the greatest works, artists and styles in the Prado Museum, including some of the greatest artists of universal painting.

You can buy it at: <https://www.amazon.es/Prado-Art-Guide-essential-masterpieces/dp/8418943408>

![](/images/1659105482.png)

The Mona Lisa at the Prado Museum

The story of the transfer of the Prado Museum's masterpieces during the Spanish Civil War is one of the most fascinating and dramatic in Spanish culture. In the midst of the conflict, the country's artistic heritage was threatened by the bombing of the Condor Legion, which sought to destroy the symbol of Spanish identity. Faced with this danger, an unprecedented operation was organized to save the paintings of Goya, Velázquez and other great masters.

![](https://imagenes.elpais.com/resizer/rvIbW-FVHjjwbMVK3tVIrO9b7Tc=/1960x0/arc-anglerfish-eu-central-1-prod-prisa.s3.amazonaws.com/public/WTXHFDQS6VPBKO52LBKAEHJOUM.jpg)

These works, which were part of the cultural heritage of the Republic, were transferred from Madrid to Valencia, where the Prado Museum Delegation was created. From there, they continued their route to Barcelona, where the Museo Nacional de Arte de Cataluña was installed. When the Republican defeat became imminent, it was decided to evacuate the works to France, where they were given political asylum.

The trip was risky, as they had to cross the border under enemy fire. A total of 71 truckloads of masterpieces made it to France and, from there, were transported to Geneva, where they stayed at the Palais des Nations. They remained there until the end of the world war and it was possible to negotiate their return to Spain, where, fortunately, they were all returned.

The transfer of the works from the Prado was a heroic feat that involved numerous people and institutions, both national and international. It was also an act of resistance and defense of culture against barbarism. Thanks to him, some of the jewels of universal art were preserved for posterity, which we can admire today in the most important museum in Spain.

![](https://e00-elmundo.uecdn.es/assets/multimedia/imagenes/2018/06/18/15293405674780.jpg)

The director of the Prado during those years, Pablo Picasso, was the main responsible for the operation. In his pocket he kept a note with the conditions he demanded in exchange for the return of what was usurped: the end of the war, the reestablishment of the Republic and respect for the autonomy of Catalonia.

If you are interested in learning more about the museum and its history, we recommend The Prado Art Guide, an essential art guide to discover and learn the essentials of the greatest works, artists and styles in the Prado Museum, among which are some of the greatest artists of universal painting.

You can buy it at: <https://www.amazon.es/Prado-Art-Guide-essential-masterpieces/dp/8418943408>

![](/images/1659095223.png)


The day the Prado Museum ran out of paintings

Although many consider that impressionism was a radical break with tradition, the truth is that there were antecedents and precursors that paved the way for this movement. In this article, we are going to analyze two masterpieces housed in the Prado Museum that are considered to be the first impressionist paintings in history.

## What is Impressionism?

Impressionism was an artistic movement that emerged in France in the late 19th century and was characterized by the attempt to capture the optical impression of light and color on objects, without concern for their identity or detail. Impressionist painters rejected academic principles, grand historical, mythological and religious subjects, and the study of drawing. Instead, they devoted themselves to painting outdoors, everyday scenes of urban and rural life, and natural landscapes, using loose, rapid and spontaneous brushstrokes, which formed patches of color that were best perceived from a distance.

Among the main representatives of impressionism were Claude Monet, Pierre-Auguste Renoir, Edgar Degas, Berthe Morisot, Alfred Sisley, Camille Pissarro and Paul Cézanne. Some of them were influenced by English landscape painters such as Joseph Mallord William Turner and John Constable, who had already explored the effects of light and color on the landscape. They were also inspired by the French painter Édouard Manet, who broke with academic conventions and shocked the public with his works such as Lunch on the Grass or Olympia.

![](https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/1280px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg)

*Manet's Luncheon on the Grass.*

Among the most outstanding technical characteristics of Impressionism, the following can be mentioned:

*   Use of pure and complementary colors: Impressionists did not mix colors on the palette, but applied them directly on the canvas in small brushstrokes. In this way they managed to create an effect of vibration and luminosity. In addition, they used complementary colors (the opposites in the chromatic circle) to create contrasts and shadows. For example, they used green to shade red, or violet to shade yellow.

*   Absence of chiaroscuro: Impressionists did not use chiaroscuro (the contrast between light and shadow) to create volume or depth. Instead, they used changes in color and tone to suggest the shape and distance of objects. Thus they avoided blacks and browns, which they considered dirty and dull colors.

*   Outdoor painting: The Impressionists preferred to paint outdoors, in direct contact with nature and natural light. To this end, they made use of the invention of oil paint tubes, which allowed them to easily transport their materials. In this way, they were able to capture the variations of light and color according to the time of day and the seasons of the year.

*   Representation of the instant: The Impressionists sought to capture the visual impression of the moment, without worrying about the fidelity or permanence of what was represented. For this reason, their works have a fleeting and unfinished appearance, reflecting the speed with which they worked. This is also why they chose everyday and ephemeral subjects, such as a sunset, a reflection in the water, a street scene or a popular dance.

*   Atmospheric perspective: The Impressionists used atmospheric perspective to create a sense of depth and remoteness. This technique consists of blurring the contours and reducing the contrast and saturation of colors as they move away from the foreground. This mimics the effect of the atmosphere on vision.

These are some of the technical characteristics of impressionism, a movement that revolutionized the history of art and paved the way for the avant-garde movements of the 20th century, but which other earlier works shared and explored.

## Impressionism in Goya and Velázquez

The first is the View of the Garden of the Villa Medici in Rome, painted by Velázquez in 1630. It is one of the few landscape works of the Sevillian genius, which he painted during his second trip to Italy. In it, Velázquez shows an everyday and apparently simple scene, but it hides a great technical and conceptual complexity. The painter uses a loose and vibrant brushstroke, which captures the effects of light and air on the trees, flowers and human figures. The result is a work full of life and movement, anticipating the impressionists' interest in capturing visual and atmospheric sensations.

<center> ![](https\://img2.rtve.es/i/?w=1600&i=1484051836943.jpg)</center>

The second is the Bordeaux Milkmaid, painted by Goya in 1827. It is one of the Aragonese master's last oil paintings, which he made during his exile in France. In it, Goya portrays a young peasant girl carrying a jug of milk in her hand. The painter uses a very free and expressive style, which moves away from academic canons and seeks to convey the emotion and personality of the model. The result is a work full of strength and modernity, which inaugurates romanticism and influences the impressionists by its treatment of light, color and form.

<center>![](https\://1.bp.blogspot.com/-1DxXeS4fiLk/T71ET1vKflI/AAAAAAAAlR4/TSP3efvhaYg/w1200-h630-p-k-no-nu/540px-Goya_MilkMaid.jpg)</center>

These two works are just two examples of how art is a dynamic and continuous process, drawing on influences from the past and paving the way for the future. That's why visiting the Prado Museum is a unique opportunity to enjoy the beauty and history of art, and to discover the connections between different periods and styles.

If you want to learn more about other Impressionist works, [we recommend "The Prado Museum Art Guide"](https://www.amazon.es/dp/8418943483/), our book about the museum that houses the largest amount of Impressionist work in the world, as well as a must-have art guide to discover and learn the essentials of the great works, artists and styles of the Musée d'Orsay, [available on Amazon.](https://www.amazon.es/Museo-Orsay-Gu%C3%ADa-arte-esenciales/dp/8418943483/)

Buy it here: <https://www.amazon.es/Prado-Art-Guide-essential-masterpieces/dp/8418943408>

![](/images/1659095223.png)


Did Impressionism actually begin in Spain?

Did you know that the Prado Museum almost burned down in 1891? No, it is not a real tragedy, but an ingenious journalistic ploy that served to awaken the interest and concern of the people of Madrid for their artistic heritage. We tell you the story of how a fake fire saved Spain's most important museum.

The Prado Museum was inaugurated in 1819 as a public art gallery that housed the royal collections of painting and sculpture. During the 19th century, the museum expanded its holdings with works from convents, churches and disentailed palaces, as well as with donations and acquisitions. However, the building did not receive adequate maintenance or the necessary reforms to adapt to the new needs. At the end of the 19th century, the museum was practically abandoned, the workers lived on the premises and some rooms were heated by bonfires. The central government did not react to such a situation until Mariano de Cavia published false news of a fire on the front page of El Liberal.

<center>![](https\://www\.elindependiente.com/wp-content/uploads/2021/08/incendio-y-robos-en-el-museo.jpg)</center>

Mariano de Cavia was a journalist and writer who collaborated with the newspaper El Liberal, directed by José Ortega Munilla, father of the philosopher José Ortega y Gasset. Cavia was passionate about art and a defender of the Prado Museum, which he visited frequently. Faced with the state of abandonment and deterioration of the museum, he decided to launch a campaign to raise public and government awareness of the need to protect and improve this jewel of our culture. To this end, he devised a fake news story that caused a great impact: on March 8, 1891, El Liberal published on its front page that the Prado Museum had suffered a fire that had razed a large part of its masterpieces.

<center>![](https\://s2.abcstatics.com/media/cultura/2018/07/13/cavia-kKGI--620x349\@abc.jpg)

*Mariano de Cavia, journalist who spread the false news about the fire* </center>

The news was so detailed and plausible that many readers believed it and went to the museum to check the extent of the disaster. There they found that it was all a lie: the museum was intact, but also neglected and forgotten. The reaction of the people of Madrid to this hypothetical destruction was so astonished that the State was forced to undertake reforms and take better care of the museum. Cavia himself was in charge of denying the news the next day, explaining that it was a joke with pedagogical and cultural purposes.

The false news of the fire at the Prado Museum was a journalistic genius that managed to mobilize society and the government in favor of art. Thanks to it, the museum received more attention, resources and visitors, and became what it is today: one of the most important and prestigious museums in the world.

If you are interested in learning more about the museum, we recommend El Prado Guía de Arte, an essential art guide to discover and learn the essentials of the greatest works, artists and styles in the Prado Museum, including some of the greatest artists of universal painting.

You can buy it at: <https://www.amazon.es/Prado-Art-Guide-essential-masterpieces/dp/8418943408>

![](/images/1659105482.png)


The fire that saved the Prado Museum

Impressionism is an artistic movement that emerged in France in the second half of the 19th century and was characterized by a new way of representing reality, based on the capture of light and color, as well as the expression of the visual sensation of the moment. The Impressionists broke with academic norms and the traditional subjects of painting, and devoted themselves to depicting modern life, urban and rural landscapes, and everyday scenes, with a loose and vibrant brushstroke. Why is all this considered the starting point for "modern" painting?

## Impressionism as the starting point of modernity

Impressionism is considered the beginning of modern painting because it marked a break with previous art and paved the way for the avant-garde movements of the 20th century. The Impressionists were the first to question the role of art and the artist in society, and to experiment with new techniques and materials. They were also the first to organize independent exhibitions, outside the official salons, and to seek the support of the public and critics.

The antecedents of impressionism are found in the English landscape painters of the 18th century, such as John Constable and William Turner, who influenced the vision of nature and the atmosphere of the French painters. Édouard Manet, who broke with the conventions of realism and romanticism and scandalized the public with his provocative works, such as Lunch on the Grass or Olympia, is also considered a precursor of impressionism. Other painters who paved the way for Impressionism were the members of the Barbizon school, such as Jean-Baptiste Camille Corot or Théodore Rousseau, who practiced plein air (painting in the open air) and who were interested in the effects of natural light on the landscape.

![](https://upload.wikimedia.org/wikipedia/commons/thumb/9/90/Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg/1280px-Edouard_Manet_-_Luncheon_on_the_Grass_-_Google_Art_Project.jpg)

*Manet's "Lunch on the Grass" is considered one of the starting points of this movement.

The main representatives of Impressionism were Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Camille Pissarro, Edgar Degas, Berthe Morisot and Paul Cézanne. These artists met in Paris and formed a group united by their rejection of official art and their search for a new aesthetic. Between 1874 and 1886 they held eight group exhibitions, where they showed their works to the public and received the appellation "impressionists" from a critic who mocked Monet's painting Impression: Rising Sun.

## Impressionism Beyond the Movement

The Impressionists shared some aesthetic principles, such as the use of pure and complementary colors, without mixing them on the palette but directly on the canvas; the gestalt brushstroke, that is, rapid and visible, suggesting rather than defining forms; form as a result of the combination of light and shadow, without resorting to drawing or chiaroscuro; and aerial perspective, based on the gradation of color according to distance. However, each of them had his own style and his own thematic preferences. For example, Monet focused on landscape and atmospheric changes; Renoir specialized in portraiture and festive scenes; Degas was interested in the world of ballet and spectacle; Morisot devoted himself to depicting female intimacy; and Cézanne explored the geometric forms of nature.

![](https://diarioacoruna.com/wp-content/uploads/2022/01/225404.jpg)

*Sorolla was one of the artists influenced by Impressionism.

Impressionism had a great diffusion and influence in other European and American countries, where several painters followed its postulates or adapted them to their own realities. Some examples are Alfred Sisley in England, Max Liebermann in Germany, James Abbott McNeill Whistler in the United States or Joaquín Sorolla in Spain. Impressionism was also the starting point for other later movements, such as Neo-Impressionism, Post-Impressionism and Fauvism, which took experimentation with color and form even further and laid the foundations for abstract art.

If you want to learn more about other Impressionist works, [we recommend "Musée d'Orsay Art Guide"](https://www.amazon.es/dp/8418943483/), our book about the museum that houses the largest amount of Impressionist work in the world, as well as a must-have art guide to discover and learn the essentials of the great works, artists and styles of the Musée d'Orsay, [soon available on Amazon.](https://www.amazon.es/Museo-Orsay-Gu%C3%ADa-arte-esenciales/dp/8418943483/)

![](/images/1658496518-ee36268b.png)



Why impressionism is considered the beginning of modern painting

![](/images/1658496518-ee36268b.png)Edouard Manet was one of the most influential painters of the 19th century. His work is characterized by its boldness, modernity and elegance. Among his many creations, there is one that stands out for its simplicity and symbolism: asparagus. However, this work also stands out for the hilarious story behind it.

In 1880, Manet was commissioned by Charles Ephrussi, a wealthy art collector and editor of the magazine La Gazette des Beaux-Arts. Ephrussi asked him to paint a bunch of asparagus, a luxury product at the time. Manet accepted the challenge and produced a masterpiece of still life. With loose, vibrant brushstrokes, he captured the freshness and texture of the asparagus, placed on a white napkin. The dark background highlights the contrast between light and shadow, creating an effect of volume and depth.

## Analysis of the painting "Bunch of Asparagus" by Manet

The painting Bunch of Asparagus by Manet is a still life painted in 1880 by French artist Édouard Manet. It is a work that depicts a traditional motif of Dutch Baroque painting, but in a modern, impressionistic style.

The artist places the bunch of asparagus in the foreground, on a bed of grass, silhouetted against a neutral background. The asparagus is tied with two willow sticks and looks fresh and juicy. The purple tips contrast with the yellow of the stems and the green of the leaves. The background is dark and uniform, which brings out the brightness and colorfulness of the asparagus.

![](https://upload.wikimedia.org/wikipedia/commons/a/a4/Edouard_Manet_Bunch_of_Asparagus.jpg)

Manet paints this work with great speed and ease, moving away from the hyper-realistic representation of the elements. His brushwork is broad and impastoed, but also precise and detailed in places. The artist manages to create a sense of volume and texture with light and color, without resorting to chiaroscuro or line drawing.

## The secret of "Manet's Bunch of Asparagus."

Ephrussi was so delighted with the painting that he paid Manet 1,000 francs, 200 more than agreed upon. Manet, grateful for the gesture, decided to send him another gift: a small painting with a single asparagus spear, accompanied by a note that read: "One asparagus spear was missing from your bunch". With this detail, Manet demonstrated his sense of humor and his generosity. He also expressed his friendship and respect for Ephrussi, who appreciated the value of his art.

![](https://upload.wikimedia.org/wikipedia/commons/thumb/a/a4/Edouard_Manet_-_Asparagus_-_Google_Art_Project.jpg/1280px-Edouard_Manet_-_Asparagus_-_Google_Art_Project.jpg)

The painting shows a single asparagus on a marble slab, in a simple but novel composition. The asparagus is off-center and from an unusual point of view, almost horizontal and parallel to the lower edge of the canvas. Most of the space is occupied by the white surface of the panel, with vertical brushstrokes suggesting the veins of the marble. In the upper right corner is the artist's signature, an "M" for Manet in black.

The asparagus has a rich color scheme, with shades of white, yellow, brown, green, blue, purple and red. With clearly recognizable individual brushstrokes and touches of color, Manet shows his impressionistic painting style. Some shadows below the two ends of the asparagus suggest a source of light on the vegetable.

Despite the simplicity of the subject, the painting has great artistic quality and deep significance. Manet succeeds in masterfully painting nature, light and color, creating an intimate and delicate atmosphere. The asparagus is a symbol of joyful and ephemeral life, as well as sensuality and eroticism. The fact that it is alone and cut off at the edge of the canvas also suggests a certain melancholy and loneliness.

The two paintings of the asparagus are preserved today in the Musée d'Orsay in Paris. They are testimonies of an exceptional artistic and human relationship, based on mutual admiration and recognition. Manet's asparagus are more than just vegetables: they are symbols of beauty, delicacy and harmony.

If you want to learn more about other Impressionist works, [we recommend "Musée d'Orsay Art Guide"](https://www.amazon.es/dp/8418943483/), our book about the museum that houses the largest amount of Impressionist work in the world, as well as a must-have art guide to discover and learn the essentials of the great works, artists and styles of the Musée d'Orsay, soon [available on Amazon.](https://www.amazon.es/Museo-Orsay-Gu%C3%ADa-arte-esenciales/dp/8418943483/)


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