The French Riviera was a sanctuary and source of inspiration for many artists in the first half of the 20th century. Seduced by its light, and also its good climate and the magic of the Mediterranean, they succumbed to its charm. One of these was Henri Matisse, who arrived in Nice in 1917 seeking a cure for his bronchitis and remained there until his death in 1954. It was in Nice that he found the peace of mind and the light that would accompany him throughout his mature art period. He also used to visit other artists in the area who, like him, had moved their studio to this spot on the calm waters of the Mediterranean, whether in Nice itself or in neighbouring villages. Here, then, is a tour which retraces the footsteps of that fantastic artist of the Côte d’Azur.

Nice

Roman in origin and the region’s nerve centre, you would be hard pressed not to be enthralled by the charms of Nice. It is a pleasure in itself to just stroll along the streets in the old quarter in search of the Cours Saleya, a bustling square and site of both the popular flower market and the fruit and vegetable market. If you also take the chance to taste some of the local culinary specialities in one of the magnificent eateries in the area, a rewarding experience is guaranteed. Above all, make sure you try socca, a grilled chickpea-flour pasty, the perfect snack for a long sightseeing day.

The Promenade des Anglais is another of Nice’s popular landmarks. This elegant seaside promenade with its stylish period hotels and iconic palm trees inevitably transports you to a bygone era, a time when the first tourists started to frequent the city.

Matisse eventually took up permanent residence and set up his studio in the classy, aristocratic Cimiez Quarter after trying out other areas in the city. This quarter is home to the Matisse Museum, housed in a 17th-century villa, where visitors can delight in the artworks donated to the city by both Matisse himself and his heirs. Nearby is the Hotel Regina, where he actually lived during much of his stay in Nice. And, not far from there is the spot where he was buried, the cemetery of the Monastery Of Our Lady Of Cimiez.

Saint-Paul-de-Vence

This medieval village overlooking the Mediterranean is possibly one of the most picturesque in France, with the permission of Mont Saint Michel and Vézelay. Perched on a hilltop and ringed by a fortified wall, it preserves all the charm of the period when it was built. When strolling through its streets lined with old stone houses, it becomes clear how Matisse must have been captivated by its magic. But, he was not alone in falling prey to its allure, as so too did Picasso, Chagall, Renoir, Miró, Yves Montand and Cocteau. The passage of so many artists through the village led to a good number of art galleries springing up in its narrow streets. The finishing touch to any visit here is provided by the Maeght Foundation which houses one of the finest collections of 20th-century art, that of Marguerite and Aimé Maeght. The building, which was designed by the Spanish architect, Josep Lluís Sert, houses works by Pierre Bonnard, Henri Matisse, Georges Braque, Fernand Léger, Alberto Giacometti, Marc Chagall, Alexander Calder, Joan Miró, Wassily Kandinsky and Raoul Ubac, among others.

Vence

Matisse arrived in Vence in 1941, during one of the worst moments of World War II. Apart from sanctuary, he was seeking a place to heal, as he was ill. It was here that he found the right spot to recuperate, as well as inspiration. His stay in this small town yielded the creation of the Chapel of the Rosary, also known as the “Matisse Chapel”, where the artist once stated: “Despite all its imperfections, I regard this as my masterpiece”. Here, Matisse took charge of the whole project as he designed the building, the stained glass windows, the wall decoration, the furniture and even the liturgical accoutrements.

Cagnes-sur-Mer

Auguste Renoir spent the last few years of his life in this coastal town. He settled in the villa known as Les Collettes, now converted into the Renoir Museum, where Matisse visited him on several occasions and learned from the Impressionist master how to perceive the colours of the “Midi”. Among the standout features of this small town on the French Riviera is Haut-de-Cagnes, a quarter listed as a historic interest site, where the most prominent landmark is Grimaldi Castle.

As Matisse said: “Most people come here for the light. Being from the north, what attracted me were the radiant colours and the luminosity of daylight”. Now it’s your turn to discover it, so get your Vueling and let yourself be inspired.

Text by Los Viajes de ISABELYLUIS

Images by Irene Grassi, r.g-s, m-louis .®, piet theisohn, Jumilla

De Stijl,one of the major avant-garde movements of the 20th century, is celebrating its anniversary. No less than a hundred years have passed since Theo van Doesburg published the first issue of the magazine, De Stijl,after which this unique movement would eventually be named. Conceptualising art as all-embracing, dominated by geometry and the use of primary colours, the artists Piet Mondrian, Bart van der Leck, Gerrit Rietveld, Jacobus Johannes Pieter Oud, Vilmos Huszár, Cornelis van Eesteren, Antony Kok and Theo van Doesburg were instrumental in changing the course of the visual arts. As the cradle of this art style, Holland is gearing up to celebrate this event on a grand scale, with exhibitions, special itineraries, reviews and tributes to contemporary artists.

First Stop – The Hague
A first, essential stopover for this celebration is The Hague, just over a half-an-hour’s train ride from Amsterdam. There you can visit the Gemeentemuseum, which has the world’s largest collection of Mondrian’s works, boasting over 300 exhibits. To mark the centenary of De Stijl, they have organised Mondrian to Dutch Design. 100 years of De Stijl, an annual cycle comprising three exhibitions revolving around the figure of Mondrian and the De Stijl movement.

While you’re in The Hague, be sure to visit the City Hall, designed by architect Richard Meier, the walls of which are used as a huge canvas for displaying Mondrian’s popular grids, filled in with the most emblematic colours of the De Stijl – yellow, blue and red.

Celebrating De Stijl Architecture in Utrecht
Utrecht houses one of the leading icons of the De Stijl movement, the Rietveld Schröder House. Regarded as Rietveld’s crowning achievement and built in 1924, its design adheres to the movement’s tenets, dominated by planes and lines to form flexible spaces. This was highly innovative at the time and the house also features a generous dose of primary colours in its decoration. It is currently a UNESCO World Heritage Site and is part of Utrecht’s Centraal Museum collection. Incidentally, the latter is hosting an exhibition, lasting until 11 June, entitled Rietveld’s Masterpiece; Long live De Stijl! dedicated to Rietveld’s career, as well as his links to other artists in the movement such as Bart van der Leck, Theo van Doesburg and Willem van Leusden.

Leiden and Drachten – Spotlighting Theo van Doesburg, the Founder of De Stijl
Another two stopovers on our centenary route of the De Stijl are Leiden and Drachten. Leiden was where Theo van Doesburg published his first issue of the magazine, De Stijl, leading to the birth of the new movement. Here, from 2 June to 27 September, you can visit the exhibition, Open-Air Museum de Lakenhal, featuring a prototype of “Maison d’Artiste”, the work of Theo van Doesburg and Cor van Eesteren.

In Drachten, one of the houses in the so-called Parrot District, designed by Theo van Doesburg, will be open to the public during the second half of 2017.

Mondrian’s Legacy
In addition to visiting The Hague, where, as mentioned earlier, one of the largest collections of the artist is on display, those wishing to find out more about one of the leading figures of the De Stijl movement should also see Mondrian’s house of birth, located in Amersfoort, as well as head for Winterswijk, where Mondrian lived from the age of 8 to 20, which also features what is known as the Villa Mondrian.

Book your Vueling to Amsterdam and join in the celebration of the centenary of the De Stijl.

Text by Los Viajes de ISABELYLUIS

In addition to its canals, the dockside in the old harbour, the Gravensteenor Castle of the Counts of Flanders, the City Hall and the Korenmarkt, one of Ghent’s major attractions is an altarpiece. Granted, it might not sound overly exciting or novel at first glance. If we add that it is one of the masterpieces of Flemish painting and the cornerstone in the transition from medieval to Renaissance art, it might start arousing some interest. And, that it is one of the artworks which, in the course of history, has been stolen most often, as well as having travelled through many countries, you are bound to see it in a different light.

The masterpiece in question is the Polyptych of The Adoration of the Mystic Lamb,also known as the Ghent Altarpiece, the work of the brothers Hubert and Jan van Eyck. It is located on the high altar in St Bavo Cathedral and was executed in 1426, commissioned by Joost Vijdt and his wife, Lysbette Borluut. The altarpiece consists of 12 panels painted in oil on both sides and measuring 3.5 m high by 4.6 m wide. It remains closed most of the year, and is only opened on festive holidays, revealing all its splendour. The paintings on the outer panels are more sober, with a marked sculptural air, the central theme being the Annunciation. A noteworthy highlight of the inner panels is their colouring, with a Deësis of Christ the King, the Virgin Mary and John the Baptist as the prominent upper feature, and the Adoration of the Lamb in the lower centre. Without going into the subject, the symbology and details behind the scenes of the altarpiece would fill a whole book.

The startling vicissitudes affecting this artwork date from 1566, when the retable had to be dismantled and concealed in the City Hall to preserve it from an assault by Calvinist iconoclasts.

In 1781, the two upper panels, depicting Adam and Eve, were removed from the ensemble, as Joseph II of Bohemia and Hungary found the nakedness of the figures disagreeable. In the 19th century, the panels were replaced with clothed versions of Adam and Eve, executed by the Belgian painter, Victor Lagye.

In 1800, the Napoleonic troops regarded it as the spoils of war – the wings were sectioned off and sold, while the central panels ended up in the Louvre. Once Napoleon had been defeated, the panels were restored to their rightful place in Ghent. But not for long.

In 1816, the vicar of St Bavo sold several of the side panels, which passed through a number of hands before coming into the possession of Wilhelm II, King of Prussia. They ended up being displayed at the Kaiser Friedrich Museum in Berlin. To provide a better view of them, the panels were sectioned lengthwise to reveal the obverse and reverse sides in the same plane. At the end of the First World War, among the multitude of artworks Germany was forced to return were these panels, which were again replaced in their original site.

In 1934, the panel of The Just Judges was stolen and a ransom of one million Belgian francs was demanded for its safe return, but the deal was rejected. It is still missing to this day and has been replaced by a copy, the work of the Brussels Fine Arts Museum curator, Jef Van der Veken.

Needless to say, the altarpiece was not left unscathed by the Second World War either, forming part of the large-scale plunder perpetrated by the Nazis. After a complex hunt for stolen art undertaken by the so-called “Monuments Men”, it was located in the Altaussee salt mine in the Austrian Alps.

The altarpiece is currently being restored, so not all the panels are on display in St Bavo Cathedral. To make up for this, those interested can follow the restoration project live in the Ghent Fine Arts Museum (MSK).

Now that you’re up to speed with all the ins and outs behind this marvellous artwork, we recommend you get hold of a Vueling and see it for yourself. And, don’t leave it too long, in case it gets stolen again!

Text by ISABELYLUIS Comunicación

The Bauhaus School – from the German bau (construction) and haus (house) – was probably one of the most important and revolutionary driving forces in the 20th century in the fields of art, design and architecture. In the short space of merely 20 years, a team of inquiring artists and architects, influenced by the social movements of the time, managed to overturn the prevailing way of conceiving art and architecture and their relationship to society. Their achievements include laying the foundations for industrial design, graphic design and modern architecture. What’s more, they even put forward and saw implemented an alternative educational model which was ahead of its time. A host of figures succumbed to such innovation and each contributed their grain of sand, including Walter Gropius, Hannes Meyer, Ludwig Mies van der Rohe, Wassily Kandinsky, Paul Klee, László Moholy-Nagy, Marcel Breuer and Lyonel Feininger.

A good way of taking stock of that brilliant past, which we are now so indebted to, is by visiting two cities where the movement was based –Weimar and Dessau.

Weimar – The First Steps

Weimar was the first of three centres of Bauhaus activity. No wonder, then, that this city had already been the hub of the German Enlightenment and a meeting place for intellectuals. The Bauhaus was founded in 1919 by Walter Gropius, who took his first tentative steps in the Haus Hohe Pappeln, a school of arts and crafts designed by a pioneer of modernity, Henry van de Velde.

The only building in the Bauhaus style still standing in Weimar is the Haus am Horn, built in 1923 and designed by Georg Muche, a painter and lecturer at the Bauhaus. The building was designated World Heritage of the 20th Century in 1996.

Located in the Theaterplatz is the Weimar Bauhaus Museum, a moderately sized venue devoted to the Bauhaus. A much more spacious centre is due to be inaugurated in 2018.

Dessau – The Boom

In 1925, Walter Gropius was forced to close the school in Weimar for political reasons, but he received the necessary support to move it to Dessau. Fortunately, in the case of Dessau, there are lots of buildings that have survived to the present, including the school itself, regarded as a masterpiece of European rationalism. When preparing the groundwork for your tour of the various Bauhaus landmarks in the city, we recommend you browse this website to check the times and to book your tickets, as not all the areas are admission free.

Bauhaus Building (Bauhausgebäude).The work of Walter Gropius, this is the most emblematic of the Bauhaus constructions. Built in 1925 and 1926, it is made up of various interconnecting volumes, each with a different function. Building work involved the use of industrial techniques and a striking feature of the design is the glazed frontage.

Masters’ Houses (Meisterhäuser).Located near the school, this ensemble of four residential buildings was home to the masters: Gropius, Moholy-Nagy/Feninger, Muche/Schelemer and Kandinsky/Klee. Their interiors are open to the public, except for that of Gropius, which was destroyed during the war.

Törten Estate. The work of Walter Gropius, this ensemble of 300 houses was built in 1920 in the south of Dessau. Commissioned by the City Council, it is a prototype of a housing estate and was intended to act as a model for social housing.

Kornhaus. More playful in design, this restaurant and pub overlooking the river Elbe was designed by Carl Fieger, a draughtsman in Gropius’ practice.

Berlin was the last of the Bauhaus centres, where it was located from 1932 to 1934. However, the rise of National Socialism would put an end to this brilliant core of creativity and innovation, driving it to other countries, but the mark it left has survived until the present.

From Leipzig it is an easy train ride to both Weimar and Dessau, where you can steep yourself in the Bauhaus. Check out your flight here!

Text by Los Viajes de ISABELYLUIS