Centro de Arte Reina Sofía (Queen Sofía Art Center)

Centro de Arte Reina Sofía (Queen Sofía Art Center) Review

Madrid's museum of modern art was once a hospital, but today the classical granite austerity of the space is somewhat relieved (or ruined, depending on your point of view) by the playful pair of glass elevator shafts on its facade. Three separate buildings joined by a common vault were added to the original complex in a renovation that was completed at the end of 2005. The first contains an art bookshop and a public library, the second a center for contemporary exhibitions, and the third an auditorium and restaurant/cafeteria managed by Sergi Arola, of the restaurant Gastro. The latter, although expensive, makes an excellent stop for refreshment, be it a cup of tea or coffee, a snack, or even a cocktail.

The permanent art collection was reorganized in mid-2009. It now features 1,000 works on four floors (the second and fourth floor of the Sabatini building and the ground and first floor of the Nouvel annex) and, despite concentrating on painting, puts a much higher emphasis on other art forms such as photography and cinema. The new collection breaks from the traditional habit of grouping works by major artistic movement and individual artist: instead, the current director has chosen to contextualize the works of the great modern masters—Picasso, Miró, and Salvador Dalí—and of other big local names, such as Juan Gris, Jorge Oteiza, Pablo Gargallo, Julio Gonzalez, Eduardo Chillida, and Antoni Tàpies, into broader narratives that attempt to explain better the evolution of modern art. This means, for instance, that in the first room of the collection (201), you'll find a selection of Goya's Disasters of War engravings (the proto-romantic and proto-surrealist great master serving as a precursor of the avante-garde movements of the 20th century) next to one of the first movies ever made, "Employees leaving the Lumière family," by the Lumière brothers, and that you won't find the Picassos or Dalís all displayed together in a single room, but scattered around the 38 rooms of the permanent collection.

The museum's showpiece is Picasso's Guernica, in room 206 on the second floor. The huge black-and-white canvas—now displayed in better lighting and without distracting barriers—depicts the horror of the Nazi Condor Legion's bombing of the ancient Basque town of Gernika in 1937, during the Spanish civil war. The work, something of a national shrine, was commissioned from Picasso by the Republican government for the Spanish pavilion at the 1937 World's Fair in an attempt to gather sympathy for the Republican side during the civil war—the museum rooms adjacent to Guernica's now reconstruct the artistic significance of the Spanish participation in the World's Fair, with works from other artists such as Miró, Josep María Sert, and Alexander Calder. Guernica did not reach Madrid until 1981, as Picasso had stipulated in his will that the painting return to Spain only after democracy was restored.

The fourth floor in the Sabatini building is devoted to art created after the Second World War, and the Nouvel annex displays paintings, sculptures, photos, videos, and installations from the last quarter of the 20th century.