Centre Pompidou Málaga: A Modern Art Marvel

El Cubo, as locals call it, a museum located in Málaga’s vibrant port, is anything but boring. This dazzling structure, designed by Daniel Buren, houses a captivating collection of avant-garde art.

The surprising multicolored cube on Málaga’s port is a branch of the Centre Pompidou, Paris’ modern art museum.

When I was in high school, my French class took a trip to Paris, and it was there that I first laid eyes on the Centre Pompidou. The building’s exterior, with its industrial ductwork winding up like a scarlet-bellied serpent, and a pair of cherry red lips spouting water in the fountain, captivated my youthful imagination. 

But if you thought the Centre Pompidou was just that quirky building in Paris, think again. The avant-garde behemoth has spawned a sibling in Málaga, Spain; the city famous for its hometown homeboy, Picasso, and amazing Moorish landmarks like the Alcazaba and Gibralfaro, got a bit of Parisian modern art chic.

“The project was initially conceived as a limited five-year venture.

It has proven so successful, Málaga has decided, with Paris’ agreement, to extend its lease until 2034.”

Various sculptures are put on temporary display outside of the museum.

Why Málaga?

The project was initially conceived as a limited five-year venture between Málaga’s mayor, Francisco de la Torre, and the Centre Pompidou’s president, Serge Lasvignes. The French institution agreed to lend its brand name, curatorial expertise and artworks from its Paris HQ to the chic port city of Málaga in the South of Spain. This cultural experiment provided the perfect canvas for the Centre’s first foray outside France. It has proven so successful, Málaga has decided, with Paris’ agreement, to extend its lease until 2034.

Daniel Buren came up with the whimsical design.

The Colorful Genius and Bold Design of Daniel Buren

The Centre Pompidou Malaga isn’t just a museum — it’s a statement. You can’t miss it. Its design is as bold as its Parisian parent’s. But instead of resembling a building turned inside out, the Pompidou Málaga looks like a giant Rubik’s Cube made of glass was plopped down in the city’s port. It’s the brainchild of French artist Daniel Buren, renowned for his use of bold colors and geometric patterns.

Buren takes an in situ approach, which is a fancy way of saying he integrates his pieces directly into their environments, creating site-specific art that interacts with its surroundings. And that’s certainly the case with El Cubo (the Cube), as the Málaga Pompidou is affectionately called. A transparent, multicolored structure serves as the entrance to the subterranean museum space. Its design is a sharp contrast to the traditional Spanish architecture around it, making it a standout landmark. 

Buren’s use of color and light transforms the cube into a dynamic piece of art, changing its appearance with the movement of the sun and the seasons. It’s as much a work of art as those found within. Try walking by at different times (sunrise or night, in particular) to see how light plays upon the façade.

The museum opened in 2015 for a short stint — but it has obviously done well enough to extend its agreement through 2034.

The Pompidou Málaga’s Opening Act

When it first opened in 2015, the Centre Pompidou Málaga was met with a mix of excitement…and skepticism. Art critics and the public alike were curious about how this Parisian transplant would fit into the cultural tapestry of Málaga. But The Guardian gushed, “The Centre Pompidou in Málaga represents a bold cultural experiment, bridging the artistic ethos of Paris with the vibrant spirit of southern Spain.”

Meanwhile, El País highlighted the architectural contrast: “Daniel Buren’s colorful cube stands as a beacon of modernity against Málaga’s historic skyline, symbolizing the city’s commitment to contemporary art.”

Wally and Duke can find modern art to be hit or miss — but the Centre Pompidou Málaga was filled with cool, thought-provoking works.

Art and Exhibitions at the Pompidou Málaga

But the Centre Pompidou in Málaga isn’t just a pretty cube — it’s a treasure trove of modern masterpieces that would make any modern art lover swoon.

The permanent collection is a curated selection of works from the vast repository of the Centre Pompidou in Paris. It spans the 20th and 21st centuries, showcasing iconic pieces from celebrated artists such as Francis Bacon, Frida Kahlo, Joan Miró — and, por supuesto, Pablo Picasso. 

Lipstick by František Kupka, 1908

Bal au Moulin de la Galette by Raoul Dufy, circa 1943

Children and Lanterns by Tadé Makowski, 1929

These works are arranged thematically rather than chronologically, providing visitors with a fresh perspective on modern art movements and their interconnectedness. The themes often explore major artistic movements and their cultural contexts. You might find rooms dedicated to Cubism, Surrealism or Abstract Expressionism. This approach not only highlights the evolution of styles but also the ongoing dialogue between artists across different periods and geographies.

Hollywood Sleep by Jean Cocteau, 1953

Suddenly Last Summer by Martial Raysse, 1936

During our visit, we caught the temporary exhibition Un Tiempo Propio (or Time for Yourself for those of you who don’t speak Spanish), a spirited rebuke of the relentless demands imposed by our digital calendars. Showcasing the works of 90 artists, the exhibit delved into the theme of leisure, encouraging a pause from the daily grind. It served as a refreshing reminder to reclaim our time and disconnect, if only momentarily, from the buzz of notifications and schedules — a true celebration of the art of relaxation and the simple joys of free time.

We Stopped Just Here at the Time by Ernesto Neto, 2002

One of our favorite exhibits in Un Tiempo Proprio was by Ernesto Neto, the Brazilian maestro of the bizarre: We Stopped Just Here at the Time. This artwork was a captivating display of suspended bags filled with aromatic herbs like rosemary, parsley and thyme. The installation reminded me of a forest of hanging testicles (paging Doctor Freud!), creating a whimsical and immersive environment that invited visitors to bask in the earthy fragrances and stare, mesmerized, at the organic forms swaying gently.

Ettore Sottsass’ Flying Carpet Armchair

Sottsass’ designs are somehow retro and modern at the same time, like this minimal mint green cabinet.

We also enjoyed the Ettore Sottsass: Magical Thinking exhibition, which showcased over 100 pieces of Sottsass’ groundbreaking work. These retro-futuristic items in bright colors reminded me of Fisher-Price children’s toys, highlighting the designer’s playful approach. Sottsass was a key figure in the Memphis movement of the 1980s, which revolutionized design with its bold use of color, geometric shapes and whimsical patterns. The postmodern movement rejected minimalism in favor of a more expressive, emotionally engaging style. The exhibit captured this ethos, blending fun and sophistication in a way that made each piece feel both nostalgic and cutting-edge​. 

The Basilico Teapot

Cherry Model Teapot

it wouldn’t be a modern art museum without a creepy clown.

Discovering the Unexpected at the Pompidou Málaga

Duke and I were thoroughly impressed with the Centre Pompidou Málaga, where we encountered a captivating variety of art that was both thought-provoking and immersive. We spent a delightful couple of hours there, exploring the museum’s strange and intriguing pieces, each offering a unique perspective on modern art. The experience exceeded our expectations and was a refreshing contrast to what we consider the less inspiring exhibitions that the Museum of Contemporary Art in Chicago has featured in recent years. 

The variety of exhibits at the Centre Pompidou Málaga ensures that whether you’re a seasoned art critic or a curious traveler, there’s something that will capture your imagination and perhaps even challenge your understanding of what art can be. So, the next time you find yourself in Málaga, make sure to descend into El Cubo — you just might discover your new favorite artist or a whole new way of looking at the world. –Wally

There are lots of different areas to explore at the Centre Pompidou Málaga, but they can all be done in a couple of hours.

The lowdown

The Centre Pompidou in Malaga is located in the city’s vibrant port area, making it easily accessible. 

Hours of operation

Monday, Wednesday, Thursday, Friday: 9:30 a.m. to 8 p.m.

Saturday and Sunday: 9:30 a.m. to 8:30 p.m.

Tuesday: Closed (except on public holidays)

Holidays: Open with extended hours; always check the official website for up-to-date holiday hours.

Admission costs

General admission: €9

Reduced admission: €5.50 (available for seniors over 65, students under 26 and large families)

Free admission: For children under 18, unemployed individuals and visitors with disabilities (with one companion)

Special free hours: On Sundays from 4 p.m. to closing, and all day on certain designated dates (such as International Museum Day)

Exit through the gift shop.

Tips for visitors

Advance tickets: It’s a good idea to purchase tickets online in advance to avoid long lines, especially on weekends and holidays.

Guided tours: Consider booking a guided tour to get the most out of your visit. Tours are available in multiple languages and offer deeper insights into the exhibitions.

Accessibility: The Centre Pompidou is fully accessible to visitors with disabilities. Elevators and ramps are available, and wheelchairs can be borrowed at the information desk.

Photography: Photography without flash is allowed in most areas.

Coat/bag check: Leave your bags and coats to make it easier to enjoy the exhibits unburdened.

Gift shop: Exit through the gift shop, where you can pick up some cool souvenirs or gifts.

Centre Pompidou Málaga

Pasaje Doctor Carrillo Casaux
Muelle Uno
Puerto de Málaga
29001 Málaga
Spain

 

The Most Famous Sports Memorabilia — and the Stories Behind Them

From a bitten-off ear to Air Jordans, these sports artifacts have become the stuff of legends, marking record-breaking achievements, infamous incidents and pivotal games by Michael Jordan, Pelé, Babe Ruth and more.

Pelé, Michael Jordan and Babe Ruth are all connected with some of the world’s most famous (and sometimes strange) sports memorabilia.

Sports memorabilia offer a unique glimpse into the history of athletics, capturing moments of triumph, controversy and sheer oddity. From iconic game-worn gear to objects shrouded in superstition, these items tell the stories of the athletes and events that have left an indelible mark on sports history. 

Evander Holyfield’s Ear, Bitten Off by Mike Tyson

In one of the most shocking moments in boxing history, Mike Tyson went full-on Hannibal Lecter and bit off a piece of Evander Holyfield’s ear during their 1997 bout. After the chomp heard ’round the ring, the piece of ear was retrieved from the canvas and sent to the hospital with Holyfield — but doctors were unable to reattach it. This body part has become an infamous piece of sports memorabilia, symbolizing one of the sport’s most controversial incidents. Tyson was disqualified from the fight, and the resulting shock shook the boxing community to its core.

Barry Bonds’ Controversial Asterisk Ball 

When Barry Bonds hit his 756th home run, surpassing Hank Aaron’s long-standing record, controversy wasn’t far behind. The ball, marked with an asterisk, represents the widespread debate over Bonds’ alleged use of performance-enhancing drugs. Still, the famous ball was purchased for $752,467 and later donated to the National Baseball Hall of Fame in Cooperstown, New York. The asterisk on the ball serves as a reminder of the era’s contentious legacy and the ongoing debate about Bonds’ place in baseball history.

Diego Maradona’s “Hand of God” Ball and Jersey 

Diego Maradona’s “Hand of God” goal during the 1986 World Cup quarterfinals against England is one of soccer’s most legendary (and infamous) moments. Using his hand to punch the ball into the net, Maradona’s cheeky maneuver went unnoticed by the referees, leading to a goal that left England fuming and Argentina cheering. The ball and the jersey worn by Maradona during that match have become iconic artifacts. The jersey sold for $9.3 million at auction in 2022, while the ball fetched nearly $2.4 million the same year.

Paul “Bear” Bryant’s Houndstooth Hat 

Paul “Bear” Bryant, one of the most successful college football coaches, is often remembered for his signature houndstooth hat. This hat has come to symbolize Bryant’s legacy at the University of Alabama, where he won six national championships. The hat remains a cherished piece of memorabilia, representing Bryant’s enduring influence on college football. Where to see it? It’s on display at the Paul W. Bryant Museum at Bama in Tuscaloosa, Alabama.

Kirk Gibson’s Pine Tar Bat 

The L.A. Dodgers’ Kirk Gibson was called to pinch-hit in the bottom of the ninth with two outs during the 1988 World Series against the Oakland Athletics. Gibson, hobbling on injured legs — a strained left hamstring and a swollen right knee — hit a dramatic game-winning homer using a bat coated with pine tar for a better grip. The bat sold at an auction for $575,912 and is now a treasured piece of memorabilia symbolizing Gibson’s grit and determination in one of baseball’s most memorable moments​.

The “Curse of the Bambino” Piano 

Legend has it that in 1919, the Boston Red Sox made a fateful decision that would haunt them for nearly a century. They sold Babe Ruth, one of baseball’s greatest players, to the New York Yankees. This transaction not only shifted the balance of power in baseball but also gave rise to the infamous “Curse of the Bambino.” 

The curse began to weave itself into the very fabric of the Red Sox’s identity, as the team went without a World Series title for 86 long years. Superstition and folklore became intertwined with this narrative, with one of the strangest tales involving a piano. It’s rumored that Babe Ruth, in a fit of frustration, threw a piano into a pond on his Sudbury, Massachusetts farm. Despite various searches and efforts to locate it, the piano has never been found — but it has become a symbol that marks the beginning of the Red Sox’s misfortunes.

As fans look back on these monumental moments, many find that Massachusetts sports betting offers a new way to experience the games. It allows them to predict and partake in potential new chapters of success, much like spectators of the past who witnessed the curse’s end, when the Red Sox won the 2004 World Series.

Brazil’s Cursed Jersey of the 1950 World Cup

In one of the greatest upsets in World Cup history, Uruguay defeated Brazil in the 1950 final, an event forever etched in memory as the Maracanazo. Brazil, the overwhelming favorite, was left stunned by Uruguay’s shocking victory. The jersey worn by team Brazilian captain Augusto da Costa during this match is believed to be cursed, embodying the sorrow and anguish of an entire nation, a relic of a day when dreams were shattered at the Maracanã Stadium. The jersey can be found at the Museu do Futebol (Soccer/Football Museum) in São Paulo.

Michael Jordan’s Flu Game Shoes 

During Game 5 of the 1997 NBA Finals, Michael Jordan played through severe flu-like symptoms to lead the Chicago Bulls to victory. The sneakers Jordan wore during this “Flu Game” (black and red size 13 Nike Air Jordan XIIs) are one of the most iconic pieces of sports memorabilia, sold at auction for $104,765. These shoes represent Jordan’s unparalleled willpower and legendary status in basketball history.

Pele’s 1,000th Goal Ball 

On the evening of November 19, 1969, the legendary Pelé, one of soccer’s greatest players, stood poised on the brink of history. The Maracanã Stadium in Rio de Janeiro buzzed with anticipation as Pelé’s team, Santos, faced off against Vasco da Gama. 

In the 34th minute, Pelé seized his chance. A perfectly placed pass found its way to his feet. With the grace and precision that defined his career, he danced past defenders and drove the ball into the net, scoring his 1,000th goal. The stadium erupted in celebration, a wave of euphoria washing over the crowd as Pelé, overwhelmed with emotion, lifted his arms in triumph.

The ball used in this historic moment isn’t just a piece of leather but a cherished artifact, celebrating Pelé’s incredible career and his indelible impact on the sport. It’s preserved at the Museu do Futebol (Museum of Football) in São Paulo, serving as a testament to the magic of that night and a beacon of Pelé’s legacy in the world of soccer.

Tony Hawk’s First Skateboard 

On a summer evening in 1999, at the X Games in San Francisco, Tony Hawk etched his name into the annals of sports history: After nearly a dozen failed attempts, Hawk nailed the elusive 900, a trick that involves completing two and a half mid-air revolutions on a skateboard. He was the first skateboarder in history to do so in competition. 

Hawk’s first skateboard, a Bahne model given to him by his brother Steve in 1977, holds a special place in the Smithsonian National Museum of American History’s collection. This board, which Hawk learned to ride as a child, symbolizes his early beginnings and significant contributions to skateboarding. Before donating it, Hawk took one final ride on the board during the Innoskate festival, celebrating his innovative spirit and impact on the sport​ 

These pieces of sports memorabilia are more than just objects; they’re tangible connections to some of the most memorable and peculiar moments in sports history. Each item holds a story, encapsulating the passion, controversy and unforgettable events that continue to captivate fans around the world. –Eduardo Solano

The Hidden Gems of Barcelona

Take a tour of the off-the-beaten path attractions in El Raval, the Gothic Quarter, Poble-sec, Gràcia and Montjuïc. 

Barcelona, the cosmopolitan capital of Spain’s Catalonia region, is renowned for its vibrant culture, art and architecture. But beyond the fantastical and incomplete basilica of La Sagrada Familia and historic Modernisme landmarks designed by Catalan architect Antoni Gaudí, like Parc Güell, lie an abundance of less-familiar spots waiting to be discovered.

Barcelona’s Hidden Treasures 

While Barcelona’s main attractions are undoubtedly worth visiting, the city’s true identity lies in its non-touristy spots. From ancient Roman ruins to quaint local markets, a hidden gems private tour offers a glimpse into the authentic Barcelona that locals cherish.

Like in many of the best cities, Barcelona’s charm lies in its neighborhoods. Here are some of the best ones — and the lesser-known locales nestled within them.

El Raval: The Bohemian Quarter 

Sandwiched between the streets of Paralelo and Las Ramblas, El Raval is one of the most densely populated and multicultural areas of the city. Once known for its rough edges, the neighborhood has since transformed into a cultural hotspot teeming with art galleries, trendy bars and eclectic boutiques. It’s a place where old meets new, offering a rich tapestry of experiences for those willing to explore.

CCCB (Centre de Cultura Contemporània de Barcelona)

One of the sites worth visiting in El Raval is the CCCB, a complex dedicated to exploring contemporary culture through exhibitions, debates and festivals. Housed in a former almshouse, the building is a blend of historic and modern architecture. It’s an excellent starting point for those interested in the city’s vibrant cultural scene.

Calle Montalegre, 5 
Ciutat Vella, 08001

The Gothic Quarter: A Journey Through Time 

While not exactly under the radar, the winding alleys of the Barri Gòtic (Gothic Quarter) hold plenty of surprises. Begin your exploration at the landmark La Seu, also known as the Barcelona Cathedral. Wander through the narrow, pedestrian-friendly streets where layers of history, architecture and secluded squares dating back to the 15th century await discovery. 

Keep an eye out for a set of streetlights commissioned by the city council and designed in 1878 by Gaudí, one of only two works he created for the administration shortly after graduating as an architect from la Escola Tècnica Superior d’Arquitectura de Barcelona. 

Plaça dels Traginers

Stop in the early afternoon for a glass of vermouth in this plaza, where locals like to leisurely meet next to the ruins of an ancient Roman fortress. 

Plaça del Reí 

Kings Square is a tranquil square surrounded by Gothic buildings, including the Palau Reial Major, the medieval residence of Catalan counts and kings. The square’s understated elegance makes it a perfect spot to soak in the history and ambiance of old Barcelona. It’s thought that King Ferdinand and Queen Isabella greeted Christopher Columbus from the steps fanning out from the corner of the square after he arrived home from his first voyage to the so-called New World. 

Hash, Marihuana & Hemp Museum

Located in the former Palau Mornau, this niche museum covers the history of pot and hemp. Its permanent collection features around 8,000 objects related to cannabis cultivation and use throughout history, including medicine bottles, apothecary kits, paintings, pipes and film posters. Exhibits cover the recreational and medicinal uses, industrial applications, legislative history and horticultural aspects of cannabis cultivation.

Carrer Ample, 35
Ciutat Vella, 08002

Poble-sec: A Taste of Local Life 

Abutting Montjuïc hill is Poble-sec, which translates to “Dry Village” in Catalan because it lacked water until the late 19th century. This hood, with its signature sloping streets, combines a modern, lively vibe with Old World charm. It’s a great place to experience the everyday life of Barcelonians.

Carrer de Blai

If you’re looking for Barcelona highlights, head to Carrer de Blai, a street famous for its many budget-friendly pintxos bars. Pronounced “peen-choz,” the name comes from the Spanish verb pinchar, meaning to poke or stab. Sampling these small, skewered bite-sized snacks by hopping from bar to bar is a popular local tradition, usually enjoyed while waiting for dinner, which typically doesn’t begin until around 9 p.m. at the earliest.

Telefèric de Montjuïc Cable Car

For breathtaking views of the city, take the Montjuïc cable car. The journey offers panoramic vistas of Barcelona, the Mediterranean Sea and the surrounding hills. At the top, you’ll find Castell de Montjuïc (Montjuïc Castle), a historic fortress with an intriguing past.

Gràcia: The Village Within the City

Gràcia was once a separate village before being annexed by Barcelona in the late 19th century. Despite its integration into the city, Gràcia has retained its distinct, bohemian character. Its bustling plazas and narrow streets are full of life, especially during the Festa Major de Gràcia, a vibrant local festival held every August.

Plaça del Sol

This lively square is the beating heart of Gràcia. Locals gather here to relax, socialize and enjoy a caña (a small glass of beer). Surrounding the square are numerous bars and cafés, making it an ideal spot to experience the neighborhood’s convivial spirit.

Plaça del Sol, 23
Gràcia, 08012

Parks and Recreation 

In a bustling metropolis like Barcelona, finding tranquil green spaces can be a delightful surprise. The city has several parks and gardens that offer a peaceful retreat from the urban hustle, many of which remain relatively undiscovered by tourists.

Jardins de Mossèn Costa i Llobera

Perched on the port-facing slopes of Montjuïc mountain, the Jardins de Mossèn Costa i Llobera offer a spectacular view of the city’s coastline and port. With over 800 desert and subtropical species of succulents and cacti, the garden makes for a striking backdrop and is the perfect spot for reflection and relaxation.

Carretera de Miramar, 38
Sants-Montjuïc 08038

Parc del Laberint d’Horta

Parc del Laberint d’Horta, Barcelona’s oldest historical garden, is a delightful surprise in the city’s Horta-Guinardó district. Situated on the former estate of the Desvalls family, it features an 18th century Neoclassical garden, a 19th century Romantic garden, pavilions with statues from Greek mythology and a cypress hedge maze, which explains the “Laberint” (Labyrinth) in its name.

Passeig dels Castanyers, 1
Horta-Guinardó 08035

Sant Miquel del Fai

If you’re planning to spend several days in Barcelona and are looking to explore something farther afield, Sant Miquel del Fai is about 45 minutes away. Built into the face of the Bertí cliffs, this ancient monastery offers stunning views of the Catalan countryside. Visitors can explore the main church, the chapel of Sant Martí and various other structures within the complex, including the Cova de Sant Miquel caves, which feature impressive stalactites and stalagmites.

BV-1485
Kilómetro 7
08416 Riells del fai
Barcelona

Gaudí’s Great, But…

Whether you’re wandering through the bohemian streets of El Raval or savoring the culinary delights of a hidden tapas bar, these lesser-known Barcelona highlights reveal a side of the city often overshadowed by its more famous landmarks. Your Spanish adventure awaits! –Natalie Howard

Museo de Málaga: Art, Archaeology and Awe

Explore the Malaga Museum, a tribute to the past that feels completely current in the Palacio de la Aduana. 

The Malaga Museum has an impressive fine art collection, including Gladiadores/La Meta Sudante (Gladiators/The Meta Sudans) by José Moreno Carbanero from 1882.

Málaga, one of the world’s oldest cities, isn’t short on sunlight, history or art. With its dizzying array of attractions, the city offers much to explore. The Centro Histórico, a pedestrian-friendly area, is home to many notable sites, including the Museo de Artes y Costumbres Populares (Museum of Popular Arts and Traditions), the Renaissance-style Catedral de Nuestra Señora de la Encarnación (Málaga Cathedral) and modern art institutions like the Centre Pompidou Málaga. Nearby, the Alcazaba fortress stands guard on the hillside above a Roman amphitheater, connected to the Gibralfaro Castle by a fortified walkway.

The building that houses the museum is called the Palacio de la Aduana and was the customs house for the busy port.

History of the Museum of Málaga

A standout among these cultural treasures is the Museo de Málaga (Museum of Málaga). Housed in the Palacio de la Aduana (Customs House), this magnificent 17th century Neoclassical landmark is nestled between the verdant Parque de Málaga and the Ayuntamiento de Málaga (Málaga City Hall) in the heart of the Old Quarter.

Its construction was initiated in 1787 under King Charles III in response to Málaga’s growing maritime trade, and was conceived by architect Manuel Martín Rodríguez, who drew inspiration from Madrid’s palatial Real Casa de la Aduana (Royal Customs House). 

“With over 2,000 works of art and more than 15,000 artifacts in its archaeology collection, the museum offers a vast and captivating chronicle of Málaga’s history.”

Although the project actually started in 1791, it encountered several delays, including Napoleon’s failed attempt to conquer Spain during the Peninsular War, which pushed its completion date to 1829.

Nearly two centuries after its construction, the renovated venue reopened to the public, preserving the building’s original character while updating its interior to meet 21st century standards for accessibility. 

The museum unites the collections of the Real Academia de San Telmo (Saint Elmo Academy of Fine Arts) and the Museo Arqueológico de Málaga (Málaga Archaeological Museum) under one roof. With over 2,000 works of art and more than 15,000 artifacts in its archaeology collection, the museum offers a vast and captivating chronicle of Málaga’s history.

A mix of unmarked artifacts, including green glazed pottery and religious statuary, is displayed on wooden shelves inside the Visitable Warehouse section of the Museum of Málaga.

Ground Floor Visitable Warehouse

After paying the admission fee of €1.50 (approximately $1.63) per person, Wally and I began our visit on the ground floor with the Almacén Visitable (Visitable Warehouse), a storeroom of sorts, where objects are organized by time period and displayed in drawers and on shelves and wooden platforms. (It reminded us a bit of the ramshackle Egyptian Museum in Cairo.)

A collection of Hellenistic pottery, including terracotta heads, pig figurines and feet fills one of the display cabinets.

Among the artifacts were ancient vases, pots and fragments of centuries-old marble column capitals, feet, torsos and heads, displayed alongside 19th century oil paintings culled from the Fine Arts collection.

The warehouse is fun to explore, with its jumble of marble architectural fragments, a pair of Christ figures missing their crosses and a cathedral bell.

Look for the scale models, including one of the Roman amphitheater and (we think) the interior of Málaga Cathedral.

Wally and I oohed and ahhed over a scale model of the Alcazaba and Gibralfaro. In another part of the room, a glass display case held several devotional sculptures, including religious images of the Virgin Mary, underscoring the reverence and care with which these objects are treated.

A view of the palatial courtyard of the Museum of Málaga. The classical terracotta busts were added in 1885 to commemorate Queen Isabella II’s son Alfonso XII.

Central Courtyard 

Following our tour of the storehouse, we wandered through the expansive central courtyard, graced with palm and orange trees, a fountain and informational panels recounting the building’s history, including Queen Isabella II’s visit in 1862. Terracotta busts, added to honor her son Alfonso XII’s visit 23 years later, have adorned the uppermost balustrade of the courtyard gallery ever since.

When we visited, there was a special exhibit on the hometown hero Picasso.

Special Exhibit on Picasso

The port city is the birthplace of Pablo Picasso and, during our visit, it was hosting the exhibition La presencia de Picasso (The Presence of Picasso) to mark the 50th anniversary of his death. 

A selection of lithographs from Picasso’s Faunes et Flore d’Antibes series at The Presence of Picasso exhibition.

On a separate note, the Museum of Fine Arts previously occupied the Palacio de Buenavista (Buenavista Palace), but it was unceremoniously packed up and placed in storage in 1997 to make way for the Museo Picasso Málaga (Málaga Picasso Museum).

Fauno Blanco Tocando el Aulós (White Faun Playing the Flute) by Pablo Picasso, 1946

The exhibition featured lithographs from the Faunes et Flore d’Antibes series and engravings from Deux Contes, both drawn from the Fine Arts permanent collection. Wally, a big fan of mythology (and the male form), especially liked the collection. 

A glimpse of what awaits you at the beginning of the Fine Arts section of the museum.

First Floor: Fine Arts

Upstairs (keep in mind that in Europe the first floor is what we Americans would call the second floor), the Fine Arts section covers a broad spectrum of 19th century artworks, including pieces by old masters like Antonio Muñoz Degrain, Bernardo Ferrándiz y Bádenes, Fernando Ortiz y Comarcada, José Gutiérrez de la Vega and Pedro de Mena, among others. It also features works by prominent members of the Málaga School of Painting, such as Alfonso Ponce de León y Cabello, José Suárez Peregrin and Pedro Sáenz Sáenz.

Los Saltimbanquis (The Acrobats) by José Suarez Perigrín, 1932

El Juicio de Paris (The Judgment of Paris) by Enrique Simonet y Lombardo, 1904

Después de la Corrida (After the Bullfight) by José Denis Belgrano, 1890

Estudio de Anatomía Masculina (Study of the Male Anatomy) by Bernardo Ferrándiz y Bádenes, 1862

Tarquin y Lucrecia (Tarquin and Lucretia) by José López García, 1988

Alegoría de la Historía, Industría y Comercio de Málaga (Allegory of the History, Industry and Commerce of Málaga) by Bernardo Ferrández and Antonio Muñoz Degrain, 1870

The first piece you’ll see as you enter these galleries is a maquette, a final study for the ceiling of the Teatro Cervantes by the Valencian-born painter Bernardo Ferrándiz. In 1870, he and Degrain were commissioned to decorate the theater. Ferrándiz depicted himself as Mephistopheles, the demon who barters for Faust’s soul, on the stage set. 

The female figure, possibly a symbol of the city, sits atop a shrine holding a caduceus— a symbol associated with Mercury, the god of commerce and prosperity. Other aspects of the city’s booming cultural and economic success, including agriculture, industry, transportation and fishing, highlight its strategic location as a trading port.

However, to me, some of the most interesting pieces came from religious institutions. Like the Museo de Bellas Artes de Córdoba, this museum’s collection includes significant works of art, images and architectural elements seized from the deconsecrated monastic properties, including the ex-convents and monasteries of the Poor Clares of Santa Clara, San Bernardo, La Merced and San Pedro de Alcántara.

Mudejar ceiling corbels 

Next, you’ll notice a set of four carved oak corbels, or brackets. They originally adorned the ends of timber beams in the Convent of La Merced and became part of the academy’s collections in 1915. These architectural elements illustrated the sins and vices parishioners were expected to renounce before entering the holy space.

Head of Saint John of God by Fernando Ortiz y Comarcada, circa 1755-1765

Fernando Ortiz y Comarcada’s sculptural style was greatly influenced by Pedro de Mena — in fact, for many years, this work was attributed to Mena. However, documents found for the production of four sculptures at Parroquia Santiago Apóstol in Málaga confirmed Ortiz as the artist. This head is the only surviving piece from that series, which was largely destroyed during the protests of 1931. An anonymous citizen saved this from the flames and left it at the parish door in a basket, ensuring that future generations could appreciate its artistic quality.

Ecce Homo by Pedro de Mena, circa 1676-1680

Throughout his lifetime, Pedro de Mena was in high demand, securing a steady stream of public and private commissions across Spain and Latin America. It’s believed that Ecce Homo came from the estate of El Retiro in Málaga and was first owned by Bishop Alonso de Santo Tomás, who hired Mena to carve images for his private oratory while the sculptor was working for the bishop’s order at the Monastery of Santo Domingo.

(Postrimerías) A Moro Muerto, Gran Lanzada, or (Dying Moments) Kicking a Man While He’s Down by Bernardo Ferrándiz y Badenes, 1881

This small painting might seem unremarkable at first glance, but it has an interesting story behind it. The artwork was inspired by an actual event that forever changed the artist’s life. Bernardo Ferrándiz y Badenes had a physical confrontation with Juan Nepomuceno Ávila, a fellow academy member, municipal architect and close friend of the Marquis of Salamanca. The dispute arose because Ávila denied financial support to the San Telmo Fine Art School, where Ferrándiz was the director at the time.

Ávila used the incident to have Ferrándiz expelled from the institution. Ferrándiz subsequently was accused of attempted murder and imprisoned. Although the exact details of the altercation remain unclear, the event left Ferrándiz shaken. The once-prominent artist faced social ostracism, which plays out in his artwork, where he depicted himself as the skeleton of a cat, with Ávila as a mouse. He inscribed the following on the frame: “Fierce king, yesterday I gave you my laws to respect, and today, with death upon me, even you come to trample the dust of what I was.”

Additionally, the museum has a small collection of Spanish modern art up to the 1950s, including works by José López García, José Moreno Villa, Juan Fernándo Béjar and, yes, Picasso. 

This Italo-Corinthian helmet most likely belonged to a high-ranking warrior. It was unearthed in 2012 by archaeologists excavating a site between Calles Jinete and Refino in Málaga’s historic quarter.

Second Floor: Archeological Section 

The second floor (third floor to you Americans) galleries focus on archaeology, with the first two rooms dedicated to the private collection of Jorge Loring Oyarzábal and his wife, Amelia Heredia Livermore, also known as the Marquis and Marquesa de Casa Loring.

The Lorings had a passion for antiques and collecting. One of their most important acquisitions was several pieces from the collection of 18th century Córdoban antiquarian Pedro Leonardo de Villacevallos, which included capitals from Medina Azahara, Umayyad-period tombstones and sculptural relics from Ancient Rome.

A collection of marble busts, and funerary plaques from the Villacevallos collection acquired by the Lorings

This 18th century religious sculpture, depicting the realistic severed head of Saint John the Baptist, is paraded through the streets of Málaga during Holy Week. 

A mosaic fragment depicting Priapus, the son of Venus and Bacchus. Commonly shown with a massive erection and basket of fruit, it’s no surprise he’s a god of fertility.

The remaining halls cover a vast historical timeline, showcasing how each civilization — from prehistory through the Phoenician, Roman, al-Andalus and Christian Reconquest periods — contributed to the city’s cultural mosaic. In recent decades, artifacts unearthed during construction and in excavations carried out by the University of Málaga have been added to the collection.

A detail of the center of a 1st century Roman mosaic depicting the goddess Venus surrounded by a menagerie of birds.

Speaking of mosaics, a 1st century floor panel depicting the birth of Venus, the goddess of love, sex and beauty, takes center stage in the museum’s Roman galleries. Discovered in 1956, it was found lining the floor of a Roman villa in the nearby town of Cártama. This impressive mosaic measures 13 by 20 feet (4 by 6 meters). It shows the naked goddess reclining on a giant scallop shell above a couple of dolphins.

The 2nd century Roman statue known as La Dama de la Aduana, discovered while digging the foundations of the museum in 1791, welcomes visitors at the entrance.

A Trip Back in Time at the Museo de Málaga

To sum up our experience, the Museo de Málaga was more than just a tourist attraction. It was a journey through epochs that celebrates Málaga’s multifaceted identity and enduring spirit. Its artworks and archaeological objects are well organized and clearly marked in both English and Spanish. As you walk through its halls, the city’s colorful history comes alive. –Duke

Museo de Málaga

Plaza de la Aduana 1
29015 Málaga
Spain

 

Top 5 Must-Visit Attractions in Chennai

Take a leisurely walk on Marina Beach, marvel at Kapaleeswarar Temple, discover treasures at the Government Museum, unwind at Elliot’s Beach and spot wildlife at Guindy National Park — all in Tamil Nadu’s capital.

Aerial view of Chennai, India with the Kapaleeshwarar Temple dominating the skyline

Formerly known as Madras, Chennai, the capital of the state of Tamil Nadu, is India’s fourth-largest city. Located on the Coromandel Coast of the Bay of Bengal, the city serves as the gateway to South India and is as diverse and colorful as its namesake plaid. 

From the awe-inspiring 7th century Hindu temple dedicated to Shiva, to bustling street markets and serene beaches, Chennai captivates visitors with its blend of rich traditions, old heritage and contemporary wonders. Be sure to add these five must-see locations, where natural beauty, history and one-of-a-kind culture come together to make for an unforgettable trip. 

Marina Beach

1. Marina Beach: A Haven of Serenity

Stretching along the Coromandel Coast, Marina Beach, or simply the Marina, is a popular spot, where both locals and visitors can enjoy the second-longest urban beach in the world. 

Looking out over the Bay of Bengal reveals a seemingly endless body of turquoise-colored water, while its eight-mile (13-kilometer) expanse of golden sand beckons you to take off your shoes and feel the waves lapping at your feet. But you shouldn’t plan on going into the water. This beach is only for walking — swimming is prohibited, as the undercurrent is considered too strong.

The Marina is also the site of a variety of festivals, delicious street food, and souvenir and handicraft shops. 

You can also explore Fort St. George, located at the north end of the beach. Historically known as White Town, it was built in 1639 by the British East India Company and served as the epicenter of the growing city of Madras. 

Fort St. George

Be sure to look out for the statue of Kannagi, the heroine and central character from the Tamil epic Silapathikaram, holding an anklet in her hand and demanding justice. 

Statue of the heroine Kannagi on Marina Beach

I recommend visiting the beach at dusk to enjoy the sunset or at dawn to see the sunrise, when the sky takes on an intense orange hue. 

Kapaleeshwarar Temple

2. Kapaleeshwarar Temple: A Sacred Architectural Marvel

One of Chennai’s most well-known landmarks, Kapaleeshwarar Temple is dedicated to Arulmigu Kapaleeshwarar, an incarnation of Lord Shiva, and his consort, Karpagambal, an embodiment of the goddess Parvati. 

The ancient temple is a testament to the city’s remarkable architectural legacy, combining elements of Dravidian and Pallava styles. You can’t help but be captivated by its monumental gopura, or main temple tower. 

The Kapaleeshwarar temple complex

At 131 feet tall (40 meters) the richly decorated structure is covered with vibrantly colored sculptures depicting scenes from Hindu mythology.

Past the grounds of the temple, the winding alleyways of the Mylapore neighborhood provide a sensory adventure. Explore the lively marketplaces, where kiosks brim with brilliantly colored fabrics, traditional handicrafts and aromatic spices.

The Neo-Mughal façade of the Government Museum in Chennai

3. Government Museum: A Trove of Cultural Treasures

The Government Museum complex has an impressive collection of artifacts and sculptures from the major South Indian periods, ranging from 2nd century BCE Buddhist sculptures to 16th century work from the Hindu kingdom of Vijayanagar. Each exhibit reveals an intriguing story as you meander through the galleries, illuminating the customs, artistic expressions and lifestyles of those who formerly inhabited this part of the country.

13th century bronze statue of Ardhanarishvara at the Government Museum

Its collection of coins, ceramics and other antiquities provides a window into the region’s rich past. Especially breathtaking are the magnificent bronze sculptures produced during the Chola dynasty. Their exquisite craftsmanship depicts gods and goddesses from the Hindu pantheon, including the striking bronze of Ardhanarishvara, the androgynous incarnation of Shiva and Parvati.

Ellitot’s Beach

4. Elliot’s Beach: A Peaceful Spot to Reset

Named after the colonial-era magistrate Edward Francis Elliot, the laidback Elliot’s Beach offers a tranquil escape from the crowds of Marina Beach. This peaceful retreat can be found in the upscale Besant Nagar residential neighborhood and is a favorite hangout for locals, particularly the younger crowd.

The soothing sounds of lapping waves and refreshing ocean breeze will instantly calm your senses as you approach this serene stretch of sand. In often-hectic India, you’ll welcome the opportunity to slow down and appreciate the beauty of the present moment. It’s a great spot to watch the sun rise, too.

For those seeking a more active experience, Elliot’s Beach offers a variety of watersports and activities, including surfing and kayaking. 

If the water isn’t your thing, there are plenty of cafés, restaurants and boutique shops nearby.

Karl Schmidt Memorial

While you’re here, stop and admire the gleaming white memorial dedicated to Karl Schmidt, a Danish sailor who drowned in the 1930s while attempting to save the life of a girl struggling against the tide.

Guindy National Park

5. Guindy National Park: A Green Oasis in the City

Amid Chennai’s bustling cityscape, the lush sanctuary of Guindy National Park calls out to adventurers and nature enthusiasts to experience the tranquil embrace of the natural world. The sounds of the city fade away as you enter the park, replaced by the soothing melody of rustling leaves and chirping birds.

A white peacock at Guindy National Park

Embark on a hike or bike ride along the network of well-maintained trails weaving through scrub and forest. In addition to the verdant foliage, keep an eye out for a wide variety of animals, including spotted deer, blackbucks, serpent eagles and Indian star turtles.

Chennai Central Railway Station

Natural Wonders and Historical Treasures: Something for Everyone

Chennai offers a variety of activities to suit every traveler’s taste. Whether you seek the tranquility of the sea or the bustling energy of its vibrant temple complexes, this captivating city promises an unforgettable time for all who visit. –Jonathan Rastogi

Mansions, Monuments and Museums of the Plaza de Jerónimo Páez in Córdoba

While exploring the historic quarter of Córdoba, Spain, admire the Palacio de los Páez de Castillejo and Casa del Judío before you stop in the archaeological museum.

It’s easy to understand why Córdoba’s entire historic quarter earned its UNESCO World Heritage Site designation in 1985. As Wally and I explored the narrow cobblestone streets of la Judería, the city’s former Jewish quarter, our wanderings led us to charming plazas that opened up to reveal historic homes and restaurants with inviting outdoor seating, where you can sit and relax with the locals. 

Among these squares is Plaza de Jerónimo Páez, named after a descendant of the influential Cordobesan family responsible for the Renaissance-style Palacio de los Páez de Castillejo and the equally historic Casa del Judío. Having endured years of neglect, the plaza was renovated in the 1990s, when the archaeological museum was expanded.

During the city’s era of Roman occupation, known as Corduba at that time, this square served as the entertainment district, boasting one of the largest theaters in the empire. The partial remains of this historic structure are now displayed beneath the modern Archaeological and Ethnological Museum of Córdoba, located next to the atmospheric 16th century Palacio de los Páez de Castillejo.

From palace gardens to private residence to school to museum, the Palacio de los Páez de Castillejo has had a rich history.

Palacio de los Páez de Castillejo

What initially caught our attention as we walked through the square was the gloriously decayed sandstone façade of the Palacio de los Páez de Castillejo family — aptly named, considering their surname, Castillejo, translates to “Little Castle” — which is essentially what this home was.

A pair of life-size marble korai, female figures dressed in long tunics, and a Corinthian capital with acanthus leaves creates a striking vignette.

This lovely Roman mosaic includes motifs such as interlaced Solomon’s knot, vines, pomegranates and crescent-shaped pelta shields.

One of the many beautiful Mudéjar-style niches with scalloped arches within the palace courtyard — and the equally dashing Wally. 

The residence was renovated in the 16th century by Luis Páez de Castillejo and stands on the grounds of what were once the gardens of Ybrahim Ben Nacer Alfaqui’s palace. In 1538, he commissioned the prominent Spanish architect Hernán Ruiz II to oversee the redevelopment of the main courtyard, Renaissance-style façade and sculpted railing of the main staircase. Ruiz II collaborated with his father, Hernán Ruiz the Elder, on the contentious construction of the Capilla Mayor within the Mosque-Cathedral of Córdoba.

The silhouettes on the cloth added a modern art feel to this area of the courtyard.

Besides serving as the Páez de Castillejo residence, the building was used as a school at the end of the 19th century, known as the Polytechnic Academy. And in 1959, it became the Archaeological and Ethnological Museum of Córdoba.

This impressive sculpture, known as the Thoracata of Córdoba and named after a type of Roman battle armor, depicts the massive torso of a hero — possibly Aeneas in his escape from Troy — wearing an intricate breastplate adorned with a pair of griffins.

Its exterior is similar to Ruiz II’s work on the Puerta del Puente, the principal gateway to the Roman Bridge in town, and, like the monument, was designed in the style of a triumphal arch. Among its notable features are a pair of porticos supported by Doric columns, with heroic figures positioned between them. Above the entablature, classical figures hold the family coat of arms. This imagery aimed to immortalize the Páez de Castillejo family as the living embodiment of discipline, loyalty and self-sacrifice to the people of Córdoba. 

This staircase features a sandstone railing designed by Hernán Ruiz II as well as a Roman mosaic depicting rearing horses drawing a chariot.

Be sure to go through that gorgeous gateway — it’s free and only takes a short while to stroll around the courtyard.

Initially, Wally and I stood there, gawking and uncertain about entering, but after we saw a man speaking to the guard stationed at the entrance, we decided to ask about the building. The guard informed us that it’s an extension of the modern archaeological museum and welcomed us to take a look around the interior courtyard. We walked around the first courtyard, which is dedicated to Roman archaeology, including mosaics and sculptures. However, unlike the adjacent institution, the artifacts on display here are not clearly marked.

Although it’s not open to the public, the exterior of Casa del Judío is worth pausing to take a look at.

Casa del Judío

Over the centuries, the enigmatic building located across from the Palacio de los Páez de Castillejo has been inextricably linked to the Castilian royal family and the generations of noble lineages connected to them, including the Sousa, Haro, Armenia and Cárdenas families.

Originally a Mudéjar palace, the stately manor is also called the Palacio del Duque de Medina Sidonia, or the Palace of the Duke of Medina Sidonia. For, it was within these walls that the bastard son of Juana de Sousa and Henry II of Castile, Enrique de Castilla y de Sousa, aka the first duke of Medina Sidonia, was born.

While eating at La Cavea, we spotted a cool couple in front of the Casa del Judío.

Although it’s not open to the public, you can still admire its ceramic-tiled roof, vibrant fuchsia bougainvilleas and square tower with a hipped roof enclosed by a latticework screen. To the left of the doorway, sheltered by greenery, is a bronze bust perched atop a marble plinth immortalizing the Roman poet Marcus Annaeus Lucanus (39-65 CE), better known in English literature as Lucan. 

Lucan was the nephew of the philosopher-statesman Lucius Annaeus Seneca (Seneca the Younger). He attracted the favorable attention of the Roman emperor Nero but conspired with Gaius Calpurnius Piso in a scheme to assassinate Nero and install Piso as his successor. Ultimately, its failure led to Lucan’s arrest and his subsequent suicide at the age of 26. 

Today the home is more commonly referred to by locals as la Casa del Judío, or in English, the Jew’s House, in reference to Elie J. Nahamias, a Judeo-Greek businessman and its most recent owner, who passed away in 1994. Nahamias was a descendant of the pre-exile Sephardic communities that inhabited the Iberian Peninsula and assembled an impressive library of printed books and manuscripts spanning six centuries of Jewish history. His collection is held by the Library of the Alliance Israélite Universelle based in Paris, France. And although the property is privately owned by his children, you can still admire its beautiful exterior.

A cute location and a good option if you want a snack or drink while visiting the archeological museum — but otherwise you can find better food elsewhere in town.

Café-Bar La Cavea

The center of the square is taken up with a casual resturant, with tables placed under the shade of trees (with white umbrellas an additional barrier from the heat when needed), all sitting amid broken remnants of Roman columns. When we stopped by, there was live music, with a performer taking up station by the fountain.

Beware choco! Although our Spanish friends say it’s actually good, this one was rubbery and flavorless. If you really want to cringe, do a search for “cuttlefish.”

While the café gets points for its setting, the food didn’t impress us — especially since we ordered calamari but where told they had choco instead, which is very close. Imagine our dismay when we discovered that it not only looked like and and was practically the size of a bleached, deflated football, it tasted like one, too. (Wally had also made the mistake of Googling what cuttlefish look like, which didn’t do him any favors). I was recovering from heat stroke, so he choked down as much choco as he could before giving up.

Detail of an intricately carved Mudejar relief featuring sebqa work, a decorative technique characterized by the repetition of geometric and vegetal forms.

Hidden Gems

Our wanderings through the historic Plaza de Jerónimo Páez offered glimpses into Córdoba’s rich history, through its ruins, artifacts and storied mansions. This square is no longer the bustling entertainment district it was when it was home to one of the largest theaters in the Roman Empire. But it still captivates visitors with its antique structures and inviting energy. Be sure to admire your surroundings before you head into the archeological museum, which is worth visiting. –Duke

Plaza de Jerónimo Páez

 

Museo de Bellas Artes de Córdoba: Local Artists Through the Ages

Looking for things to do in Córdoba, Spain? Take a detour at the Cordoba Museum of Fine Arts and explore the city’s historic and artistic legacy.

The Cordoba Fine Arts Musuem is unassuming but provides an educational diversion for an hour or so. One gallery is dedicated to the works of sculptor Mateo Inurria and his works, including Les Tres Edades de la Mujer (The Three Ages of Woman) from 1923.

While looking for things for Wally and me to do beyond the remarkable Mosque-Cathedral of Córdoba, I stumbled upon an image of a room featuring a vibrant yellow totemic sculpture. The picture, which intrigued me, was from the Turismo de Córdoba website and was one of the galleries inside the Museo de Bellas Artes de Córdoba (Cordoba Fine Arts Museum). 

Colt Fountain in Plaza del Potro is an homage to the livestock that was once sold here.

Plaza del Potro: Where Livestock (and Sex) were Sold

The modest museum is tucked into a courtyard off the Plaza del Potro (Colt Square) and a short walk from where we were staying at Los Patios del Pañuelo. While commonly called a square, the plaza has evolved over time and is now a rectangle that stretches down to the Guadalquivir River. It contains two monuments: a fountain crowned with a sculpture of a rearing colt (hence the “potro” in its name), balanced atop a pineapple-shaped vase, and a statue of the archangel San Rafael, the city’s patron saint. 

Fun fact: Once a bustling hub for livestock traders, artisans and travelers, the square included the Posada de Potro (Colt Inn), a medieval brothel that was frequented by celebrated Spanish novelist Miguel de Cervantes. The author mentions the inn in his novel Don Quixote, referring to it as a “den of thieves.”

Sadly, the inn (a nicer way of saying whorehouse?), has since closed. Today, the storied property is home to the Centro Flamenco Fosforito, a small museum dedicated to renowned singer, Antonio Fernández Díaz, aka Fosforito, and the art of flamenco. 

To reach the museum, Wally and I went through a passage on the exterior of the former Franciscan Hospital de la Caridad (Charity Hospital), where the words “Museo Provincial de Bellas Artes” are carved in stone above the doorway. Once inside, we found a peaceful courtyard with a fountain surrounded by orange trees and a pair of busts. One pays homage to the museum’s first director, painter Rafael Romero Barros, while the other honors novelist, diplomat and politician Juan Valera. 

You enter the museum courtyard through the arched doorway seen here, underneath the fancy writing.

Andalusia is filled with charming courtyards, and this one doesn’t disappoint, with its beautiful stonework paths.

The museum’s collections span centuries and encompass paintings, drawings, sculptures and engravings by Cordoban artists from the 16th to the 21st century. 

After purchasing our entrance tickets, we noticed the bronze head of Gonzalo Fernández, the “Gran Capitán,” attributed to sculptor Mateo Inurria. 

Fernández earned his nickname “the Great Captain” by leading successful campaigns during the Conquest of Granada and the Italian Wars while serving the Catholic Monarchs, Ferdinand and Isabella.

Cabeza de Gonzalo Fernández de Córdoba para el Monumento al Gran Capitán (Head of Gonzalo Fernández of Córdoba for the Monument to the Great Captain) by Mateo Inurria, 1915

Notice how the head of this statue is marble while the rest of it is bronze? The original metal head can be found in the Fine Arts Museum, though we’re not sure what prompted this odd decision.

Fun fact: This is the original head of an equestrian monument in la Plaza de las Tendillas, the town’s main square. For some reason, it was replaced by a head sculpted from white marble, in contrast to the rest of the figure.

You can start your exploration of the museum by turning left into the room covering the Baroque period and seeing religious art reappropriated by the government.

The Baroque in Córdoba 

We began our tour of the museum in Room IV, which held a number of impressive ecclesiastical works made at the height of Baroque painting in Córdoba. During this period, artists like Antonio del Castillo y Saavedra embraced naturalistic realism, employing chiaroscuro—the use of light and dark to emphasize the emotional narrative in their works. 

Inmaculada Concepción (Immaculate Conception) by Juan Antonio de Frías y Escalante, 1667

El Sacrificio de Isaac (The Sacrifice of Isaac) by Antonio del Castillo y Saavedra, circa 1650

The majority of these artworks were acquired from convents during La Desamortización, a period from 1835 to 1868, when the Spanish government seized monastic properties belonging to the Catholic Church, turning them into “national assets,” which were then sold at public auction to the highest bidder.  

One of the most coveted artistic projects after 1600 was the creation of 24 paintings for the altars of the cloister at the Franciscan Convent of San Pedro el Real by Antonio del Castillo. These canvases depict episodes from the life of Saint Francis de Assisi. In the museum’s painting, the scene depicts an angel holding the newborn saint above a baptismal font. 

Bautismo de San Francisco de Asis (Baptism of Saint Francis of Assisi) by Antonio del Castillo y Saavedra, circa 1664

Fun fact: The oil painting is signed “Non fecit Alfar” (Alfaro didn’t do it). This signifies that Castillo won the commission over his competitor, Juan de Alfaro y Gámez. How delightfully petty!

Bendición Sánchez by Julio Romero de Torres, 1904

The 18th and 19th Centuries in Córdoba 

The next gallery we visited contained works from the 18th and 19th centuries, predominantly featuring local landscapes, portraits and still lifes by the museum’s founder, Barros. 

Bodegón de Naranjas (Still Life With Oranges) by Rafael Romero Barros, 1863

The Baroque style eventually yielded to Rococo, and around 1775, in the wake of the Lisbon earthquake, it shifted once more, leading to a wave of local artists embracing Romanticism. Around this time, the Escuela Provincial de Bellas Artes was established, and within its walls, Barros emerged as a prominent figure. 

Barros assumed a dual role as both director and mentor to a group of art students, including Tomás Muñoz Lucena, Rafael Hidalgo de Caviedes and Inurria. Among them were his sons, Enrique, Rafael and Julio Romero de Torres.

Un Recuerdo de África, Novia Sefardí (A Memory of Africa, Sephardic Bride) by Rafael Romero Barros, 1878

Columbus Leaving the Mosque by Rafael Romero Barros, 1886

The painting Columbus Leaving the Mosque by Rafael Romero Barros was inspired by a poem by the Duke of Rivas titled “Romance of a Great Man.” It depicts Columbus leaving the Mosque-Cathedral after prayer and encountering his future mistress, Beatriz Enríquez de Arana, for the first time. According to legend, she brought Columbus to her home to protect him from mocking children who regarded him as a madman for seeking royal backing for his voyage to the New World.

We were pleasantly surprised to discover there was quite a large collection of modern art as well.

Art in the Modern Era: 20th Century and Beyond

Throughout the 20th century, local artists changed their styles to suit prevailing tastes, shifting from Realism to Modernism to Regionalism. They drew inspiration from contemporary artists like Rafael Botí, Pedro Bueno and Ángel López, who delved into Impressionism and Fauvism. In contrast, individuals like Antonio Rodríguez Luna and Alfonso Ariza embraced avant-garde movements such as Cubism, Abstraction and Expressionism.

Sin Título (Untitled) by José Duarte Montilla, 1981

El Cante (Flamenco Song) by Julia Hidalgo Quejo, 2005

La Fuente del Patio del Museo (The Fountain in the Museum Courtyard) by Rafael Botí Gaitán, 1990

Mujeres Vela (Sail Women) by Antonio Rodríguez Luna, 1945

A key figure among this group of artists was the sculptor Inurria. The museum has a room dedicated to his works.

Un Náufrago (A Castaway) by Mateo Inurria, 1890

While exploring the gallery, I was captivated by a peculiar painting by Ginés Liébana. His dreamlike piece Buenas Mujeres para ser Caballos (Good Women to Be Horses) was painted in 1979. Liébana creates a surreal scene by combining elements: a woman’s head adorned with a flower-covered hat on a horse’s body. He integrates local landmarks, such as the rearing colt of the Plaza del Potro and the figure of the Archangel Rafael, into this otherworldly landscape.

Buenas Mujeres para ser Caballos (Good Women to be Horses) by Ginés Liébana, 1979

Fun fact: Liébana contributed his distinctive style to Cántico, an avant-garde artistic magazine led by poet Ricardo Molina. The publication used poetry and illustration to challenge the status quo during the Franco dictatorship. 

Faded religious frescos and graffiti scribbled by hospital patients line the staircase.

Stairway to Heaven: Frescoes and Graffiti

The staircase leading to the upper floor includes graffiti that most likely was the work of hospital patients. One of these is a labyrinth with seven concentric circles surrounding a central point—visible beneath a monochromatic mural of Saint Jerome. 

On the rear wall, a religious scene depicts Christ on the Cross between the Virgin and Saint John the Evangelist. Flanking this central image is Saint Jerome, clutching a stone for beating his breast in penitence, and Saint Francis of Assisi in prayer. 

El Retablo de la Flagelación (Altarpiece of the Flagellation of Christ), circa 1500

Gothic and Renaissance Art in Córdoba 

The Gothic movement gained popularity in Córdoba in the late 14th century. However, it wasn’t until the 15th century that painters’ guilds flourished, distinguishing Córdoba from other Andalusian cities, such as Sevilla and Granada.

This environment was conducive to establishing major workshops by artists, including Alonso Martínez, Pedro de Córdoba, Jorge and Alejo Fernández, and Baltasar del Águila. Under the reigns of Charles V and Phillip II, local art underwent a transformation, departing from Gothic influences and embracing new expressions of Renaissance humanism. This worldview focused on the nature and importance of humanity that originated from the study of classical antiquity.

Here you can see an altarpiece from the chapel of a hospital founded in the 14th century by alderman Antón Cabrera and his wife, Beatriz de Heredia. The facility closed down in 1837. 

El Retablo de la Flagelación (Altarpiece of the Flagellation of Christ) is a superb example of the Córdoba school’s work and showcases the unknown artist’s adept use of Renaissance techniques. The composition of the figures reflects the Northern European style, popularized through engravings, and the panel as a whole draws inspiration from a similar painting produced by the German artist Martin Schongauer around 1480. 

Its side panels depict Saint John the Evangelist and Saint Anthony of Padua on the right, and Saint Anthony Abbot and Saint Francis of Assisi on the left, each with their distinctive iconography.

Fun fact: The artwork was initially misattributed to Alonso de Aguilar due to the mistranslation of a document accompanying the piece when it was acquired by the museum in 1866. 

Retrato de Joaquín y Rafael Mir de las Heras Niños (Portrait of Joaquin and Rafael Mir de las Heras Children) by Enrique Romero de Torres, 1905

A Life Fit for a Museum

The final gallery featured the exhibition Museum Worthy Life, dedicated to painter Enrique Romero de Torres (yes, the entire family had serious skills). After his father, Rafael, passed away in 1896, Enrique stepped up to run the museum as the director and curator. His responsibilities for the next 30 years kept him from dedicating himself entirely to painting. But under his direction, the renovations and expansions of the museum were carried out, with him paying for part of the works and donating, along with his brothers, paintings by his father. 

Take a quick lesson in local art history at the Museo de Bellas Artes de Córdoba, from Baroque to modern.

Listen, there are a lot of things you’ve gotta do in Córdoba, including La Mezquita, the Alcázar and the Palacio de Viana (not to mention taking a picture of the Roman Bridge). But if you have some free time, I recommend visiting this museum. Admission is only 1.50 euros (about $1.60) and is free to EU passport holders. The curation of each gallery is well thought out, ensuring an easy and enjoyable experience. Plus it’s a cool experience that will expose you to the artistic talents of Córdoba. –Duke

Museo de Bellas Artes de Córdoba 

Plaza del Potro, 1
Centro, 14002
Córdoba
Spain

 

Gorgeous Guanajuato: The Ultimate Day Trip From San Miguel de Allende

A one-day itinerary for travelers looking to experience the best of Guanajuato City, including the Museo de las Momias, the Teatro Juárez and the funicular to the Pipila Monument and overlook.

If you’re staying in San Miguel de Allende, you’ve gotta take a day trip to Guanajuato — and we’ve got the perfect itinerary for you.

Even if you’re not into displays of desiccated corpses, the charming and colorful capital of Guanajuato, Mexico has plenty to offer. It makes for a delightful day trip from the tourist hotspot San Miguel de Allende. 

“The sights in Guanajuato are equal parts beautiful and bizarre.”

A Brief History of Guanajuato

Originally inhabited by indigenous groups, the region was conquered by the Spanish, and the town of Guanajuato was incorporated in 1554. 

Like San Miguel, Guanajuato was an important and wealthy colonial city due to the region’s large silver deposits. It played a pivotal role in Mexico’s struggle to break the Spanish yoke. The city was the site of the first major battle of the Mexican War of Independence, which took place in 1810. Guanajuato also played a significant role in the Mexican Revolution, which began in 1910 — it was the site of the first battle (which the revolutionaries won).

Hop to it! Follow this walking tour of charming and quirky Guanajuato.

Guanajuato Day Trip Itinerary

With this tried-and-true one-day itinerary, you’ll experience the best of colorful and quirky Guanajuato, taking in the top attractions, flavors and vistas that this charming city has to offer.

Start your day at the Mummy Museum, then head to the Plaza of the Frogs before strolling along the main street of town. Here are the places we recommend stopping at, before ending with a funicular trip to overlook this incredible mountain town. With its vibrantly painted buildings and lively plazas, Guanajuato is one of Mexico’s most beautiful colonial towns.

Museo de las Momias

Looking for a bit of spook-tacular fun? The Museo de las Momias has you covered. In our estimation, this is the town’s main attraction. The macabre museum features the desiccated husks of some of the city’s former residents who couldn’t pay their burial tax, were dug up and discovered to be naturally mummified due to the arid climate. It’s a morbidly fascinating experience that’s not for the faint of heart.

LEARN MORE: The Haunting and Horrific Mummy Museum of Guanajuato

Explanada del Panteón Municipal s/n

Plaza de las Ranas

Hop on over to Plaza de la Hermandad, also known as Plaza de las Ranas (Frog Plaza). The centerpiece is a fountain created by French sculptor Gabriel Guerra and installed in 1893. It looks a bit like a swimming pool, but the stars of the show are the whimsical frog statues made of stone that decorate the open plaza. 

Why frogs? The name Guanajuato comes from the indigenous Purépecha words Quanax-Huato, which means “Place of the Frogs.” One theory is that the town took its name from a pair of colossal boulders resembling giant frogs. Seeing this as an auspicious sign, the Purépecha decided to settle here. They were a powerful empire that dominated western Mexico prior to the Spanish conquest. 

Fun fact: Guanajuato was the birthplace of Mexican muralist Diego Rivera, who referred to himself as “el Sapo-Rana,” the Frog-Toad. 

Galereña Dulces Típicos de Guanajuato

Want something sweet? Next stop: Galereña Dulces, a candy store that’s been around since 1865. They’ve got all kinds of traditional Mexican sweets — but don’t get your hopes up about mummy gummies. Much to our dismay, those don’t exist. 

The cellophane-wrapped caramel-colored confections we found are actually known locally as charamuscas. They’re a type of hard candy made from spun boiled cane sugar twisted into a mummy figure shape. Which, now that I think about it, these gnarly, crunchy versions are actually more fitting. 

Avenida Benito Juárez 188

Empanadas MiBu

Feeling a bit peckish? Time for a snack at Empanadas MiBu. I always say: If there’s a Heaven, there will be empanadas up there. These tasty little pockets of joy come in all sorts of varieties, from savory (rajas con queso are my fave) to sweet (you can never go wrong with Nutella), and are the perfect snack to munch on while exploring the city. They’re made to order and served in paper bags, making them the perfect handheld food to eat on the go. 

Avenida Benito Juárez 65-A

Jardín Reforma

Escape the hustle and bustle of the city by taking a stroll through this serene park that’s just past Empanadas MiBu. Head through the classical arch into a tranquil oasis that’s surprisingly peaceful for being mere steps off the city’s main drag. The loudest sound you’re likely to hear here is the gurgling of the fountain in the center or the chirping of birds.

Be sure to pop into G&G Cafe, the coffeeshop in the corner of this small park, if you need a caffeine fix. 

Basilica of Our Lady of Guanajuato

Continue down Avenida Benito Juarez until it turns into De Paz. The yellow Basílica Colegiata de Nuestra Señora de Guanajuato, dedicated to the city’s patroness, Our Lady of Guanajuato, is hard to miss. The yellow edifice stands proudly on the historic Plaza de la Paz (Plaza of Peace), the main square. However, unlike most Spanish colonial cities, the plaza is not a square but a triangle, to better fit Guanajuato’s hilly geography. 

The church’s façade was designed in the Mexican Baroque style and is adorned with carvings of saints and features two bell towers and a red clay dome. The interior is just as impressive, with soaring arches, intricate gold leaf detailing and a stunning main altar that encompasses the local likeness of the Virgin Mary. 

Calle Ponciano Aguilar 7

Teatro Juárez

While you’re in the vicinity, stop by the Teatro Juárez, a majestic Neoclassical theater, built from 1872 to 1903. Bronze statues of the Greek Muses, who represent the arts and sciences, stand on the roof.

We didn’t get a chance to go inside, but it looks impressive, awash in red velvet and gold details, with a colorful ceiling motif in the Neo-Mudéjar style, a nod to the mix of Spanish and Arab design popular in the South of Spain.

The landmark hosts a wide variety of performances, from concerts and operas to plays, international movies and dance. It has served as the main venue of the Festival Internacional Cervantino since 1972. 

De Sopena 10

Funicular and El Pipila Monument 

End your stroll through town with a ride on the funicular. The station is close by the Teatro Juárez. A cable car system built in 2001 takes you up the hill to an overlook and costs 60 pesos (about $4) for a roundtrip ticket. We had to stand in line for a bit, but it was worth the wait. The ride up is pretty fun — but the view is breathtaking. I was utterly captivated by the hilly landscape and the colorful, densely clustered  patchwork of buildings that stretched out before us. I leaned against the railing and gazed out at it for a long time. It’s easy to see why the enchanting city center is a UNESCO World Heritage Site.

Pro tip: When facing the city below, head off to right for a less-crowded viewing platform above the basilica.

Crowds of tourists and locals gather in the shadow of the El Pipila monument, a towering 80-foot statue built in 1939 to commemorate a hero of the Mexican War of Independence.

So who exactly was this Pipila fellow? His real name was Juan José de los Reyes Martínez, who, during the siege of Guanajuato, crawled towards the Alhóndiga de Granaditas, a granary used as a fortress by Spanish troops. He had a large stone slab used to grind corn (a pipila — hence his nickname) on his back. Once he reached the door, he used the stone to break it down, allowing the rebel forces to enter and defeat the Spanish troops.

De La Constancia 17

Outside the Mummy Museum, we watched a performance of men in drag mock-fighting. The sights in Guanajuato are equal parts beautiful and bizarre.

SMA Day Trip

All told, we spent about four hours in Guanajuato. We hired a driver from San Miguel de Allende through our hotel’s concierge. The ride is an hour and a half each way. We got dropped off at the Mummy Museum and then texted our driver at the end of the day once we on our way back down on the funicular.

From truly disturbing to truly delightful, Guanajuato is a day trip not to miss. –Wally

Gio Swaby’s Fresh Take on Textile Portraits

The Bahamian artist is redefining portraiture — and Black women representation at museums like the Art Institute of Chicago — one stitch at a time. 

Gio Swaby’s textile portraits feature confident Black women, mixed fabrics and loose strings to juxtapose strength with so-called imperfections.

When you think of portraits, a few formats probably spring to mind: painting, photography, life drawing. But textiles?

That’s the medium Gio Swaby is rocking. The Bahamian artist uses textiles to create stunning portraits of powerful Black women. 

“Textiles are a great way to connect with people because they’re so familiar.

Everyone has some sort of relationship with textiles, whether it’s through clothing or bedding or whatever. It’s something that we can all relate to on some level.”

— Gio Swaby

New Growth Second Chapter 11 from 2021

New Growth Second Chapter 9

Textiles were in part chosen for their familiarity, their approachability. Museum-goers can feel intimidated by fine art paintings, Swaby explains. The average person often thinks that they haven’t learned how to “properly” view a work of art. 

But textiles don’t have that baggage. They’re comfortable; they’re part of our everyday lives. 

“I think that textiles are a great way to connect with people because they’re so familiar,” Swaby says. “Everyone has some sort of relationship with textiles, whether it’s through clothing or bedding or whatever. It’s something that we can all relate to on some level.”

The Gylavantin’ series created in 2021

A Love Letter to Black Womanhood 

Born in 1991 in Nassau, Bahamas, Swaby grew up with a seamstress mother who taught her how to sew and inspired her artistic vision. She studied art at the University of the Bahamas, Emily Carr University of Art and Design and OCAD University, and now lives and works in Toronto, Ontario in Canada. 

Swaby has described her work as a love letter to Blackness and womanhood, a celebration of personal style and identity, and a challenge to the stereotypes and expectations that often limit the representation of Black women in art. Her exhibition Fresh Up, which we saw recently at the Art Institute of Chicago, is her first solo museum show. 

With each stitch and thread, Swaby masterfully brings to life the beauty and complexity of Black women in a way that’s both breathtaking and empowering. 

Another Side to Me Second Chapter 3 from 2021

Flipping Embroidery on Its Head 

How does Swaby create her portraits? It all starts with a photo session. Swaby meets with her subjects, who are mostly Black women she knows personally or admired from afar, and engages them in a conversation about their lives, their dreams, their struggles and their joys. She then captures them on camera in a moment of self-awareness and empowerment, using natural light and simple backgrounds to highlight their features and expressions. She also impresses upon the subjects that the hairstyle, clothing and jewelry are essential elements of their personal style and identity.

“An important aspect for me is to ask the sitter to choose their own outfit,” Swaby tells us. “I think it’s so important to make that person feel comfortable. I want them to choose what they feel the most beautiful in and what makes them feel the most powerful.”

Going Out Clothes 3 from 2020

Once an image is chosen, Swaby transfers the images to fabric using a sewing machine. Yes, she actually does it all on a sewing machine! She uses a freehand technique that allows her to improvise and experiment with different colors and textures of thread. 

“If I am feeling energized, I’ll start with the face or the hands,” Swaby says. “And if I’m not feeling the vibes, I will start with something that’s a little bit easier. Like if there’s a lot of stripes on the outfit. That’s pretty straightforward.”

Detail from the Gylavantin’ series

She also uses different types of fabric, such as cotton, denim, silk and velvet, to create contrast and depth. 

Swaby says that she works intuitively and quickly. “I don’t like to overthink things. I like to just go with what feels right in the moment. What I want to capture is their true essence.”

Another Side to Me 2 from 2020

The final step is to flip the fabric over and present the reverse side of her work. This is where Swaby’s process becomes radical. Instead of hiding the stitching process, she exposes it and celebrates it. 

“I wanted to have some moments of surprise, a new appreciation for the irregularities, the loose threads, the places where I lifted up the canvas before moving on to another area,” Swaby says. “I think there is beauty in imperfection. Why not celebrate it?” 

Pretty Pretty 7 from 2021

She explains that this is a way of honoring the labor and care that goes into each portrait, as well as embracing the vulnerability and humanity of her subjects. It’s a way of challenging the expectations and stereotypes that often limit the representation of Blacks in art. She wants to show them as they are: beautiful but not idealized, complex but not exoticized, powerful but not threatening.

Pretty Pretty 5

The first time she displayed the underside of a stitched rendering was with her Another Side to Me series. “As textile-based makers, this is the part of our work that we tend to conceal,” she says. “I’ve always found a kind of beauty in these ‘flaws.’” 

The New Growth series on display at the Fresh Up exhibit in Chicago

A Fresh Take on Collaboration for Fresh Up

Swaby’s exhibition Fresh Up is not just a collection of her works, but also a reflection of her vision and involvement. Swaby collaborated with the curators of the Art Institute of Chicago to create a show that showcases her range and diversity as an artist. The exhibition brings together seven of Swaby’s recent series, such as Love Letters and Pretty Pretty, along with approximately 15 new works, including her largest work to date, a commission for the U.S. embassy in Nassau.

An illustrated catalogue includes an interview between Swaby and Pulitzer Prize-winning journalist Nikole Hannah-Jones, as well as essays by the curators and contributions from Swaby herself. 

Swaby joined the Art Institute team to stage the show and write the descriptions of the art. At the talk Duke and I attended with our friend, Ivan, the museum’s staff kept gushing about how awesome it was to work with a living artist, to have the opportunity to install an exhibit with the artist’s input. 

The feeling was mutual: “Being able to work with the conservation team was one of the most exciting parts about having this exhibition here and being able to be here in person to see how it all works,” Swaby says. 

Love Letter 8 from 2021

The title of the exhibit, Fresh Up, is a Bahamian phrase used as a way to compliment someone’s style or confidence — elements Swaby wants to highlight in her subjects. It’s a phrase that exudes positivity, joy and self-love. 

“Life has so many variations — why not have this moment of representing and being able to celebrate many different kinds of people and also highlight the fact that Black women are not monolithic?” Swaby says. “We are all different, unique individuals.” 

Sew true! –Wally

Standards of Beauty (and Ugliness) in African Art

From scarification to the ideal male and female, discover what Westerners get wrong about how Sub-Saharan sculptures and other works of art are viewed in their own cultures. 

A ritual dance in Guinea, Africa features a Baga nimba or d’mba headdress, seen in the upper right corner, which represents the ideal fertile woman.

Westerners have collected African art for centuries. But do they really understand it? Who determines what is beautiful and what is ugly in African art? Can viewers judge art solely by the standards of beauty in their own culture?

That’s the question a recent exhibit at the Art Institute of Chicago sought to answer. The collection was massive, taking up six or so rooms, filled with over 250 works of art from dozens of cultures across Sub-Saharan Africa. 

The idea is to put art in its cultural context. How did the local communities view these works of art? And how were they used? 

“For some African cultures, scarification, including on the face, is a way to enhance someone’s beauty — especially that of a woman. ”

There’s often a religious aspect to these works. “So the art is not made just to be art,” says Constantine Petridis, chair and curator of arts of Africa at the Art Institute. “It’s art that serves a purpose, serves a function and has a meaning. And that contributes in a very deep and integral way to the survival and the wellbeing of both individuals and societies.” 

Much of this art is literally thought to save lives: It guards ancestors’ remains or fends off evil spirits. 

A Mangbetu woman in 1913 wearing a halo hairstyle with ivory pins, popular in the Democratic Republic of the Congo

African Art Viewed Through an African Lens

It’s time we reevaluated standards of beauty — and understood that what’s attractive or powerful to a Western audience could be very different than that of a Sub-Saharan group. 

“The hope is also to erase prejudices and preconceived notions that have, for a very long time, prevented people from appreciating this art,” Petridis says.

Let’s take a look at some of the commonalities found throughout African art — and see that beauty is more than skin deep.

Male guardian reliquary figures with the heads of children but muscular bodies of adults. Teeth have been sealed behind the eyes to help the statues act as intermediaries with ancestors.

Masculinity is depicted with youthful, muscular bodies and large hands and feet. 

In many African cultures, the ideal male figure is tall and lean, with long limbs, an elongated neck and muscular calves. Why? These physical attributes are deemed necessary to transport heavy loads on the head and to work hard in the fields.

“A youthful appearance in general connotes fertility and also good health and the capability of doing hard work,” Petridis says. 

Large hands and feet are seen as representing the energy and endurance needed on a hunting expedition. 

A statue of the Chokwe mythological hero Chibinda Ilunga, a legendary hunter, made in Angola in 1850

These physical characteristics are often depicted in African sculpture to emphasize physical prowess — essential in a society where men are responsible for hunting, farming and other demanding activities.

A ndop portrait figure of King Mishe miShyaang maMbul, made about 1770 in the Democratic Republic of the Congo. The oversized head symbolizes intelligence.

Works of art depicting male beauty aren’t just for aesthetic appreciation, though; they serve a vital purpose.

“All of these attributes represent or express political and religious authority, and as such, these objects would have been placed on an altar to serve to fight physical as well as metaphysical threats,” Petridis adds. 

A depiction of Kaatyeleo, the Ancient Mother, who nurses babies with the milk of knowledge and evokes authoritative power

The feminine ideal is voluptuous — big belly, rounded hips, a large butt — and sometimes sports a long neck.

The ideal female figure has been a subject of fascination and inspiration for artists throughout history, and African art is no exception. In African sculpture, the ideal female figure is often depicted as having a curvaceous body with wide hips and full breasts. These features are seen as symbols of fertility, femininity and maternal strength.

A portrait of a queen, the wife of King Njike, from early 20th century Cameroon. It once stood in front of the royal palace.

While the exact proportions of the ideal female figure vary between African cultures, there are some common elements frequently seen across the continent. For example, in West Africa, the ideal female figure is often portrayed with a prominent belly and rounded buttocks, while in East Africa, the focus is more on the breasts and elongated neck.

The curvaceous figure of the ideal woman is seen as a reflection of her role as a caretaker and nurturer, responsible for raising healthy children and maintaining a strong family.

An ikam crest mask from Nigeria depicts the fantastical hairstyles girls had created for their initiation into womanhood. Incidentally, these “beautiful maiden” masks were worn by men.

Female figures are frequently depicted with intricate hairstyles and elaborate jewelry, which are seen as a reflection of high status and beauty.

A mwana pwo or pwo mask from Angola is more realistic than other depictions of beauty in African art. It features elements a Westerner wouldn’t consider attractive, including extensive scarification and chipped teeth.

Scarification is considered beautiful. 

This particular aspect of beauty is probably the most difficult for Westerners to grasp. (Then again, look at our obsession with tattoos.) Scarification, a form of body modification that involves creating designs or patterns on skin by cutting or branding, has been practiced for centuries.

Originally used as a post on a veranda in Nigeria, this carving is of a senior royal wife was created by a famous artist, Olówé of Ise. The scarification indicates her high status.

For some African cultures, scarification, including on the face, is a way to enhance someone’s beauty — especially that of a woman. 

Ogo Esu, god of the marketplace, the only orisha, or deity, consistently represented in human form. In Nigeria, his followers would dance with a staff like this, which has a phallic headpiece and cowrie shells associated with wealth.

Morality is synonymous with beauty.

In many African cultures, the concept of beauty is closely tied to morality and ethics. This is reflected in the use of a single word to describe both beauty and goodness. Likewise, the same word is often used to convey ugliness and immorality, highlighting the deep connection between physical appearance and moral character. 

A mbwoongntey, a cup used for palm wine in the Congo

Smooth skin is attractive.

While scarification has been a long-standing tradition in African art, the idea of smooth skin as a standard of beauty is also prevalent. In many African cultures, smooth, flawless skin is considered attractive, healthy and a sign of good hygiene. To achieve that look, some sculptures are polished to a bright shine using leaves or stones. 

But the idea of beauty extends beyond the individual. “A smooth surface is a metaphor for smooth, harmonious social relationships,” Petridis explains.

On the flip side, crusty, rough surfaces are seen as ugly.

A group of dancers from Guinea wearing Bamana Komo helmets with elements from the hyena, a nighttime scavenger.

Ugliness is tied to nature, the wilderness and animals, whereas beauty is connected to humans, the village and community. 

Nature spirits are thought to cause misfortune, illness and even death. Some sculptures were designed to be so strikingly beautiful they would lure in spirits, and the figure would take possession of them, avoiding the trouble they would have otherwise caused. 

“The sculpture becomes an abode, a home for the spirit, and it will receive offerings in order to keep it happy, and therefore remedy the problem in question,” Petridis explains.

This Baule monkey figure from the Côte d’Ivoire features a baboon-headed man representing a bush spirit and untamed wildness.

There’s a duality common throughout Africa: culture vs. nature, community vs. the wilderness. As such, idealized beauty is always presumed to be of human origin, associated with the realm of the village and society. 

At the other end of the spectrum, ugliness correlates with the wild and untamed realm of the jungle outside the boundaries of the village. The works that are deliberately created to be ugly reflect the widely shared belief that coarse and asymmetrical animal-like forms correspond with bad character, malignant magic and death. 

This dichotomy reflects the central role of community and social harmony in African cultures — and the threats that come from the untamed, uncontrolled and unpredictable aspects of nature.

This ngolo mask from the DRC features antelope horns to convey courage, while its protruding eyes signal aggression in the hopes of discouraging outsiders from approaching a boys’ training camp.

“Artists who intend to instill fear through their objects may represent ugliness by mimicking or referencing animals, especially powerful and fearsome ones,” Petridis says. “Additional features will be incorporated into fantastic compositions that comprise elements sourced literally from the natural world — actual animal parts: hides, horns, teeth, fur.”

Ugliness in African art has a power of its own. “They turn it into a dark, dangerous object, an object that inspires fear and terror and therefore also power and authority,” he continues. 

Antelope horns sit atop a nkisi figure from the DRC that depicts a blacksmith from folklore. It held great power and was created to protect an entire village.

Some art has elements of both beauty and ugliness and is meant to astonish. 

Petridis refers to this as “awesome art,” what Westerners might call the sublime. They are meant to both fascinate and terrify.

Nails are driven into a nkisi nkondi, like this one from the DRC, to atone for transgressions. If someone breaks an oath made to the figurine, it’s said to come to life to mete out justice.

“In a literal sense, it refers to objects that are meant to be awe-inspiring. They will literally stop you in your tracks,” he says. “And these objects are considered to be both beautiful and ugly, both terrorizing and attractive at once.”

A large d’mba shoulder mask used during ceremonies features scarification and pendulous breasts — aspects of the feminine ideal among the Baga people of Guinea.

Beauty Is in the Eye of the Beholder

When judging African art, see where there are overlaps or differences from your own preconceived notions, Petridis suggests. Always keep in mind that African art should always be viewed through the language and vocabulary of the culture it comes from.

“Beauty is essential and important and critical in the arts of Africa as well,” he concludes. “But it’s not necessarily the beauty that you as an outsider would see in it.” 

To avoid imposing your own tastes and preferences on art objects, you have to be open to learn and read about the culture in which they function, and what meanings and purposes they convey. And that new understanding is a thing of beauty. –Wally