For a first visit to the Thyssen Museum, start with the Diptych of the Annunciation from Van Eyck, the portrait of Giovanna Tornabuoni by Ghirlandaio and Saint Catherine of Alexandria by Caravaggio. Then, it changes the time period with Hotel room, by Edward Hopper. These stops allow us to compare very different ways of painting people, light and space.
This guide brings together 13 works from the collection, explains what to look out for, and proposes a short selection to explore the museum. Some pieces may be on loan, withdrawn, or moved to temporary exhibitions. Therefore, we distinguish the works from the collection from those that you can incorporate into the tour based on their published location.
Table of Contents
A short route to know where to start
The permanent collection begins on the second floor, with the old masters, and continues on the first floor with modern paintings. For a selective visit, we suggest booking a few days in advance. 90 minutes, That doesn't include queues or temporary exhibitions. It's an editorial estimate: if you like to stop, dedicate at least two hours to the collection.
| Trama | Proposed stops | Approximate time |
|---|---|---|
| Second floor: rooms 3, 5 and 7 | Van Eyck, Ghirlandaio and Carpaccio. Compare the illusion of sculpture, the profile portrait and the full-body portrait. | 25–30 minutes |
| Second floor: rooms 11, 12 and 17 | Tiziano, Caravaggio and Tiepolo. Observe how the brushstrokes, the lighting and the narrative change. | 25–30 minutes |
| First floor: room 45 | Hopper. Take time to explore the intermediate rooms and choose a work that catches your attention. | 20–30 minutes |
The rooms correspond to the tabs consulted. Use the Official plan of the Thyssen to orient you and confirm any changes upon reception.
13 outstanding works from the Thyssen Museum
The selection combines portraits, religious scenes, mythology, landscape, and 20th-century painting. Each piece is linked to the museum's catalog, where you can view the image and its current location.
1. Triptych of the Annunciation, by Jan van Eyck
Around 1433–1435 · Room 3, second floor.
Approach these two small panels to discover the visual deception: the figures appear to be stone sculptures, although they are painted in oil. Van Eyck uses grayscale, with whites and blacks, to represent the archangel Gabriel and the Virgin Mary.
Also pay attention to the painted frames and the shadows. The artist's skill lies in making a flat surface appear to have volume. It's a good starting point for taking a slow look, even if you don't know the history of Flemish painting.
2. Portrait of Giovanna degli Albizzi Tornabuoni, by Ghirlandaio
1489–1490 · Room 5, second floor.
Giovanna's profile stands out against a dark background. The dress, the jewelry, and the objects in the small space behind her help us understand how a portrait was created in Renaissance Florence.
Look for the prayer book and the choir, and compare their function with that of jewels: some refer to devotional life and others to social status. The date of 1488 that appears in the inscription corresponds to Giovanna’s death; the museum’s current plaque dates the painting to 1489–1490.
3. Young Knight in a Landscape, by Vittore Carpaccio
Around 1505, according to the current plaque · Room 7, second floor.
The protagonist appears standing, wearing armor, in a landscape filled with animals and plants. Do not confuse him with the figure on horseback in the background: the portrait is organized around the young man in the foreground.
Try searching for the detail and then wander through the landscape with your eyes. The details invite you to read them slowly, while the identity of the knight remains the subject of proposals and interpretations. You don’t need to solve that mystery to appreciate the precision of the painting.
4. Jesus among the doctors, by Alberto Durero
1506 · Not exhibited, according to the fiche consulted.
Jesus talks with the wise men of the temple. The «doctors» in the title are knowledgeable about religious law; the scene depicts a theological discussion. Durero focuses the attention on the faces and, especially, on the hands in the center.
If the work returns to the gallery, observe how the fingers seem to accompany the arguments of the conversation. Meanwhile, the image of the catalog allows you to explore that small core of gestures. Do not view it during the tour without checking its return first.
5. Landscape with the rest in the escape to Egypt, by Joachim Patinir
Around 1518–1524 · The plaque indicates temporary exhibition rooms; it confirms access.
The Virgin and the Child rest in the foreground, and Saint Joseph appears among the trees. However, much of the interest lies in the landscape: the elevated viewpoint allows one to walk through fields, water, and buildings with the gaze.
Observe the size of the figures in relation to the expanse of the surroundings. This distribution of emphasis explains why Patinir is an early reference in the history of landscape painting. Check the current location before searching for it in a room in the permanent collection.
6. Penitent San Jerónimo, by Titian
Around 1575 · Room 11, second floor.
This painting belongs to the final stage of Titian's work. Saint Jerome looks at the crucifix, holds up a stone and rests the other hand on a book. The harsh landscape and the earthy tones envelop the figure.
Look at the red of the canvas and the brushwork, much freer than you might expect after the meticulous details of Van Eyck. Comparing the two ways of painting is one of the most interesting exercises of this visit.
7. The Annunciation, by El Greco
Around 1576 · Not exhibited, according to the fiche consulted.
Maria receives the archangel Gabriel in a composition from the Italian period of El Greco. The light, color, and clothing show the painter's interest in the Venetian tradition.
In the catalog image you can compare this scene with the Van Eyck diptych: they share an episode, but they resolve it with very different means. The architectural space and the movement of the figures offer here another way of telling the Annunciation. Please check its availability before including it in your visit.
8. Saint Catherine of Alexandria, by Caravaggio
Around 1598–1599 · Room 12, second floor.
The light directs the attention to Catalina, who looks at the viewer while holding a sword. The wheel rotates and the palm completes the attributes associated with her martyrdom.
Take a moment to consider the contrast between the illuminated figure and the dark background. Then look for the direction of the light and the diagonals that form the sword and the body. This is a particularly useful stop to understand how Caravaggio turns the illumination into part of the narrative.
9. Venus and Cupid, by Peter Paul Rubens
Around 1606–1611 · Not exhibited, according to the fiche consulted.
Rubens took as a reference a composition by Tiziano that is now lost. The relationship between the two painters offers another way to approach the collection: to observe how one artist studies and transforms the work of another.
The official image highlights the pearls and the ring of Venus. These details help to follow the comparison proposed by the museum catalog. The work is part of the collection, but its description does not guarantee that it will be available in the gallery on the day of your visit.
10. The Death of Jacinto, by Giambattista Tiepolo
Around 1752–1753 · Room 17, second floor.
The theme comes from the myth of Apollo and Hyacinth, collected in the Metamorphosis by Ovidio. Tiepolo presents the ending with theatrical gestures, numerous characters and a composition of great size.
Look for a surprise at the bottom: a racket and some balls. The painter follows a version of the story that replaces the disc of the classical myth with a set of balls. That detail is a good entry point for understanding the freedom with which artists reinterpret a story.
11. Les Vessenots in Auvers, by Vincent van Gogh
1890 · The listing indicates «Photo Studio»; public availability to be confirmed.
The houses, fields, and trees in Auvers are organized under a high horizon. The greens and yellows and the repetition of brushstrokes give rhythm to the landscape. It belongs to the brief and productive final period Van Gogh spent in Auvers-sur-Oise.
The published location is not sufficient confirmation that it can be visited. Ask the museum before you go there in person to see it and avoid using room numbers from old guidebooks. The reproduction of the catalog allows you to appreciate the movement of the brushstrokes.
12. The Dream of the Bee and the Pomegranate, by Salvador Dalí
1947, according to the current catalog · The fiche indicates temporary exhibition rooms.
Gala lies suspended on a rock, while a fish, two tigers and a bayonet turn the dream into an impossible scene. It begins with the little bee and continues the chain of images to the sleeping figure.
The work appears today in the catalog as One second before waking from a dream caused by a bee flying around a grenade. The tab and the Technical study of the museum It was founded in 1947, although earlier publications use 1944 and a different order of words in the title.
It confirms which exhibition it is on and its access conditions. Do not assume that an old location in the permanent collection is valid.
13. Hotel Room, by Edward Hopper
1931 · Room 45, first floor.
A woman sits at the edge of the bed, next to her luggage, and checks a train timetable. The room, the light, and the lines of furniture convey a sense of isolation that the museum relates to the loneliness of modern life.
After the religious and mythological narratives of the previous rooms, this everyday scene proposes another rhythm. Observe the woman's posture and the space the room occupies. It can be a good final stop: an image that leaves open questions without the need for a spectacular action.
Tickets, schedules, and when to visit the Thyssen for free
The published general tariff is 14 € and the reduction of 10 €. Minors under 18 years of age have free admission. Check conditions and accreditations for each tariff before buying.
To visit the collection during the September to June opening hours:
| Day | Opening hours of the collection |
|---|---|
| Monday | 12:00–16:00; free admission |
| Tuesday to Friday and Sunday | 10:00–19:00 |
| Saturday | 10:00–21:00 |
The museum has special opening hours in summer and on certain dates. Check the Official schedule for your day of visit and use the Official ticket sales.
Mondays and Saturdays at night allow for different visits
On Mondays, from 12:00 to 16:00, you can visit the collection for free. The museum indicates that no entrance is required for this free time slot.
The program Noches Thyssen with Uber, On Saturdays from 21:00 to 23:00, it opens the temporary exhibitions on the ground floor and −1, until capacity is reached. If there is no temporary exhibition on the ground floor, the Carmen Thyssen Collection opens. That nighttime schedule does not give access to the entire permanent collection on the upper floors.
Permanent collection, Carmen Thyssen and temporary exhibitions
The permanent collection is visited on the second and first floors. The Carmen Thyssen Collection has its entrance from the lobby, on the ground floor. The temporary exhibitions have their own programming and may include works that are usually found in other spaces.
The official website indicates that admission includes both collections and the temporary exhibits available. The exhibition on the ground floor requires selecting a time due to limited seating; please check the specific entry before completing the purchase.
As a reference for the agenda, Dalí's Freudian universe It is announced from October 20, 2026 to January 24, 2027, It is located on the ground floor and closes on Mondays. If you visit the museum before October 20, it is not yet open. Always check the museum exhibition schedule for the dates of your trip.
How to get there and combine the visit with Madrid
The Thyssen-Bornemisza National Museum is located in Paseo del Prado, 8. Banco de España and Sevilla, both on the Metro Line 2, are nearby options. You can check the location and transportation on the Official brochure of Tourism of Madrid.
If you are going to spend a morning at the Thyssen, leave some time later to stroll around the Prado area or the Barrio de las Letras. For a weekend, we recommend visiting our Madrid guide in two days. If you are still choosing a museum, check the Selection of museums in Madrid.
Those who want to visit the Prado and the Reina Sofía can also appreciate the Paseo del Arte SubsidiesThe official information consulted publishes a price of 32.80 € and a visit to each museum within a year. Check what exhibitions are included and whether it’s worth it compared to the reduced rates or free hours.
Frequently asked questions
How long do I need to visit the Thyssen Museum?
Reserve about 90 minutes for our brief selection. The permanent collection page estimates about two hours for your tour; if you add Carmen Thyssen or a temporary exhibition, leave more room. The duration depends on how much time you spend looking at each work.
Can I view all the paintings on this list on the same day?
You should not rely on this. This guide includes works from the collection that are currently not on display or have a location that requires verification of access. Check out the linked listings and confirm with the museum the pieces that interest you most.
Is it a suitable visit for children?
A short selection may work better than going through all the rooms. You could suggest that they look for animals in Carpaccio, Santa Catalina’s wheel, or Tiepolo’s easel. These are ideas for looking at the works together; choose the works and the pace according to their age and interests.
Can photos be taken?
The museum allows photos and videos without flash, except for exceptions marked for certain works. Respect the instructions in each room.