In June 2020 Carmen Thyssen released an offensive against the museum that houses his collection and that of her husband, Baron Thyssen.
A strategy that could have been called Operation Lever.
The purpose was to open a path of concern more at the Ministry of Culture, which then patronized José Manuel Rodríguez Uribes, with whom she negotiated the price and conditions of renting her exposed pieces (424).
In that pandemic month he decided to take out from the Salas Mata Mua (1892), from Paul Gauguin, one of the main fabrics of the Background of Ella and Claim of the works exhibited at the Thyssen-Bornemisza Museum in Madrid.
The end of the getaway has fallen into luck to Minister Miquel Iceta.
In January 2021 the parties to fight reached an agreement: the rent for 15 years of the Collection of Carmen Thyssen.
Culture will pay 6.5 million annually to keep the Fund at the Museum.
By then the Mata Mua was already, apparently, in a Bunker of Andorra, where he probably came out towards some other warehouse in Madrid.
Next Monday, February 7, he will return back to the Thyssen Museum and will be part of the permanent exhibition.
Of all the strategies designed by the owner to achieve the agreement that keeps its collection at the Pinacoteca Madrileña this has undoubtedly been the most effective.
She has achieved her lawyers, the Michavila-Acebes law firm (led by the former deputies of PP José María Michavila and Angel Acebes) will annudes the last fringes that were pending in the original agreement.
The conditions for Carmen Thyssen will be very favorable.
With the Mata Mua in Madrid it is clear that this litigation, which has gone through seven ministers of culture (between PSOE and PP) is finished.
The negotiations broke so many times that it seemed almost a tradition every time a minister agreed to the culture portfolio.
“To see when it explodes in thisness.” He said.
And he always burst.
Some could contain Carmen Thyssen.
Others (or others) led the situation to almost irreconcilable extremes.
The threat of the owner of taking the collection outside of Spain was another of the recurrent slogans of this adventure.
The Mata Mua, however, did not seem to run the risk of the Constable Lock, which Carmen Thyssen sold in London for just over 27 million euros.
This piece was acquired by Baron and Baroness Thyssen in 1990 for 10.8 million pounds, which converted it into British painting more expensive in history, a record that she maintained for 16 years.
Sell some pieces from the collection now rented to the State is among the privileges of the agreement.
The Mata Mua is valued at 150 million euros.
