The Minister of Culture, Ángeles González Sinde, announces the discovery of this work and her intention that it should be acquired by the Museo del Prado
The Prado is extending the opening hours of its Turner exhibition until 10pm and is opening an outdoor summer terrace
Thanks to the support of Turismo Madrid, from 1 July, until 31 August visitors to the Museum can take advantage of two additional hours (Tuesdays to Saturdays) to visit this season’s major exhibition “Turner and the Masters”. In addition, and coinciding with the launch of this initiative, the Museum is opening its Terrace-Café Prado, located in a courtyard of the North Pavilion of the Villanueva Building. It offers free access and late opening hours (until 10pm) throughout the summer months.
The history of drawing will be the subject of the lecture series of the Prado’s new Academic Chair. The lecture will be given between November 2010 and April 2011 and the series is directed by Professor Salvatore Settis, director of the Scuola Normale Superiore, Pisa, and author of a wide range of important publications. Between 1994 and 1999 Professor Settis was also director of the Getty Research Institute in Los Angeles, coordinating its scholarly activities and its relations with the international academic community.
The galleries housing the new display of the artist’s work were today the venue for the award-ceremony of the Velázquez Prize, presented to Doris Salcedo by Their Royal Highnesses, the Prince and Princess of Asturias.
The Museo del Prado will be exhibiting the eight mythological tapestries that comprise the only complete surviving example of this series on the loves of Mercury and Herse, one of the 246 tales recounted in the 15 books of Ovid’s great poem known as the Metamorphoses. For the first time since their dispersion in the early 20th century, the exhibition reunites these eight tapestry panels by Willem de Pannemaker, tapestry-maker and supplier to the royal courts of the Flemish Renaissance.
The Museo del Prado inaugurates its new galleries devoted to Spanish Medieval and Renaissance painting
The Museo del Prado inaugurates its new galleries devoted to Spanish Medieval and Renaissance painting, sponsored by Fundación AXA. This new stage in the Museum’s project to re-hang and expand its collection, known as The Collection. The Other Extension, is a significant one as it marks the completion of the presentation of the works located on the ground floor of the Villanueva Building, as envisaged in the project.
From tomorrow, the Museo del Prado will be offering visitors the unique and probably unrepeatable chance to see Velázquez’s Las Meninas (1656) alongside The Daughters of Edward Darley Boit (1882) by John Singer Sargent. The latter has been loaned by the Boston Museum of Fine Arts (MFA) and is presented at the Museum as part of the “Invited Work” programme, which is sponsored by the Fundación Amigos del Museo del Prado. The direct comparison established between the two masterpieces emphasises the evident influence of Velázquez’s celebrated painting on Sargent’s work. The two paintings can be seen together side by side for the next two and a half months.
Opening on 9 March, the Museo del Prado is presenting the exhibition "The Art of Power. The Royal Armoury and the Court Portrait" organized in collaboration with Patrimonio Nacional, Sociedad Estatal para la Acción Cultural Exterior (SEACEX) and the National Gallery of Art, Washington.
The Museo del Prado is focusing on Dutch painting with the presentation of the temporary exhibition Dutch Painters at the Prado, as well as its latest “Invited Work”, Company of Captain Reijnier Reael loaned from the Rijksmuseum
This October the Museo del Prado is presenting the first monographic exhibition on Juan Bautista Maíno, one of the most original but least known figures within Spanish painting of the first half of the 17th century. For the first time the exhibition, sponsored by the Fundación Amigos del Museo del Prado, will bring together almost all the artist’s known works, together with seven previously unknown ones and others by Spanish and Italian painters that will help to set Maíno’s paintings in an international and Spanish context.