This major exhibition, which opens on the day the Museo Nacional del Prado celebrates its 200th anniversary, is the result of the work undertaken for the creation of a new catalogue raisonné of Goya’s drawings, made possible through the collaborative agreement signed by the Fundación Botín and the Museo del Prado in 2014.

For the first time and in a unique and unrepeatable occasion, the exhibition brings together more than 300 of Goya’s drawings from both the Prado’s own holdings and from private and public collections world-wide. The result is a chronological survey of the artist’s work that includes drawings from every period of his career, from the Italian Sketchbook to those created in Bordeaux. In addition, the exhibition offers a modern perspective on the ideas that recur throughout Goya’s work, revealing the ongoing relevance and modernity of his thinking.

In the context of the celebration of its Bicentenary, the Museo del Prado is presenting Sofonisba Anguissola and Lavinia Fontana. A tale of two women painters, an exhibition which for the first time brings together the key works by two of the most notable women painters of the second half of the 16th century.

Featuring a total of 65 works, including 56 paintings, loaned from more than 20 European and American collections, the Museo del Prado is presenting a survey of the careers of these two painters, who achieved fame and renown among their contemporaries but whose artistic personalities became obscured over time.

Among the events organised to celebrate its Bicentenary, the Museo del Prado is presenting The master of paper. Spanish drawing books of the 17th to 19th centuries. The exhibition offers a reflection on the use of drawing books as an essential teaching tool for learning to draw and their evolution in Europe, including Spain.

Featuring more than 100 examples, the majority from the Prado’s own Library - which is one of the most important in this field thanks to the acquisition of Juan Bordes’s collection of drawing books in addition to the examples from the Madrazo and Cervelló libraries and other individual acquisitions - the exhibition offers a survey of these repertoires of prints based on the human figure which revolutionised the system of teaching drawing in artists’ workshops and Fine Arts academies as well as for amateurs at home.

Thanks to sponsorship by Telefónica, the Museo del Prado is offering an expanded reading resource that adds historical context to the works and artists present in its collection from the 12th to the 19th centuries, thus enriching the Museum’s knowledge graph with other online sources such as Wikidata and Wikipedia.

The works and artists in the Museum will also be shown in the form of a multi-layered Timeline that can be personalised by users and which includes, for example, events taking place at the time Velázquez was painting Las Meninas, philosophers and scientists who were contemporaries of Goya or the wars that took place during Rubens’s lifetime.

La Cátedra del Prado invita a profesionales de reconocido prestigio a desarrollar, aportando sus valiosos conocimientos y experiencias, un proyecto propio relacionado estrechamente con las colecciones del Prado, los artistas en él representados o la historia misma del Museo. Consta de cuatro conferencias destinadas tanto a un público especializado como a un público general, y de cuatro seminarios en los que participa un escogido grupo de 20 becarios previamente seleccionados. Las conferencias de la Cátedra se recogen luego en una publicación editada por el Museo Nacional del Prado. La Cátedra del Prado está patrocinada por el Consejo General del Notariado y su titular en 2019 es el escritor Antonio Muñoz Molina.

Por primera vez y con motivo del Bicentenario, la Cátedra del Museo del Prado será una actividad gratuita para todos los asistentes.

Desde el 30 de octubre, en la sala 66 del edificio Villanueva, el visitante del Museo del Prado podrá disfrutar de La última comunión de san José de Calasanz, la pintura religiosa de Goya más evocadora que fue pintada el mismo año de la inauguración del Museo del Prado para la iglesia de San Antón del colegio de las Escuelas Pías de Madrid.

Este extraordinario préstamo, propiedad de la Orden de las Escuelas Pías de la provincia de Betania, se inscribe en el programa ‘La obra invitada’, una actividad patrocinada por la Fundación Amigos del Museo del Prado desde 2010 para enriquecer la visita al Museo y establecer un término de comparación que permita reflexionar sobre las propias pinturas del Prado.

This exhibition project will recreate the original aspect of Room 39, known as Their Majesties’ Retiring Room. First opened in 1828, it was intended as a portrait gallery of the Bourbon Dynasty. The images on display were accompanied by still lifes, floral compositions and landscapes and by other paintings that depict events from the reigns of Charles III and Ferdinand VII. This installation will recreate the hanging of the paintings at different heights and will include some of the furnishings made for this space, including Ferdinand VII’s toilet.

Entre las recientes donaciones de pinturas del siglo XIX al Museo del Prado, la de Hans Rudolf Gerstenmaier es singular no solo por su número, once obras, sino también por su concentración en el arte de los últimos años del siglo XIX y principios del XX, uno de los núcleos principales de sus amplias colecciones y la sección final de las del Prado.

Con esta donación, que se expone en la sala 60 del edificio Villanueva hasta el 12 de enero de 2020, se incorporan al Prado pintores como Hermen Anglada-Camarasa, Eduardo Chicharro, Ignacio Zuloaga y Joaquín Mir, que enriquecen el final de las colecciones de pintura española del Museo, donde ya están representados Sorolla y Beruete, sus estrictos contemporáneos.