Room 60, the “19th-century collections presentation gallery”, was specifically designed to offer rotating displays of works from that century selected for their outstanding quality and interest from among the Museum’s extensive holdings. Now on display is a group of eight portraits of children from the reign of Isabel II, of which particularly notable is the portrait of Raimundo Roberto and Fernando José, the sons of HRH the Infanta Josefa Fernanda de Borbón by Antonio María Esquivel, recently acquired by the Museum and a unique work within Spanish Romantic painting.
Curator:Javier BarónChief Curator of 19th-century Painting
In 2015 Plácido Arango, former president of the Museo del Prado’s Royal Board of Trustees, made an outstanding donation to the Museum of works by Spanish artists or ones closely connected to the country, retaining the right to their lifetime use. Even with this condition, four are now habitually on display at the Museum, while from 4 October visitors will have the opportunity to appreciate a new group of splendid Immaculate Conceptions by artists such as Francisco de Zurbarán, Mateo Cerezo and Juan de Valdés Leal.
Clara Peeters was a pioneer in the field of still life painting, and one of the few women painters active in Early Modern Europe. She worked in Antwerp, and her first dated painting is from 1607. Approximately forty paintings by her are known today.
The paintings of Clara Peeters are elegant and precise. They are also enigmatic. What did a porcelain vessel of the type that we see in these still lifes mean to someone around 1610? And an artichoke or a sea shell? The goal of this exhibition is to answer these questions, and to highlight the achievements of this little known but extraordinary artist.
The Museo del Prado is inviting visitors to reflect on the changing status of painting and the other arts with an exhibition largely although not entirely based on works associated with the royal collections and with Spanish art. A selection of more than 100 paintings, prints and sculptures dating from the start of the modern age to the late 19th century will allow for an overview of the principal ideas on images, art, artists and the public over the course of the centuries.
Structured into different sections, the exhibition will analyse issues such as the origins of artistic activity; religious and mythological accounts; the “magical” nature of images and their devotional function; the emergence of the idea of “art”; the relationship between pictorial and real space; the way in which artists have represented themselves or have reflected on their creative and working environment; and the fundamental concerns of art theory.
To coincide with the publication of the new catalogue raisónne of drawings by Jusepe de Ribera (1591-1652), co-published with Fundación Focus-Abengoa and the Meadows Museum in Dallas, the Museo del Prado in collaboration with the Meadows Museum is organising an exhibition on Ribera’s drawings to be shown at the two institutions.
Born in Valencia, Ribera was active for most of his career in Naples where he had a significant influence on the development of art in the 17th century. Despite being described as a Caravaggesque painter, in contrast to the apparent lack of drawings by Caravaggio, Ribera produced a notable corpus of graphic art and was very interested in the use of drawing as a fundamental part of an artist’s training. This exhibition aims to emphasise the variety of the artist’s drawings, his technical skill in the use of pen, ink and brush, and the originality of his subject matter: anatomical and figure studies, scenes of everyday life and episodes of torture and martyrdom.
The Museo del Prado is collaborating with the Real Academia Gallega de Bellas Artes and the Fundación Catedral de Santiago to present an exhibition on Master Mateo and his work for the cathedral of Santiago de Compostela.
For the first time, this selection of sculptures, normally housed in the Cathedral in Santiago and in various other institutions and collections, brings together works by this artist that were part of now lost groups or from parts of the cathedral that no longer exist, such as its medieval façade and the stone choir that occupied the nave.