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Boletín del Museo del Prado

General information

The Boletín del Museo del Prado is an annual publication that welcomes articles from scholars around the world. Since 1980, when it was first published, the Boletín del Museo del Prado has been one of the principle vehicles through which the Museum makes the results of its latest research into its own collections or related areas of art history available to the academic community and the general public. Over the years, articles have been published by the Prado’s directors, curators and restorers, with others by contributors from outside institutions, both in Spain and abroad.

Launched by José Manuel Pita Andrade, the then Director of the Museum, the Boletín del Museo del Prado has been a platform for the dissemination of numerous articles of scholarly significance. Its contents focus on the Museum’s collections and history through articles that present new attributions (for example, J. Urrea, Goya en Italia. A propósito de Aníbal, N. Turner and P. Joannides, Some drawings by Michelangelo and his circle in the Prado) or which contribute new information on already known works (L. Ruiz, El Retablo de la Anunciación de Juan Corrrea de Vivar), on key artists within the history of Spanish art and on little researched groups of works or collections (R. Bru, Ukiyo-e en Madrid: las estampas japonesas). In addition, the Boletín publishes articles that present the results of restoration projects and scientific studies (L. Alba, El Maestro de Flemalle en el Museo Nacional del Prado and M. Mena, La restauración de Las Meninas de Velázquez) and essays on the history of the Museum and its building (J. Portús, La Sala de las Meninas en el Museo del Prado). In its “Prado disperso” section, the Boletín also enables readers to learn about works in the Museum’s collection that are on deposit to other institutions.

Back issues of the Boletín (except the last published issue) can be read and downloaded from this website (back issues). The Boletín del Museo del Prado is published thanks to the sponsorship of the Fundación Amigos del Museo del Prado. Copies can be purchased from the Museum’s shop or on

Authors wishing to publish in the Boletín can consult here the Instructions for presentation of texts, Style sheet and Good practice guidelines for the Boletín.

Submission and Style Guidelines

Manuscripts must be sent electronically to

For more information, please call (+34) 913 302 800 ext. 2834


Submissions must include, each in a separate file:

  • Main text (12-point Times New Roman type), with the title in the original language and in English (never the name of the author/s). All pages must be consecutively numbered and footnotes must appear at the bottom of each page.
  • Author information, including the date of submission, author/s name/s, contact information (address, email, telephone number), a short CV (80–100 words) and institutional affiliation. Both the CV and the email will appear next to the article in the Boletín. In order to guarantee the double-blind peer review process, the name of the author/s or the means to identify him/her/them must not appear anywhere else in the text or in the notes.
  • Abstract (100–120 word abstract for articles; 60–80 word abstract for short articles or notes) in Spanish or English and key words (3–6).
  • Illustration information, including a list of images and their captions.
  • Images (separately as .jpg or .tiff files) in low resolution, properly numbered and identified according to the list of captions (see above).
  • If the article is based on the presentation and transcription of an unpublished document, the author/s must provide the location of the original document and a photocopy (if possible) to facilitate the editing process.
  • A Declaration of Authorship.


Texts may be sent to the Editorial Board at any time throughout the year. Articles must be original and must not have been published previously, not even partially or in another language. Papers that require substantial editorial work, such as articles in draft form, will be returned to their authors.

Types of Texts

Manuscripts may be written in Spanish, English, Italian, French or German.

  • Articles: up to 8,000 words (notes included in the word count) with 8 illustrations approximately.
  • Shorter notices: 1,000–3,000 words (notes included in the word count) with 2–5 illustrations approximately.

In the case of texts with larger word counts, the Editorial Board will ask authors to adjust the number of words to the established limit.

The Editorial Board may modify the number of images illustrating a text at its discretion.


The Museo del Prado will obtain quality photographs to illustrate the articles it accepts for publication, as well as the necessary permission to reproduce them in the bulletin. The author/s must provide low resolution images of proposed illustrations (maximum number specified above), consecutively numbered using Roman numerals and properly identified according to the list of captions included in the submission. The position in the text of each table and figure should be clearly indicated in the manuscript (i.e.: fig. 1). Captions must be written in accordance with the instructions in the Boletín Style Sheet.

Review Process

  • The Editorial Board will acknowledge receipt of a manuscript within 30 days of its arrival.
  • The Editorial Board will not accept manuscripts that require excessive editorial input such as drafts, abstracts and unfinished articles, or texts with incomplete diagrams or appendices.
  • First review (Editor in Chief & Editorial Assistant): Articles that do not meet the criteria outlined above – in terms of content and style – will be returned to their authors.
  • Blind peer-review: After being considered by the Editor in Chief and the Editorial Board, the papers submitted for publication will be entered into a double-blind peer review system (maintaining the anonymity of both the authors and the reviewers) and will be read by at least two peers. The Editorial Board will then decide whether it accepts a manuscript and, if so, in which issue it will appear. Authors will be informed of this decision approximately within 6 months.

Proofreading and Corrections

  • Authors will be expected to deal with editors’ comments and queries (in a Word document) promptly.
  • Authors will receive a galley proof or electronic copy of the text layout to detect and correct errors. Corrections must be returned within the established timetable. At this point substantial changes in content, style and layout will not be allowed.
Editor in Chief
Andrés Úbeda de los Cobos
Editorial Assistant
Elena Cenalmor Bruquetas
Redacción y administración
Museo Nacional del Prado
Centro de Estudios
Casón del Buen Retiro
c/ Felipe IV, s/n
28014 Madrid
Editorial Board
Leticia Azcue (Madrid, Museo Nacional del Prado)
Javier Barón (Madrid, Museo Nacional del Prado)
Rocío Bruquetas (Madrid, Instituto del Patrimonio Cultural de España)
Lorne Campbell (The National Gallery, Londres)
Rosario Coppel (Madrid, Investigadora independiente)
Jill Dunkerton (Londres, The National Gallery)
Chiara Franceschini (Londres, University College)
Friso Lammertse (Róterdam, Museum Boijmans Van Beuningen)
José M. Matilla (Madrid, Museo Nacional del Prado)
Manuela Mena (Madrid, Museo Nacional del Prado)
Joan Molina (Gerona, Universitat de Girona)
Felipe Pereda (Cambridge, Massachusetts, Harvard University)
Javier Portús (Madrid, Museo Nacional del Prado)
Carlos Reyero (Madrid, Universidad Autónoma de Madrid)
Carl B. Strehlke (Florencia, Villa I Tatti, Harvard University)
Alejandro Vergara (Madrid, Museo Nacional del Prado)
Scientific Board
Bonaventura Bassegoda (Barcelona, Universidad Autónoma de Barcelona)
Roberto Contini (Berlín, Gemäldegalerie)
Sir John H. Elliott (Oxford, Oxford University)
Gabriele Finaldi (Londres, The National Gallery)
Peter Humfrey (Fife, Escocia, University of St Andrews)
Philippe de Montebello (Nueva York, The Hispanic Society of America)
Teresa Posada (Madrid, Museo Nacional del Prado)
Leticia Ruiz (Madrid, Museo Nacional del Prado)
Stephan Schröder (Madrid, Museo Nacional del Prado)
Salvatore Settis (Pisa, Scuola Normale Superiore)
Pilar Silva (Madrid, investigadora independiente)
Larry Silver (Filadelfia, University of Pennsylvania)
Aidan Weston-Lewis (Edimburgo, National Galleries of Scotland)