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The restoration of the predella of The Annunciation, by Fra Angelico
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The restoration of the predella of The Annunciation, by Fra Angelico

The Annunciation was restored for the exhibition Fra Angelico and the Rise of the Florentine Renaissance, held at the Museo del Prado from May to September 2019. Also included in that exhibition was the predella from the altarpiece, depicting the Life of the Virgin in five scenes.  The restoration of the predella, however, was not carried out until after the exhibition ended. It was an extre

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Preview: Restoration of "The Countess of Chinchón", by Francisco de Goya (1800)
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Preview: Restoration of "The Countess of Chinchón", by Francisco de Goya (1800)

The Countess of Chinchón is an oil painting on canvas and is in an exceptionally good state of preservation. Its most recent restoration began in March 2020 but little is known about previous restorations. In 1988 and 1996 small areas of the paint surface were consolidated in the Museum’s restoration studio prior to the work going on display at the Prado. Following its acquisition by

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"The Snowstorm or Winter" by Francisco de Goya
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"The Snowstorm or Winter" by Francisco de Goya

Elisa Mora, paintings restorer at the Museo del Prado, comment on the restoration process of The Snowstorm or Winter (1786) by Francisco de Goya. English and Spanish subtitles available.

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TECHNICAL STUDY: The Snowstorm or Winter. Goya y Lucientes, Francisco de (1786)
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TECHNICAL STUDY: The Snowstorm or Winter. Goya y Lucientes, Francisco de (1786)

Elisa Mora, restorer at the Museo del Prado, Jaime García-Máiquez and Laura Alba researchers in the Museum’s Technical Documentation Section comments the technical study of the The Snowstorm or Winter. Subtitles in English and Spanish are available.

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The restoration of “The Annunciation” by Fra Angelico commented by Ana González Mozo
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The restoration of “The Annunciation” by Fra Angelico commented by Ana González Mozo

The centerpiece of the exhibition, “The Annunciation”, was painted by Fra Angelico in the mid-1420s for the Convent of San Domenico in Fiesole, and is considered the first Florentine altarpiece in the Renaissance style, using perspective to organize space and forsaking Gothic archways in favor of more rectangular shapes. The Prado’s “The Annunciation” is today conside

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Mary Tudor, Queen of England, Second Wife of Philip II
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Mary Tudor, Queen of England, Second Wife of Philip II

María Antonia López Asiaín, Museo del Prado restorer, comments on the restoration process of the painting "Mary Tudor, Queen of England, Second Wife of Philip II" (1554) by Anthonis Mor. Mor represented Mary Tudor in a tense and somewhat rigid pose. He did not improve her rather plain features in line with the decorum appropriate to her rank3 but nonetheless endowe

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The restoration of “The Annunciation” by Fra Angelico
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The restoration of “The Annunciation” by Fra Angelico

The restoration of “The Annunciation” by Fra Angelico commented by Almudena Sánchez The generous collaboration of Friends of Florence and American Friends of the Prado Museum, with the Prado Museum has facilitated the restoration of “The Annunciation” and other works not held at the Prado Museum and to be included in the major exhibition opening on May 28th: &ldquo

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The restoration of “The Annunciation” by Fra Angelico
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The restoration of “The Annunciation” by Fra Angelico

The restoration of “The Annunciation” by Fra Angelico commented by Gemma García Torres. The generous collaboration of Friends of Florence and American Friends of the Prado Museum, with the Prado Museum has facilitated the restoration of “The Annunciation” and other works not held at the Prado Museum and to be included in the major exhibition opening on May 28th: &l

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The Fountain of Grace
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The Fountain of Grace

Commented by María Antonia López de Asiaín. This painting is made in three planes. At the top, Christ on the throne between the Virgin and Saint John the Evangelist with the Lamb at his feet, from which a spring flows. In the middle plane are a heavenly choir with its musicians. On the left side of the bottom plane are kings, noblemen, popes and theologians, while the right si

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The Dauphin's Treasure
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The Dauphin's Treasure

This collection, which entered the Museo del Prado in 1839, is now exhibited in its entirety in the so-called “Toro Norte”, located in the central section of the second floor of the North or Goya Wing in the Villanueva Building. The new room is a circular space with a continuous curved case measuring 40 metres long. The room is equipped with the most advanced conservation technology,

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The restoration of "The Triumph of Death" by Pieter Bruegel “the Elder"
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The restoration of "The Triumph of Death" by Pieter Bruegel “the Elder"

María Antonia López Asiaín, Museo del Prado restorer, comments on the restoration process of the painting "The Triumph of Death" (1562 - 1563) by Pieter Bruegel “the Elder".  This masterpiece by one of the most important painters in European art has recently been the subject of a major restoration sponsored by Fundación Iberdrola España

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The restoration of "The Triumph of Death" by Pieter Bruegel “the Elder"
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The restoration of "The Triumph of Death" by Pieter Bruegel “the Elder"

This masterpiece by one of the most important painters in European art has recently been the subject of a major restoration sponsored by Fundación Iberdrola España, a Protector Sponsor of the Museo del Prado’s Restoration Programme. The painting has now regained its original values, which had been affected by areas of repainting and coloured varnishes on the pictorial surface

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The restoration of: "The Virgin Dolorosa with her Hands apart"
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The restoration of: "The Virgin Dolorosa with her Hands apart"

Elisa Mora, paintings restorer at the Museo del Prado, comment on the restoration process of "The Virgin Dolorosa with her Hands apart" (1555) by Titian.

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Demetrius Poliorcetes. The restoration of a monumental Hellenistic bronze
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Demetrius Poliorcetes. The restoration of a monumental Hellenistic bronze

Exhibition Demetrius Poliorcetes. The restoration of a monumental Hellenistic bronze.

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The restoration of "Himeneo" by Jerónimo Suñol
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The restoration of "Himeneo" by Jerónimo Suñol

Sonia Tortajada, Museo del Prado sculpture restorer, comment on the restoration process of "Himeneo" (1866) by Jerónimo Suñol y Pujol.

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The restoration of "The Holy Family with a Little Bird" by Bartolomé Esteban Murillo
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The restoration of "The Holy Family with a Little Bird" by Bartolomé Esteban Murillo

María Álvarez-Garcillán, Museo del Prado restorer, comment on the restoration process of "The Holy Family with a Little Bird" (Ca. 1650) by Bartolomé Esteban Murillo.

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Goya's technique in the "Charles III in Hunting Dress"
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Goya's technique in the "Charles III in Hunting Dress"

Almudena Sánchez, Museo del Prado restorer, comments the painter´s technique in "Charles III in Hunting Dress" (Ca. 1786) by Francisco de Goya y Lucientes.

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The restoration of "Charles III in Hunting Dress" by Francisco de Goya.
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The restoration of "Charles III in Hunting Dress" by Francisco de Goya.

Almudena Sánchez, Museo del Prado restorer, comment on the restoration process of "Charles III in Hunting Dress" by Francisco de Goya.

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