CANAL PRADO

Trailer. Documentary series: The Female Perspective

The Female Perspective: Artistic Patrons of the Collections

The Female Perspective: Mary of Hungary

The Female Perspective: Isabel Clara Eugenia

The Female Perspective: Elisabeth of Bourbon

The Female Perspective: Christina of Sweden

The Female Perspective: Mariana of Austria

The Female Perspective: Maria Anna of Neuburg

The Female Perspective. Isabella Farnese

The Return of a Stolen Murillo

The Mark of Isabel Farnese on the Museo del Prado

Conversation with Diana Larrea, multidisciplinary visual artist

Panel III: Individual cases of women artists active in nineteenth-century Spain

More than a “little job” for women: Mrs Fritz and the first women photographers in Spain

Another kind of artist: the path to professionalisation

Panel II: Institutions and the various contexts in which women’s struggles were articulated

Women artists and cultural journals: utopias and realities

Women as equal to men: surprise, fear and the seduction of a male gaze

Visual culture and the representation of women in the imaginary of modernity

Panel I: Underlying ideological issues shaping nineteenth-century culture in relation to women

Where are women hung in museums?

Closing conference: Who said the commissioner of Bosch’s so-calledGarden of Delights was a man?

Round table: Agency and artistic reception. The exchange of works and promotion of artists

The women who made history at the Prado

Women of the Royal Houses (1451–1633): protagonists in the Museo del Prado

"Images of devotion and exempla: from public worship to private devotion” and discussion on the itineraries The Female Perspective at the Prado

Strategies for making female artistic patronage visible: from theory to practice (Spanish)

Strategies for visualising female artistic promotion: From theory to practice (VO)

Political models and iconographic strategies in the creation of the image of female power

Taxonomies of women's patronage in Early Modern Italy (VO)

Taxonomies of female patronage in early modern Italy (Spanish)

Documentary sources for the study of female artistic patronage in the Early Modern period: taking stock and proposing new research perspectives (Spanish)

Introduction to the symposium. Women of the Royal Houses (1451–1633) and the formation of the Museo del Prado’s collections

Mary of Hungary: artistic intuition and political propaganda in the service of the Hispanic Monarchy

Isabella Clara Eugenia: artistic intuition and political propaganda in the service of the Hispanic Monarchy

Documentary sources for the study of women’s art patronage in the Early Modern Age (VO)

The legacy of Carmen Sánchez in the Museum’s collections

The Carmen Sánchez Bequest. The Ultimate Lesson

Invited: restorations for an exhibition

Arte incómodo: "The First Kiss" by Salvador Viniegra (1891) | Uninvited Guests

"Arte incómodo": "Female Nude", 1895, Ignacio Pinazo Camarlench. “Uninvited Guests"

Arte incómodo: "The Carlist Painter and his Family" by Domínguez Bécquer and "Woman Painting by the Sea" by Palmaroli | Uninvited Guests

"Arte incómodo": "The Holy Family with a Little Bird" (copy of Murillo), 1848, Isabella II, Queen of Spain | “Uninvited Guests"

"Arte incómodo": "The Slave Girl”, c. 1886 Antonio María Fabrés y Costa | “Uninvited Guests"

Arte incómodo: "Joaquina Serrano Painting in Espalter’s Studio" by J. Espalter and "A Woman of Salamanca" by J. Serrano | Uninvited Guests

"Arte incómodo": "María Hahn, the Painter’s Wife", 1901, Raimundo de Madrazo. “Uninvited Guests"

"Arte incómodo": "A Slave for Sale”, c. 1897, José Jiménez Aranda “Uninvited Guests"

Arte incómodo: "Prince Alfonso as a Hunter", by Cécile Ferrère (1869) | Uninvited Guests

"Arte incómodo": "Josefa López, Wife of the Artist", 1837, José Gutiérrez de la Vega. “Uninvited Guests"

"Arte incómodo": "The Rebel", c. 1914 Antonio Fillol Granell. “Uninvited Guests"

Arte incómodo: "After the Bath (Female Nude)" by Raimundo de Madrazo (Ca. 1895)

"Arte incómodo": “Quilt and hangings for a state bed”, c. 1860-90. Unknown authorship

"Arte incómodo" series. Some artworks in the exhibition "Uninvited Guests".

“Spanish Women Painters during the Second Republic” by Patricia Mayayo

“Rosa Bonheur, Woman and Free Artist” by Encina Villanueva Lorenzana

“Painting Brothels between Modernity and the Avant-Garde” by Javier Pérez Rojas

“Queens and Women Painter-Collectors in Nineteenth-Century Spain” by Amaya Alzaga

“Revisiting the Canon and Museums” by Estrella de Diego

Discovering the Collection: “Portrait of a Seated Woman”, by Antonio Moro

The Eternally Forgotten

The Freedoms of Lavinia Fontana

Debate and conclusions "A Tale of Two Women Painters: Sofonisba Anguissola and Lavinia Fontana"

Do Great Women Artists Exist, or Not Yet?

Are there still any great women artists or not?

Making Women’s Art Visible: Thirty Years of Exhibitions on Women Artists

Making female art visible: Thirty years of exhibitions on women artists

Lavinia Fontana and the limits of fame

Lavinia Fontana and the Limits of Fame

Debate “A Tale of Two Women Painters: Sofonisba and Lavinia” (morning of 28 January)

Mars and Venus, and the Mythological Painting of Lavinia Fontana

Lavinia Fontana, Portrait Painter of Bologna

Bologna in the Time of Lavinia Fontana

Sofonisba and Portraiture at the Court of Philip II: A Technical Study

Debate “A Tale of Two Women Painters: Sofonisba and Lavinia” (afternoon of 27 January)

Between Sofonisba and Sánchez Coello: The Other Portrait Painters at the Court of Philip II

Being a Lady at the Habsburg Court

Amilcaris filia seipsam fecit. Sofonisba Anguissola: An Identity in the Making

Debate “A Tale of Two Women Painters: Sofonisba and Lavinia” (morning of 27 January)