In relation to the news item recently published in El País newspaper with the headline “The Museo del Prado unaware of the location of 885 works”, and in response to the queries and questions which the Museum has subsequently received from other media, the Museo del Prado would like to clarify that the information published in El País has been known for more than 30 years. The only new element presented in the audit undertaken by the Tribunal de Cuentas in 2012 is the that fact 41 works have been located, the whereabouts of which had been unknown since 1978 when the first report by the Fiscalía General de Reino was published on the situation of works from the collection of the Museo del Prado on deposit with other institutions. The Tribunal de Cuentas’s recent recommendation to continue looking for the works in question has in fact been repeated in all audits undertaken since 1978.

Most of the missing works were added to the Prado’s inventories at the time when the



The exhibition features a series of 18 photographic portraits taken in the 1980s by Alberto Schommer, a recent recipient of the National Photography Prize, together with a selection of 13 portraits from the Museum’s own collection painted by Spanish artists between the 16th and the early 20th century.



The Prado Museum and ”la Caixa” Foundation present The Captive Beauty. Small Treasures at the Prado Museum, the second major exhibition based on the collections of the Madrid museum to be hosted at CaixaForum Barcelona following the successful presentation of Goya. Light and Shade in 2012. This new project, conceived as a prolongation of the exhibition that opened at the Prado Museum itself just a year ago, showcases the finest and widest selection of works from the Museum’s superb collections ever to be presented outside Madrid. Featuring exclusively small-format works, the show includes 135 masterpieces that enable the visitor to enjoy the complete “Prado experience”, embracing all the schools and the entire chronology that this most illustrious gallery encompasses, from the late-2nd century, with the sculpture Athena Parthenos, to Goya and the 19th century with Fortuny. Over more than five months, then, the exhibition will give visitors the chance, not only to



In conjunction with the 400th anniversary of the death of El Greco, the Museo Nacional del Prado, Accíon Cultural Española (AC/E) and Fundación BBVA are presenting El Greco and Modern Painting. This is the first exhibition to offer a comprehensive analysis of the artist’s influence on the development of modern painting, with loans from around 70 institutions and private collections in Spain and elsewhere. A group of twenty-six works by El Greco (of which only seven were to be seen in El Griego de Toledo, which closed recently) are shown alongside fifty-seven paintings and twenty-three drawings and prints by artists including Manet, Cézanne, Picasso, Chagall, Modigliani, Kokoschka, Pollock and Saura. Together, these one hundred and five works, in addition to twelve books and a postcard, reveal how El Greco’s influence was particularly important for the evolution of painting in the last third of the 19th century and much of the 20th century.



This April, the Museo del Prado, the Biblioteca Nacional de España and Fundación El Greco 2014 will be presenting the exhibition El Greco’s Library. Its aim is to reconstruct the theoretical and literary roots of El Greco’s art through 39 books, four of which belonged to him, that have been identified from two inventories compiled by the artist’s son Jorge Manuel in 1614 and 1621. Notable among them is a copy of Vitruvius’s treatise on architecture (from the BNE), and another of Giorgio Vasari’s Lives of the most excellent Painters, Sculptors and Architects. Both were copiously annotated by El Greco with comments that reveal his ideas on architecture and above all on painting. Also on display will be a copy of Xenophon’s Works and one of Appian’s Civil Wars, both of which were represented in his library, and one of Sebastiano Serlio’s architectural treatise with annotations that have on occasions been attributed to the artist. The exhibition is



From 25 March until 29 June the Museo del Prado is presenting Rubens. The Triumph of the Eucharist, an exhibition featuring the six panels from this series in the Museum’s collection following their recent restoration. The Eucharist series was one of the most important commissions received by the artist, in which the panels on The Triumph of the Church and The Victory of Truth over Heresy are particularly notable. The exhibition also includes four of the tapestries woven from these designs, which belong to Patrimonio Nacional. The exhibition will enable visitors to appreciate the complex and painstaking process behind the restoration of this unique group of works, initiated in 2011 with the support of Fundación Iberdrola, which sponsors the Museum’s Restoration Programme, along with a grant from the Getty Foundation as part of its Panel Paintings Initiative. The initiative seeks to train the next generation of conservators of old master paintings on



With the app Second Canvas Museo del Prado, a cutting-edge multi-device tool, the Prado is the world’s first museum to offer a new way to browse and discover in high definition the masterpieces in its Permanent Collection, through the app Second Canvas Museo del Prado, an innovative multi-device tool. This app is the first to be developed with Madpixel’s Second Canvas platform. It tells the stories hidden within each painting through extra high-resolution details, x-radiographs and infra-red reflectographs. It also allows these unexpected details and others to be selected by the user and shared on the social networks. In addition, Second Canvas Museo del Prado allows users to connect their iPhones or iPads to a TV or to a film projector, making it a tool that can be easily be applied to educational purposes.



The Prado is presenting The Virgin and Child with Angels, a masterpiece by the Early Renaissance French artist Jean Fouquet. It can be seen until 25 May in Room 25. This is the right-hand panel of the famous “Melun Diptych, one of the rare surviving examples of 15th-century French painting. The panel is now on display at the Prado alongside The Agony in the Garden with the Donor Louis I d’Orléans (1405-1408), recently acquired by the Museum. The loan of Fouquet’s work, from the Royal Museum of Fine Arts in Antwerp, forms part of the Prado’s “Invited Work” programme, which has been sponsored since 2010 by the Fundación Amigos del Museo del Prado.

The Virgin and Child with Angels, Jean Fouquet . Oil on panel, 94.5 x 85.5cm, c. 1452, Antwerp, Koninklijk Museum voor Schone Kunsten


The Museo del Prado is presenting The “Furias”. From Titian to Ribera. Sponsored by the Fundación Amigos del Museo del Prado, the exhibition analyses the rise, evolution and decline of the subject of the “Furias”, from the time of its appearance in European art in the mid-16th century to the late 17th century. The exhibition includes 28 works, including a drawing by Michelangelo loaned from the Royal Collection in London and paintings by Rubens, Rombouts, Goltzius, Assereto, Rosa and Langetti. Also on display are the Prado’s versions of the “Furias” by Titian and Ribera and its Tityus enchained by Gregorio Martínez, acquired in 2011. Together, these works illustrate the success enjoyed for 120 years by the subject of the “Furias” at a time when rulers used them as political allegories and painters saw them as an ideal vehicle for illustrating supreme mastery in art, both in a formal sense, given that they are huge, nude figures in improbable foreshortenings, and in expressive



Until 30 March, the Museo del Prado and the Museu Nacional de Arte Antiga will be presenting in Lisbon the exhibition Rubens, Brueghel, Lorrain. Northern Landscape from the Museo del Prado, comprising 57 works by the leading masters of the genre from the Prado’s collection. The Prado is thus continuing with its programme of temporary exhibitions outside the Museum in Madrid, travelling to neighbouring Portugal for the first time in order to bring its holdings to the Portuguese public.

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