The Prado has completed its presentation of the fascinating dialogue between Velázquez and the great Old Masters that articulates its new hanging
The Museo del Prado today presented one of the most important features within its plan to reorganize the collection, a project known as 'The Collection. The second extension'. This is the reopening of the Central Gallery on the main floor following its redesign and with significant changes to the arrangement of the works on display. With the completion of this phase of the 2009-2012 Collection Plan, initiated following the almost complete restoration and reordering of the ground floor, the Collection is now presented in a new manner on the Museum's two main floors, with Velázquez located at the heart of the two great traditions of European painting: the Italian and Flemish schools. To date, work on this project has meant that 25 more galleries have become available for display purposes, with 11 more to be added on the second floor by the completion of the project. Through the addition of these new spaces, an additional 300 works from the Museum's Permanent Collection can now be seen.
Featuring more than one hundred works, the exhibition ROME. Nature and the Ideal. Landscapes 1600-1650 opens at the Museo del Prado after its showing at the Grand Palais in Paris, thanks to the support of the Comunidad de Madrid. The exhibition is one of the Prado’s most ambitious projects to date and has involved the participation of more than 45 lenders with the aim of assembling the most important group of landscapes ever to be seen. For the first time this exhibition analyses the birth and development of the genre of landscape painting up to the period coinciding with the peak of its achievement. It includes the work of all the leading names in this field and is set within the context of the city of Rome at the height of its splendour. The result is a group of masterpieces that covers all the sub-genres and themes devised by these leading painters. Among the figures represented in the exhibition are Annibale Carracci, the father of landscape painting; Claude Lorrain and
Patrimonio Nacional and the Museo del Prado to collaborate on the study and restoration of The Crucifixion by Rogier van der Weyden
Patrimonio Nacional and the Museo del Prado today signed a collaborative agreement in which the Museum will restore The Crucifixion by Rogier van der Weyden. Work on this masterpiece of 15th-century Flemish painting, which is particularly closely linked to the history of Spain and its monarchy, will be undertaken as part of the Museum’s restoration programme, sponsored by Fundación Iberdrola
The Prado will be presenting in Australia a portrait of the Museum through the great masters in its collections
The Museo del Prado has entered into a collaborative agreement with Art Exhibitions Australia (AEA), a non-profit-making body responsible for the organisation of major exhibitions in Australian museums, and with the Queensland Art Gallery in Brisbane. As a result of this agreement, signed in the presence of Ángeles González Sinde, the Spanish Minister of Culture, the Prado will next year present the exhibition 'Portrait of Spain. Masterpieces from the Prado at the Queensland Art Gallery. The Prado' will thus be continuing with its programme of international exhibitions, for which it receives the special support of ACCIONA, a Benefactor Member of the Museum
The Museo del Prado presents The Young Ribera, a survey of Ribera’s activity during his period in Rome and in the years following his arrival in Naples in 1616. This is a period of Ribera’s career that was almost completely unknown until recently and one that is the subject of an extremely interesting debate among art historians. Featuring more thirty two works, the exhibition will allow for comparisons between the most important paintings currently considered to date from the period in question and will focus on their dating and role in the development of Roman Caravaggesque painting in the second and third decades of the 17th century. Among the works on display is The Raising of Lazarus, acquired by the Museo del Prado in 2001 and now considered to be one of the key reference points in the debate on Ribera’s early artistic activities.
Fortuny and the Splendour of Spanish Watercolours. A group of watercolours by Fortuny and his followers on temporary display at the Prado
A new temporary display at the Prado offers a selection of works from the Museum’s 19th-century collections, shown in the “collections presentation room”. This space has been designed to allow for changing displays of 19th-century works that are not normally exhibited to the public and which have been selected for their exceptional quality and interest. Taking advantage of this new gallery, which is located at the end of the 19th-century section, the Museum is now presenting a particularly fine group of watercolours by the great Catalan master Mariano Fortuny and his pupils and followers. Entitled Fortuny and the Splendour of Spanish Watercolours in the Prado, it features thirteen works by the best Spanish watercolourists of the 19th century, revealing the peak of technical perfection that they attained in this technique. The display offers an exceptional opportunity to see these works, given that they are not on permanent display due to the delicate materials of which they are
The Museo del Prado presents the exhibition Chardin, a comprehensive survey of the work of Jean Siméon Chardin (1699-1779). Chardin is one of the leading names in 18th-century French painting but has never been the subject of an exhibition in Spain, which only houses three of his paintings, all in the Museo Thyssen. After being shown at the Palazzo dei Diamante in Ferrara, the exhibition will be presented in Madrid thanks to the sponsorship of Fundación AXA which, as was the case with the Turner exhibition, has allowed for the presentation of a major exhibition on a painter who has not previously been the focus of one in Spain. It comprises 57 paintings by this great master of the still life and of genre painting, including some works not shown in the version of the exhibition seen in Italy.
Nero and Seneca by Eduardo Barrón “converse” in the Prado between the sculptures that the author catalogued and restored
The sculptural group by Eduardo Barrón, sculptor, painter, curator and restorer of the Prado Museum between 1892 and 1911, date of his decease, will be exhibited temporarily in a privileged location in the Museum, with the aim to show to the public the results of its delicate restoration, sponsored by the Iberdrola Foundation, “protector member” of the restoration programme of the Prado.
The Hermitage and the Prado will be exchanging an important selection of works from their collections, with the support of the State Society for Cultural Action.
The State Hermitage Museum, the Museo del Prado and the State Society for Cultural Action [Sociedad Estatal de Acción Cultural] today signed the collaborative agreements for the celebration of the exhibitions "The Prado in the Hermitage" and "The Hermitage in th Prado", to be shown this year in Saint Petersburg and Madrid respectively within the context of the bi-lateral Spain-Russia Year 2011. The signing was presided over by the Spanish Minister of Culture.
By the end of 2010 and for the third year running, the Museo del Prado had more than 2.7 million visitors, a figure first achieved following the opening of the Museum’s extension. In addition, in 2010 the Museum’s website received 4,335,265 visits, representing a rise of 10.4% on 2009.