From 5 October 2011 to 8 January 2012 The Prado by Francesco Jodice will present visitors with a visual testimony to the presence of those who, like them, have 'inhabited' its galleries. Through the disinterested participation of more than 400 visitors from all over the world, Francesco Jodice (born Naples, 1967) has created two works – a video-installation and a five-minute film – that will be shown at the Prado in a tribute to its visitors. The project by this highly regarded Italian artist has been made possible through the generous sponsorship of ACCIONA, a Benefactor Member of the Museo del Prado since 2007.

From right to left: Pío Cabanillas Acciona DirCom, Francesco Jodice and Miguel Zugaza Museo del Prado Director


The victorious Hannibal, which belongs to the Fundación Selgas-Fagalde, will be on deposit with the Prado for six years, as established in the agreement signed by the two institutions today. As a result, the Museum will be able to compensate, at least temporarily, for one of the gaps in its own collection of the artist’s works, which is the most important in the world. The painting will be on display in Room 35 from tomorrow, together with various related sketches in the artist’s Italian Notebook

The victorious Hannibal,  Francisco de Goya


Acrobat with a Ball will be on display for three months (16 September to 18 December 2011) within the Prado’s 'Invited Work' programme, which is sponsored by the Fundación Amigos del Museo and also includes Caravaggio’s Entombment loaned from the Vatican Museums and on display until this Sunday.

De izda. a dcha.: Miguel Zugaza, director del Museo del Prado; Carlos Zurita, presidente de la Fundación Amigos del Museo del Prado; Juan José Herrera de la Muela, embajador especial para el Año Dual España-Rusia 2011; Plácido Arango, presidente del Real Patronato del Museo del Prado; Mercedes de Palacio, subsecretaria del Ministerio de Cultura; Irina Antónova, directora del Museo Estatal de Bellas Artes Pushkin (Moscú); , Aleksandr Kuznetsov, embajador de Rusia en España; y Javier Barón, jefe del Departamento de Pintura del siglo XIX del Museo del Prado y comisario de la exhibición de la obra en este museo.


To coincide with the celebration of World Youth Day and with Pope Benedict XVI’s visit to Madrid, the Museo del Prado will be displaying The Entombment of Christ, a major masterpiece by Caravaggio loaned from the Vatican Museums. For the first time in Spain, this monumental canvas will be exhibited for two months at the Prado thanks to sponsorship from the Fundación Amigos del Museo del Prado and as part of the “Invited Work” exhibition programme. This exceptional loan is also part of the thematic tour entitled “The Word made Image. Paintings of Christ in the Museo del Prado” that the Museum has devised in conjunction with World Youth Day and which includes a further thirteen paintings.

Michelangelo Merisi da Caravaggio. The Entombment of Christ, 1602-1604 Oil on canvas, 306 x 214cm Vatican City, the Vatican Museums


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

Landscape with the Funeral of Phocion, Nicolas Poussin. Oil on canvas, 117 x 178 cm. 1648. United Kingdom, prívate collection, deposited in Cardiff, Amgueddfa Cymru–National Museum Wales


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 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

Mars. Diego Velázquez. Oil on canvas, 179 x 95 cm. c. 1638. Madrid, Museo Nacional del Prado


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.

San Sebastián asistido por las santas mujeres José de Ribera. Óleo sobre lienzo, 180,3 x 231,6 cm h. 1619 - 1622. Bilbao, Museo de Bellas Artes


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

Mariano Fortuny y Marsal (1838-1874), Menippus, copy of Velázquez,  1866. Watercolour on paper, 620 x 470 mm. Ramón de Errazu Bequest 1904 [D-7416]
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