The Prado is presenting Portrait of a Man, recently attributed to Velázquez

On the left: Keith Christiansen, Chairman of European Paintings, The Metropolitan Museum of Art, Nuria de Miguel, General Secretary of Fundación Amigos del Museo del Prado and Gabriele Finaldi, Associate Director of Curatorship and Research at the Museo Nacional del Prado

    Present in Spain for the first time, Portrait of a Man from the Metropolitan Museum of Art in New York, a work attributed to Velázquez in 2009 following its restoration, will be exhibited at the Museo del Prado for more than three months. The loan is in honour of Plácido Arango, President of the Royal Board of Trustees of the Museo del Prado from 2007 to 2012, and is part of the Museum’s “Invited Work” programme sponsored by the Fundación Amigos del Museo del Prado.

    Friday 19 October 2012

    On loan from the Metropolitan Museum of Art in New York, of which Plácido Arango is an honorary patron, Velázquez’s Portrait of a Man has arrived in Spain in honour of the President of the Museum’s Board of Trustees over the past five years.

    From today until 27 January 2013, and thanks to the sponsorship of the Fundación Amigos del Museo del Prado, Velázquez’s Portrait of a Man will be exhibited within the “Invited Work” programme that was launched in 2009 with the aim of enriching visitors’ understanding of the works in the Museum’s own collection. The Prado is offering the public the exceptional opportunity to see the painting now that it has been re-attributed to Velázquez, having been catalogued as a work by his circle since 1963.

    The portrait temporarily joins the Museum’s own collection of works by Velázquez and is on display in Room 9A alongside The Surrender of Breda, one his most important and celebrated compositions. The direct comparison now possible between the invited work and Velázquez’s great history painting will allow for an appreciation of the striking similarity between the sitter in the portrait and the anonymous soldier on the right of the Surrender, as noted by the American Hispanist Jonathan Brown in the course of his study of the sitter in the Metropolitan’s canvas.

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