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There was one person at the time, Alfonso Pérez Sanchez, whom the Board of Trustees commissioned in the 1960’s with the task of investigating these works deposited outside the Museum. He created a series of records, although these weren’t very complete either. This task was commissioned, first of all, because the Museum of Modern Art had yet to hit us, since it wasn’t until 1971 when the overwhelming merger occurred. The documentation at the Museo del Prado was much more standardised and much simpler than that of the Modern Art Museum, which was much more chaotic. And second, it was because the Prado was organising an exhibition on Italian 17th century painting, which meant much more interest was shown in the deposited works, especially the deposits of Italian paintings, mainly in case the works would need to be recovered to form part of the exhibition or would be reincorporated into the collection at the Museo del Prado permanently. And later on, after the State Prosecutor’s inquiry, the working procedure was as I described before. And, quite frankly, after the huge effort entailed by the inquiry, everything has gone as smoothly as silk ever since.
Conservator of the Museo del Prado since 1982. She began collaborating with the Museum in the 1970's, sorting documents and photographic archives. She documents and visits the depository institutions of works of the Museum, giving rise to the collection known as "Prado disperso" (Scattered Prado).
Interview recorded on April 08, 2018
