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1983-1991. Alfonso Pérez Sánchez
Manuela Mena Marqués, Head of the Department of Conservation of 18th Century Painting and Goya, 1978-20191983-1991. Alfonso Pérez Sánchez
Manuela Mena Marqués, Head of the Department of Conservation of 18th Century Painting and Goya, 1978-2019
He really was the man we all thought he would be, both outside and inside the Museo del Prado. He had to be the Director of the Museo del Prado because of his ability, because of his writings, because of his books, because of his know-how, and because of his knowledge of the Prado. They said he’d entered the Prado as “a boy in every sense,” like those youngsters who join a bank as a bellboy and end up becoming the Manager. Well that’s what happened with Pérez Sánchez, who also held a number of pre-war ideas. His mother had been a teacher during the Republic, which meant that she’d been laid off after the war; you could say that this also influenced his personality and made him see things differently. He’d travelled all over the world and all of the museum directors and historians abroad knew him. He was like that.
His time at the Museo del Prado was characterised by the incredible idea of endowing the Museum with its own independence, granting it administrative independence. He achieved the first Statute of Independence of the Museo del Prado, which was later improved upon. He managed to achieve this with his determination and the understanding of certain ministers of the period. And he was capable of leaving the Museum because of his political ideas. He was perfectly aware that what he was saying in those declarations of a political nature could well entail his dismissal as Director. It was a very difficult decision for him to speak out, but he took the decision in front of me. I also signed the letter, although my signature wasn’t enough for me to be sacked just like that; they tried, but it wouldn’t have been legal. But in his case it was legal and they removed him.
He was very special. He was enormously intelligent and had an especially dynamic sense about him, but he also possessed a Germanic seriousness, according to that typically Germanic idea we have. And for me it was extremely important to come into contact with someone like that.
She came to the Museo del Prado with a grant from the Juan March Foundation. In 1981, she secured the position of Conservator of Drawings and Prints of the Museo del Prado. She was later appointed Deputy Director of Conservation and Research (1981-1996), Member of the Royal Board of Trustees (1991-1996), and Head of the Department of Conservation of 18th Century Painting and Goya (2001-2018).
Interview recorded on June 28, 2018
Interview index
10 / 20-
Initial Contact with the Museum -
Diego Angulo: Great human qualities and intellectual elegance -
Changing things from within -
1979. The energy of a whole country -
1981. My promotion to Assistant Director -
1981-1996. My responsibilities as Assistant Director -
Sánchez Cantón: a key figure -
1978. Xavier de Salas -
1978-1981. Don José Manuel Pita Andrade -
1983-1991. Alfonso Pérez Sánchez -
1996-2001. Fernando Checa Cremades -
2002-2017. Miguel Zugaza -
Great Artists and Privileged Minds -
1990. Francis Bacon -
David Hockney and the Tapestry Cartoons -
The responsibility of curators -
The future of public museums -
The Triumph of David by Nicolas Poussin -
What the Prado gives us -
Learning to distance oneself from the Museum
- Included in themes
- The Director Alfonso Emilio Pérez Sánchez
- RDF
- RDF
Management
Miguel Zugaza Miranda
Museum Director, 2002-2017
Gabriele Finaldi
Assistant Director of Conservation and Research, 2002-2015
Francisco Calvo Serraller
Museum Director, 1993-1994
Felipe Garín Llombart
Museum Director, 1991-1993
Fernando Checa Cremades
Museum Director, 1996-2001