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Meta-painting. A Journey to the Idea of Art

11/15/2016 - 2/19/2017

With Meta-painting, the Museo del Prado is offering a new approach to its collection in the latest in a series of exhibitions that began in 2010 with Rubens and continued with Captive Beauty (2013) and Goya in Madrid (2014). This series has aimed to offer visitors the chance to reflect on the Museum’s own collections and to look at its works in a new context which encourages different interpretations.

Meta-painting proposes a journey that begins with mythological and religious narratives on the origins of artistic activity at the dawn of the modern age and concludes in 1819, the year of the Prado’s foundation. The exhibition thus also celebrates the 197th anniversary of the Museum’s founding as a temple of the arts, signifying their full acceptance as disciplines of social utility.

Two aspects central to the Prado – the Spanish royal collections and Spanish art – provide the context for the exhibition’s structure. Furthermore, these are two inseparable terms, given that the evolution of Spanish art was determined by the existence of the royal collections. The survey offered by the exhibition is a wide-ranging and varied one, including paintings, drawings, prints, books, medals, examples of the decorative arts and sculptures. Twenty-two of these works have been loaned by eighteen museums and collections, including the Fundación Casa de Alba, the National Gallery in London, the Museo de Bellas Artes in Seville, the Banco de España and the Museo de la Real Academia de Bellas Arts de San Fernando in Madrid.

All the 137 works in the exhibition refer to art or to images, either as self-portraits of creators such as Titian, Murillo, Bernini and Goya; or because they include other paintings and sculptures, such as Saint Benedict destroying Idols by Ricci and Arachne by Rubens; or because they analyse issues relating to the definition of art and its history, such as José García Hidalgo’s book Principles for studying the very noble and royal art of painting […] and Goya’s Portrait of Jovellanos.

The exhibition’s “journey” is divided into different phases. Fifteen sections focus on the relationship between art, the artist and society, each one of which looks at a specific issue, among them: the powers attributed to religious images; the role played by the “painting within the painting”; artists’ attempts to break through the pictorial space and continue it towards the viewer; the origins and practice of the idea of artistic tradition; portraits and self-portraits of artists; places for the creation and collecting of art; the origin of the modern concept of art history; the subjectivity that emerged in self-portraits from the Enlightenment onwards; and the importance of the concepts of love, death and fame in the modern artistic discourse.

The exhibition also represents a tribute by the Museo del Prado to Cervantes on the 400th anniversary of his death as it includes a section on Don Quixote as one of the great examples of self-referential literature, juxtaposed with Las Meninas. Thus, just as Cervantes’ text is a “novel within a novel” so Velázquez’s painting is a “painting on painting” in which the artist not only depicts himself painting but which involves various important issues regarding the potential of the art of painting and the role of the painter.

Las Meninas will remain in Room 12 of the Villanueva Building where it is habitually displayed but it is present in the exhibition through a modern facsimile of part of Laurent’s graphoscope which is displayed alongside editions of the two parts of Don Quixote, reminding visitors that these two masterpieces of the Spanish Golden Age are both reference points in the history of meta-fiction.

Curator:
Javier Portús, Chief Curator of Spanish painting (up to 1700) at the Museo Nacional del Prado.

Access

Room A, B. Jerónimos Building

Supported by:
Fundación de Amigos del Museo del Prado
In collaboration with:
Comunidad de Madrid

Las hilanderas. Una historia en imágenes

Cargando
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Las hilanderas es una pintura sobre la Pintura y sobre la tradición pictórica. Interpretado durante mucho tiempo como una simple escena cotidiana -la visita de unas damas de la corte a un taller de tapicería- este cuadro encierra en realidad una fábula mitológica: la disputa entre Palas y Aracne, transmitida por Ovidio en las Metamorfosis.

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Aracne era una joven tejedora de la región de Lidia, famosa por su habilidad y destreza en el trabajo de la lana. Mucha gente de los alrededores acudía a verla trabajar y ella, orgullosa de su éxito y fama, llega a afirmar que podía ser considerada, incluso, más hábil que la propia Palas, diosa de las artes y protectora del arte textil.

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La diosa Palas, disfrazada de anciana, se presenta en el lugar y exhorta a Aracne a no considerarse superior a una diosa, contentándose con ser la mejor entre las mortales. Aracne responde que estaría dispuesta a enfrentarse a la citada diosa, que se manifiesta como tal. A continuación, ambas tejerán un tapiz para ver quién es considerada la mejor tejedora.

Al igual que había hecho en varias obras de juventud, Velázquez subvierte el orden lógico de la composición, desplazando el desenlace de la historia al fondo y colocando en primer plano una escena aparentemente sencilla e intrascendente, el trabajo de dos mujeres en un taller de tapicería.

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Como en una representación teatral, esta joven abre una cortina para mostrarnos el trabajo de las dos tejedoras.

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Velázquez contrapone las figuras de Palas y Aracne, tanto a nivel compositivo como iconográfico.

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Palas, que está trabajando con la rueca y el huso, es una mujer de edad avanzada, con el cabello cubierto por una toca. Está de frente y vemos su rostro, pero queda en una ligera penumbra.

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Aracne es una mujer joven, con el cabello recogido en un moño. No vemos su rostro al estar situada de espaldas, pero su blanca camisa intensamente iluminada atrae la mirada del espectador. Sostiene un ovillo y trabaja con la devanadera.

Al colocar en el plano intermedio a este personaje sin rostro, Velázquez consigue que nuestra atención se dirija al fondo de la composición.

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La escalera es, tradicionalmente, un símbolo de la Sabiduría, que se consigue paso a paso, peldaño a peldaño.

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El vellón alude al trabajo paciente y continuo que se necesita para transformar esa masa informe de lana en fibras aptas para el trabajo textil. Lo mismo ocurre con la educación y formación de las personas, que debe ser constante y progresiva.

El jurado encargado de mediar en la disputa entre Palas y Aracne decide que la joven tejedora lidia es la ganadora.

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La presencia de la viola de gamba es desconcertante. Puede aludir a Palas como diosa de la música o bien hacer referencia a la música como antídoto contra la picadura de la araña (Aracne).

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Tres damas de la corte, vestidas y peinadas a la moda del siglo XVII, integran el jurado.

Descontenta con el veredicto del jurado, Palas golpea a Aracne y castiga su osadía convirtiéndola en araña, animal que pasa su vida tejiendo. De esa manera, el tapiz tejido por Palas -que representaba los castigos de los dioses a los hombres- se hace real.

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Palas, con un casco en la cabeza, alza su brazo derecho en actitud amenazadora, a punto de descargar su ira sobre Aracne.

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Aracne, sorprendida por la actitud de la diosa, mueve su mano derecha pidiendo explicaciones de por qué es castigada.

Para representar el tapiz hecho por Aracne -dedicado al rapto de Europa por parte de Zeus metamorfoseado en toro- Velázquez utilizó un cuadro del mismo tema pintado por Rubens, que a su vez había copiado un lienzo de Tiziano. De ese modo rendía homenaje a esos dos artistas.

En fecha indeterminada -el siglo XVIII- el lienzo original de Velázquez fue ampliado por los laterales y por la parte superior. Actualmente el cuadro se expone de tal manera que esos añadidos no son visibles.

Realizado en la etapa final de la carrera de Velázquez, hacia 1655-1660, este cuadro fue propiedad de don Pedro de Arce, montero del rey Felipe IV, y no entró en las colecciones reales hasta el siglo XVIII. Formó parte del selecto grupo de obras colgadas en el Real Museo del Prado en el momento de su apertura al público en 1819.

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Multimedia

Exhibition

Origins: religion

Origins: religion
The Crucified Christ with a Painter
Francisco de Zurbarán
Oil on canvas, 105 x 84 cm
c. 1650
Madrid, Museo Nacional del Prado

In the early modern age numerous paintings and sculptures demonstrated the way in which these two art forms were favoured by Christianity for the purposes of record and testimony.

Depictions of Christ imprinting his “self-portrait” on Saint Veronica’s veil or Saint Luke painting the Virgin raised the status of painting and painters, while the Creation was explained as an artistic act through the analogy of “God as painter” and conversely art was explained in terms of creation. Such subjects were particularly popular in Catholic societies where they were used to combat Protestant suspicion of sacred images, making them a fundamental element in the debate on the origins and use of the arts.

Origins: mythology

Origins: mythology
Daedalus watching his son Icarus fall (?) (Album H, 52)
Francisco de Goya
Black chalk, 191 x 148 mm
c. 1825-28
Madrid, Museo Nacional del Prado

Greco-Roman mythology and history include various episodes on the origins of the arts which were used in the early modern age to express important creative concepts by means of comparison.

The story of Narcissus, who “invented” painting when he saw his own reflection in a pool in which he subsequently drowned; Prometheus, who stole fire from the gods in order to give life to a sculpture that he had made, earning him his cruel punishment; and Daedalus, the craftsman who watched his son Icarus fall from the sky with the wings that he had made for him, all located artistic activity in an ambiguous terrain: one in which men developed their creative powers and competed with the gods but also, for the same reason, a terrain of conflict, tension and punishment. This is the sublime and dangerous alternative to the previous section. 

Don Quixote and Las Meninas

Don Quixote and Las Meninas
Las meninas
Diego Velázquez
1656
Oil on canvas, 318 x 276 cm
Madrid, Museo Nacional del Prado

The two parts of Don Quixote were published in 1605 and 1615 respectively, while Velázquez painted Las Meninas in 1656. Both works were created during the Spanish Golden Age and represent high points in the history of Western literature and painting. In addition to the chronological and geographical context in which they were created they have other points in common including their markedly self-reflexive nature, given that both Cervantes and Velázquez used them to look at issues such as the rules, limits and methods of their respective disciplines.

Don Quixote is a “novel about the novel”, with a second part that includes numerous references to the first part and in which almost from the beginning the author uses the fiction that the book was written by Cide Hamete Benegeli in order to establish a distance from it and treat it as a work by someone else.

In turn, Las Meninas is a “painting about painting” in which we see the artist engaged in his work and which includes, among other elements, an important reflection on the principles of painting, the honours due to the arts, its obligations and the laws of representation.

Neither the novel nor the painting are isolated works and rather constitute outstanding examples of a deep-rooted self-reflexive tendency in Spanish culture of this period which gave rise to major plays by Lope de Vega and Calderón, for example, and to notable works of art, some of which are included in this exhibition.

When art is not enough: the power of images

When art is not enough: the power of images
Sacrifice to Bacchus
Massimo Stanzione (Orta di Atella, Caserta, 1585–Naples, 1656)
Oil on canvas, 237 x 358 cm
c. 1634-1635
Madrid, Museo Nacional del Prado

Accustomed as we are to considering paintings and sculptures to be primarily “works of art”, on occasions we forget that for centuries the majority of them were more than this.

As cult objects they aroused devotion, expectation, fears and hatred which imbued them with sufficient power to give rise to numerous tales of miracles but also provoke the desire to destroy them.

This section presents both sides of that coin: images that were originally cult objects but subsequently came to be considered idolatrous and were thus destroyed; and miracle-working paintings and sculptures which acted as intermediaries between man and the supernatural. Among them, some were more than passive mediators as they achieved one of the universal aims of images: that of “coming alive”.

Painting as sign

Painting as sign
The Archduke Leopold Wilhelm in his Picture Gallery at Brussels
David Teniers
Oil on copper, 104.8 x 130.4 cm
c. 1647-51
Madrid, Museo Nacional del Prado

Paintings, sculptures and buildings were often depicted in paintings with the intention on the part of the artist of completing the meaning of the principal subject.

This section pays tribute to Julián Gállego’s book The Painting inside the Painting (1978), making use of three variants. Firstly, works that include references to religious images; secondly, paintings with allusions to the art of antiquity, which functioned as a prestigious context or cultural reference; and thirdly, “portraits within a portrait”, which reveal the content associated with an artistic genre used to transmit memory and to express ties of family and friendship.

The limits of the painting

The limits of the painting
Escaping from the Critics
Pere Borrell y del Caso
Oil on canvas, 76 x 63 cm
1874
Madrid, Colección Banco de España

Among the themes running through the history of Western art is that of “illusionism” or painting’s aspiration to be confused with reality so that the “painted” should seem “real”.

This intention is to be found in numerous different periods and places and takes a wide range of forms, of which this section presents some of the most obvious: sitters or religious figures who extend beyond the limits of their frame; paintings that simulate sculptures or tapestries; trompe l’oeils that aim to deceive the eye, etc. The creators of these works explicitly play with the tension that arises between the two-dimensional nature of a painting and art’s desire to introduce the third dimension and even extend the pictorial space towards the viewer. The presence of a signature on some of these works emphasises the element of artificiality and witty playfulness involved.  

History and tradition: Titian

History and tradition: Titian
Self-portrait
Tiziano
Oil on canvas, 95 x 71 cm
c. 1562
Madrid, Museo Nacional del Prado

The Renaissance saw the almost complete acceptance of the concept of “artistic awareness”: the idea that painting and sculpture were not craft practices but artistic matters and as such subject to laws and precepts and capable of possessing their own history and originating a tradition.

As a painter considered both the “father of colour” and the model of the court portraitist, Titian was a key reference point for one of these traditions. He generated an important following in a Europe where artistic frontiers were still notably permeable and in which the concept of “national school” had not yet prevailed.

He is to be seen in this section, in which the outstanding work is his Self-portrait and which also includes paintings by Spanish, Italian and Flemish artists that pay explicit tribute to this great Venetian artist. 

The face of art

The face of art
Self-portrait
Dürer
Oil on panel, 52 x 41 cm
1498
Madrid, Museo Nacional del Prado

As paintings and sculptures increasingly came to be seen as “works of art”, interest grew in the artists who created them. As a result, from the end of the 15th century we encounter numerous self-portraits of artists and depictions of them by their peers.

These works established a history of the profession, and painters and sculptors joined the ranks of public figures. Through images of this type we not only know how these artists looked but also their situation and aspirations.

Their clothing generally indicates their financial position; their closeness to kings and nobles says much about their social status and professional success; a high forehead and intelligent gaze show them to be intellectuals; and in some cases the objects that accompany them refer to the starting points of their creative activities.

The places of art

The places of art
The Monkey Sculptor
David Teniers (Antwerp, 1610–Brussels, 1690)
Oil on panel, 23 x 32 cm
c. 1660
Madrid, Museo Nacional del Prado

The images on display in this section represent places associated with art, from artistic training to its display. Most are invented, ideal settings but a few depict a real space.

Two paintings show places for the study of art, among which academies supported by royal or noble patronage were increasingly important. Two more depict sculpture and painting studios and include not only the artist but also the patron, judging and offering opinions. The remainder indicate some of the places where art was to be seen before the rise of museums: settings frequently associated with monarchs and aristocrats in which paintings were assembled in an affirmation of their owners’ power and magnificence while simultaneously creating their own microcosm.

The history of art

The history of art
Segundo premio de primera clase de la Academia de San Fernando
Francisco Tomás Prieto (Salamanca, 1716–Madrid, 1782)
Silver-gilt, 44,5 mm diameter
1753
Madrid, Museo Nacional del Prado

The Enlightenment and the significant development of historical research led to the emergence in Europe of the modern concept of art history, which was often articulated around the idea of “national schools”. In Spain this process culminated in 1781 when Jovellanos published his Elogio de las bellas artes, the first general, organised and comprehensive history of Spanish painting, which he associates in his text with the concepts of “truth” and “nature”. This period also saw several important initiatives intended to facilitate the study, appreciation and dissemination of the history of Spanish art, for example Goya’s prints based on paintings by Velázquez, the inclusion of various artists in the series Portraits of Illustrious Spaniards (from 1791), and a number of publications written by leading intellectuals such as Antonio Ponz and Ceán Bermúdez.

Goya and the crisis of the religious image

Goya and the crisis of the religious image
What does this Spook want? (Álbum C, 123)
Francisco de Goya y Lucientes
Brush, oak gall and grey-brown ink on paper, Indian ink wash and traces of black chalk, 205 x 145 mm
1812 - 1814
Museo Nacional del Prado

The major changes that came about in the late 18th century with the transition from the Ancien Régime to the modern age are reflected in some artists’ attitudes to religious art.

The most eloquent case is Goya, who in his drawing What does this Spook want? and his print This is no less so adopts a remarkably independent attitude in order to question the element of superstition and fear present in the uses made of some religious images.

In Tantalus the artist returns to a traditional devotional subject, the Pietà, in order to update and reinterpret it in a secular key, while in his drawing Don’t eat, great Torrigiano he depicts the sculptor who died in prison due to the intolerance of his patron who had accused him of destroying a sculpture of the Virgin and Child.

Modern myths: love, death and fame

Modern myths: love, death and fame
Isabel Clara Eugenia and Magdalena Ruiz
Alonso Sánchez Coello (Benifairó de les Valls, Valencia, 1531/32–Madrid, 1588)
Oil on canvas, 207 x 129 cm
1585-88
Madrid, Museo Nacional del Prado

Love, death and fame are three interrelated themes that had traditionally been present in any reflection on the arts but which became notably present from the Enlightenment onwards.

Love in all its different aspects was frequently considered a force inherent in both artistic creation and in works of art themselves, many of which stimulated that emotion.

In turn, the idea of fame became increasingly important alongside an increasing interest in the personality of the artist. As in the context of religion and sainthood, in the art world death was on occasions seen as the preliminary to fame, with the artist as hero.

Towards a new artist: emotional environment and subjectivity

Towards a new artist: emotional environment and subjectivity
Self-portrait
Francisco de Goya (Fuendetodos, Zaragoza, 1746–Burdeaux, 1828)
Oil on canvas, 45.8 x 35.6 cm
1815
Madrid, Museo Nacional del Prado

In the 18th century the “faces of art” acquired much more variety in Spain. Artists and their clients were depicted with increasing frequency but so also were their friends and relations, providing us with a much better idea of painters’ emotional environments than in previous periods.

This is evident in this section with Paret and Goya, the latter particularly fond of including the word “friend” in his portraits. Artists began to use more varied formats for depicting themselves, on occasions introducing elements that refer to their most private selves as the result of an intense exercise of self-scrutiny.

Some works of this type, in which the self invades the sphere of art, herald the arrival of a new era in the relationship between artists and their creations.  

Journey’s end

Journey’s end
Isabel de Braganza
Bernardo López Piquer (Valencia 1799–Madrid, 1874)
Oil on canvas, 258 x 174 cm
1829
Madrid, Museo Nacional del Prado

The Museo del Prado first opened to the public at the time when Goya was creating some of the works displayed in the previous section. The year was 1819 and the Prado’s inauguration can be associated with the rise in the founding of museums following the French Revolution.

Housed in one of Madrid’s finest buildings, the Prado represented the definitive enthronement of “art” as a matter fully worthy of public appreciation and capable of arousing collective pride.

The medallions depicting Spanish artists on the building’s façade confirmed the presence of professionals of this type in the national Parnassus. As a “temple of the arts”, open to the public and educational in intent, the new museum represented a before and after in the relationship between art and society. 

Artworks

2

Wise Painting (front cover with an allegory of Wise Painting)

Fray Juan Andrés Rizi (Madrid, 1600–Montecassino, 1681)  

Manuscript, 295 x 205 mm

c. 1660

Madrid, Biblioteca Lázaro Galdiano

4

The Virgin and Child

Anonymous    

Stone, 28 x 20 cm (the Virgin and Child) and 42.5 x 33.5 cm (altar-reliquary)

XVII Century

Toledo, Cabildo Catedral Primada

5

Altar-reliquary

Diego Valentín Díaz (Valladolid, 1586‒Valladolid, 1660) and Mateo de Prado (Sobrado, c. 1614‒Santiago de Compostela, 1677)

Polychromed wood and oil on panel, 240 x 178 x 50 cm           

c.1655

Valladolid, Museo Diocesano y Catedralicio

8

Saint Veronica´s Veil

Francisco de Zurbarán (Fuente de Cantos, Badajoz, 1598‒Madrid, 1664)    

Oil on canvas, 104.3 x 84.5 cm

c. 1660

Bilbao, Museo de Bellas Artes

9

Saint Luke receiving the Virgin´s Veil

Llorenç Saragossà (doc. en Valencia y Barcelona, 1363‒1406)

Tempera on panel, 74.5 x 46.4 cm

c.1370

Valencia, Museo de Bellas Artes

11

Saint Luke

Francisco Ribalta (Solsona, Lérida, 1565‒Valencia, 1628)

Oil on canvas, 83 x 36 cm

1625-27           

Valencia, Museo de Bellas Artes

22

The Origins of the Art of Painting

Matías de Arteaga (Villanueva de los Infantes, Ciudad Real, 1633–Seville, 1703)

Oil on canvas, 116 x 171 cm

1665    

Bucarest, Muzeul Naţional de Artă al României

25

El ingenioso hidalgo don Quijote de la Mancha

Miguel de Cervantes Saavedra (Alcalá de Henares, 1547–Madrid, 1616)

Madrid, Juan de la Cuesta, 1605. Second printing of the first edition.

Madrid, Colección Arango

26

Segunda parte del ingenioso caballero don Quijote de la Mancha

Miguel de Cervantes Saavedra (Alcalá de Henares, 1547–Madrid, 1616)

Madrid, Juan de la Cuesta, 1615. First edition

Madrid, Colección Arango

36

Earthquake detained by the Intercession of the Image of Saint Francis of Paula

Lucas Valdés (Seville, 1661–Cádiz, 1725)

Oil on canvas, 82.7 x 109 cm

1700-10

Seville, Museo de Bellas Artes

46

Charles II surrounded by Depictions of his Ancestors

Attributed to Sebastián de Herrera Barnuevo (Madrid 1619–Madrid 1671)

Oil on canvas, 204 x 118.5 cm

1670-75

Madrid, Museo Lázaro Galdiano

48

Cortés visiting Moctezuma

Miguel y Juan González (act. h. 1650-1700)

Oil over mother-of-pearl and canvas on panel, 97 x 53 cm

1698

Madrid, Museo Nacional del Prado. Depositado en Madrid, Museo de América

49

Trompe l´oeil

Anonymous Italian artist

Oil on canvas, 82 x 62.3 cm

c. 1720

Madrid, Museo Nacional del Prado

57

Trompe l’oeil with Books, Prints and a Box

Bernardo Llorente Germán (Seville, 1680–Seville, 1759)

Oil on canvas, 69 x 49 cm

c. 1730.                       

Madrid, Museo de la Real Academia de Bellas Artes de San Fernando

58

Escaping from the Critics

Pere Borrell y del Caso (Puigcerdà, 1835–Barcelona, 1910)

Oil on canvas, 76 x 63 cm

1874

Madrid, Colección Banco de España

60

Titian and Painting

Anonymous Italian artist

Oil on canvas, 112 x 149 cm

XVII century  

Madrid, Museo Nacional del Prado. Depositado en Las Palmas de Gran Canaria, Museo Casa Colón

62

The Painter Francisco Rizi

Isidoro Arredondo (Madrid, 1655–Madrid, 1702)

Oil on canvas, 89.5 x 79 cm

c. 1680            

Oviedo, Museo de Bellas Artes de Asturias

67

Pallas and Arachne

Peter Paul Rubens (Siegen, Westfalia, 1577–Antwerp, 1640)

Oil on panel, 27 x 38 cm

1636-37           

Richmond, Va., Virginia Museum of Fine Arts, Adolph D. and Wilkins C. Williams Fund

69

Diálogos de la pintura: su defensa, origen, esencia, definición, modos y diferencias

Vicente Carducho (Florence, h. 1578–Madrid, 1638) 

Madrid, Francisco Martínez, 1633 [i. e. 1634]                 

Madrid, Museo Nacional del Prado, Biblioteca, Cerv/417

70

Allegory of Vanity

Juan de Valdés Leal (Seville, 1622–Seville, 1690)

Oil on canvas, 130 x 99 cm

1660                

Hartford, Ct., Wadsworth Atheneum Museum of Art. The Ella Gallup Sumner and Mary Catlin Sumner Collection Fund, inv. 1939.270

74

De varia commensuración para la esculptura y la architectura...

Juande Arfe y Villafañe (León, 1535–Madrid, 1603)  

Sevilla, Andrea Pescioni y Juan de León, 1585 [i. e. 1587]

Madrid, Museo Nacional del Prado, Biblioteca, Cerv/306

75

Jorge Manuel Theotocopuli

El Greco (Candía, Crete, 1541–Toledo, 1614)

Oil on canvas, 74 x 51.5 cm

c.1600-5                      

Seville, Museo de Bellas Artes

83

Self-portrait

Bartolomé Esteban Murillo (Seville, 1617–Seville, 1682)

Oil on canvas, 122 x 107 cm

1668-70 (?)                  

London, The National Gallery, Bought, 1953, NG6153

85

Principios para estudiar el nobilissimo, y real arte de la pintura…

José García Hidalgo (Villena, 1646–Madrid, 1719)

s. l. [Valencia], s. n., s. a. [h. 1693]/ [ca. 1693]

Madrid, Museo Nacional del Prado, Biblioteca, Cerv/315           

86

The Drawing Academy

Michel-Ange Houasse (Paris, 1680–Arpajon, 1730)

Oil on canvas, 68.5 x 83.5 cm

c. 1725

Colecciones Reales. Patrimonio Nacional, Palacio Real de Madrid

96

Self-portrait

Antón Rafael Mengs (Aussig, Bohemia, 1728–Rome, 1779)

Oil on canvas, 134 x 96 cm

1760 (?)

Madrid, Fundación Casa de Alba

97

Obras de D. Antonio Rafael Mengs, primer pintor de cámara del Rey…

Antón Rafael Mengs (Aussig, Bohemia, 1728–Rome, 1779)

Madrid, Imprenta Real de la Gaceta, 1780

Madrid, Museo Nacional del Prado, Biblioteca, Cerv/67

100

Oración pronunciada en la junta pública que celebró la Real Academia de San Fernando

Gaspar Melchor de Jovellanos (Gijón, 1744–Puerto de Vega, 1811)

Madrid, Joaquín Ibarra, 1781

Madrid, Museo Nacional del Prado,Biblioteca, 21/936

101

El museo pictórico y escala óptica: tomo segundo: práctica de la pintura… y de la perspectiva común…

Acisclo Antonio Palomino (Córdoba, 1655–Madrid, 1726)

Madrid, Viuda de Juan García Infanzón, 1724

Madrid, Museo Nacional del Prado, Biblioteca, Cerv/620

102

Viage de España: en que se da noticia de las cosas más apreciables

Antonio Ponz (1725–1792)

Madrid, Viuda de Ibarra, hijos y compañía, 1787

Madrid, Museo Nacional del Prado,Biblioteca, Cerv/366

103

Diccionario histórico de los más ilustres profesores de las Bellas Artes en España… publicado por la Real Academia de S. Fernando

Juan Agustín Ceán Bermúdez (Gijón, 1749–Madrid, 1829)

Madrid, Viuda de Ibarra, 1800

Museo Nacional del Prado, Biblioteca, Cerv/1143

104

Francisco Salzillo

Joaquín Campos (1718–1811)

Pencil, 134 x 106 mm

1781-83

Madrid, Biblioteca Nacional de España

122

Asensio Juliá

Francisco de Goya (Fuendetodos, Zaragoza, 1746–Burdeaux, 1828)

Oil on canvas, 54,5 x 41 cm

c. 1798 

Madrid, Museo Thyssen-Bornemisza

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