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The Museo del Prado is presenting the exhibition The Furias Tuesday, January 21, 2014

The “Furias”. From Titian to Ribera offers an in-depth analysis of the Renaissance and Baroque’s interpretation of antiquity and looks at the circulation and exchange of artists, works and aesthetic ideas across Europe in the 16th and 17th centuries. In addition, it encourages a reflection on why certain forms acquire meanings that are passed down from one generation to the next.

The Museo del Prado is presenting the exhibition The Furias

Prometheus Bound, Rubens and Frans Snyders, Oil on canvas, 242,6 x 209,5 cm, c. 1611, Filadelfia, Philadelphia Museum of Art

Divided into five sections, the exhibition includes 2 drawings, 8 prints, 1 medal and 16 paintings and centres on a copy of the Laocoön from the Museo de Escultura in Valladolid. The first section looks at the only iconographic precedent for the group commissioned from Titian, which is a drawing of Tityus by Michelangelo of 1532, exhibited for the first time in Spain. A view of the Great Hall in the palace at Binche, created to welcome Charles V and Prince Philip, opens the second section, which is devoted to the group commissioned from Titian by Mary of Hungary. The third section looks at Haarlem and Antwerp in the final years of the 16th century and the early 17th century when these cities were the first centres for the reception of the subject of the Furias, based on the Laocoön. The fourth section illustrates the subject’s “return” to Italy, the role played by Flemish and Dutch artists in this process and the importance of Naples as the Baroque capital of the Furies with Ribera as their maximum exponent. The exhibition ends with the dissemination of the subject across Italy, terminating in Venice with Langetti and the tenebrosi and thus closing a circle initiated by Titian.