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The power and beauty of the Baroque plus innovative narratives head the new programme at the Museo Nacional del Prado

The power of Baroque painting takes centre stage in the Museo del Prado’s programme of activities for the first part of this year. The “divine” Guido Reni and his work will thus be the subject of a major exhibition, coinciding with another devoted to Francisco de Herrera the Younger and the High Baroque. This spring, the Museum will be exhibiting a group of works by El Greco, Goya and Velázquez from The Frick Collection, an exceptional loan that will be seen in Spain for the first time. In the second half of the year, the Prado will once again be looking at little explored fields, analysing the image of Jewish people in the Middle Ages in the exhibition The Lost Mirror and reflecting on the paradoxical and surprising nature of the work of art in Versos. The hidden side. The Museum will also be opening up the collection to new narratives through its well established “thematic routes” programme.


The role of women as promoters and patrons of the arts at the Museo Nacional del Prado

In collaboration with the Ministry of Culture’s Institute for Women, from today until 9 April 2023 the Museo Nacional del Prado is offering a new perspective on its permanent collection through a thematic route devised with the academic supervision of Noelia García Pérez, associate professor of art history at the University of Murcia. The result is a fresh viewpoint and one that encourages us to focus on the role of women as promoters and patrons of the arts. Among all European museums, the Prado is probably the one in which women have played the most decisive role with regard to its configuration, either as collectors and promoters or through their key contribution to its foundation and existence. Works such as Van der Weyden’s Descent from the Cross, Titian’s Charles V at the Battle of Mühlberg, the superb bronze sculptures of Philip II and Mary of Hungary commissioned from Pompeo and Leone Leoni, and The Holy Family with Saints by Rubens would not be present in the Prado’s collection without women’s involvement. The works included in this thematic route are associated with women who were not only notable for their activities as patrons but also in the promotion of the artists who worked in their service. One particularly notable example is that of Isabel Clara Eugenia. The Prado houses dozens of works directly resulting from her patronage, in addition to the fact that the Museum’s close connections with Rubens is particularly allied to the promotion and dissemination of his career on the part of the Archduchess, who was governor of the Southern Netherlands. This explains why the Prado houses the largest collection of works by Rubens in the world. “The Female Perspective” reflects the first edition of the symposium “Key Women in the creation of the Prado’s collections”, which took place in March this year and will be followed by “Key Women in the creation of the Prado’s collections II. From Elisabeth of France to Mariana of Neuburg”, to be held on 6 and 7 March 2023.


The artist’s work and his unique gaze on the art of the great masters now presented at the Museo del Prado

How can we appreciate the work of the great masters without being mere passive receptors of their appeal? How do we submerge ourselves in the art of the past without renouncing our commitment to the modern and contemporary avant-gardes? The answer according to Fernando Zóbel (Manila, 1924-Rome, 1984) was both simple and enormously sophisticated: study them in order to understand them and then reinvent them. Forty-two paintings, fifty-one sketchbooks and eighty-five drawings and graphic works loaned from collections in Spain, the Philippines and the USA make up this survey through which the Museo Nacional del Prado, with the collaboration of the Comunidad de Madrid, pays tribute to Fernando Zóbel, a key figure in Spanish painting of the second half of the 20th century. Born into a Spanish family in Manila, Zóbel focused intensively on the paintings in the Prado and was the founder of the Museo de Arte Abstracto in Cuenca. He was an artist who saw his painting as an instrument with which he could navigate the complex routes traced by the history of art in order to both admire and understand them. Zóbel. The future of the past explores the painter’s work through two themes that are essential for appreciating his unique contribution to contemporary abstract painting. The first revolves around the space between modern art and the legacy of artistic tradition, bringing together the studies that the artist made in museums around the world, in particular the Prado, with the aim of reconstructing his creative process. In addition, the exhibition charts Zóbel’s work through a second theme of a geographical and international nature, showing how drawing was the tool that allowed him in, an original and different way, to access the modernity that he encountered in Asia in the vernacular tradition of the Philippines and in Japanese and Chinese painting. Both themes arise from Zóbel’s own identity: born in Manila, he trained in the United States and then moved to Spain. Possessed of enormous intellectual curiosity and erudition, Fernando Zóbel was also a tireless traveller and an exceptionally cosmopolitan artist. Finally, Zóbel’s work can be seen as a fascinating exercise in artistic education. His drawings teach us to look in a slow, tranquil and analytical manner. His paintings and drawings encompass within them his effort to understand the artistic intention that motivated painters such as Zurbarán, Sánchez Cotán, Van der Hamen and Velázquez.


The Prado Museum condemns the disgraceful action that occurred today

Following an initial inspection canvasses of the two works are not affected, however their frames have been damaged, particulary the Naked Maja.  


The Museo del Prado and The Frick Collection, New York, have reached an agreement so that nine works from the latter can be seen in Madrid next spring

Visitors to the Prado will have the chance to appreciate works by Velázquez, Goya and Murillo not seen in Spain since they left the country thanks to this unprecedented and exceptional loan.


Spanish artists in Renaissance Naples, on display at the Museo del Prado

On show in Rooms A and B of the Jerónimos Building until 20 January, this exhibition, organised by the Museo e Real Bosco di Capodimonte in Naples, the Museo Nacional del Prado and Fundación BBVA, offers a survey of one of the most productive and unknown chapters within European Renaissance culture, namely the transition of Spanish and southern Italian art towards the “modern manner”: the great art arising from the revolution brought about by Leonardo, Raphael and Michelangelo. Entitled The other Renaissance. Spanish artists in Naples in the early Cinquecento, the exhibition includes 75 works (44 paintings, 25 sculptures, 5 books and an altarpiece) loaned from public and private collections in Spain and elsewhere. These works draw attention to a time frame (the early years of the 16th century), a place (Naples) and a series of figures (Spanish and Italian painters and sculptors) which together constitute an artistic context that has often been seen as secondary in relation to the great Renaissance centres of Rome and Florence but which had great significance within the broader political reality of the Spanish monarchy, as demonstrated by the subsequent activity in Spain of artists such as Pedro Machuca, Bartolomé Ordóñez, Diego de Siloe, Pedro Fernández and Alonso Berruguete, among others.