The Museo del Prado and Fundación AXA will be presenting the first monographic exhibition in Spain on the work of Jean-Auguste-Dominique Ingres (1780-1867), one of the most influential figures in the history of 19th- and 20th-century painting but an artist not represented in any Spanish public collection. The exhibition has been organised with the special collaboration of the Musée du Louvre and the participation of the Musée Ingres in Montauban, which are lending the artist’s most celebrated masterpieces. The exhibition offers a chronological and thematic survey through 70 works which include outstandingly important loans from France, among them the Grande Odalisque, a work that has only left the Louvre on rare occasions, and The Dream of Ossian from the Musée Ingres. It also includes works lent from Belgian, British, Italian and American institutions, including The Countess of Haussonville and Madame Moitessier, which have become universal

The Countess of Haussonville. Jean-Auguste-Dominique Ingres. Oil on canvas, 132 x 92 cm. 1845. New York, The Frick Collection, 1927.


The Museo del Prado is presenting the exhibition Transparent Art. Rock crystal carving in Renaissance Milan, which offers an analysis of the previously little explored art form of carving rock crystal or hyaline quartz. Of the 20 examples of carved rock crystal on display in the exhibition, 14 are from the group known as “The Dauphin’s Treasure”, which belongs to the Museo del Prado, while 6 come from the Medici collections in Florence and that of Louis XIV, grandfather of Philip V of Spain, in Paris. Together they constitute a remarkable group of works which are now displayed so that visitors can visually appreciate all their artistic merits in a unique and unrepeatable experience that is further enriched by the technological support of Samsung in the form of tablets which allow for a 360-degree view of some of the objects as well as highly magnified details.

Boat-shaped vessel with foot in the form of a turtle. Milan, Annibale Fontana (1540–1587) (?). Rock crystal and enamelled gold. Milan, c. 1570 (vessel), Italy (?), c. 1570–90 (mounts). Madrid, Museo Nacional del Prado.


At the end of September the Museo Nacional del Prado and Fundación BBVA will present an exhibition on Luis de Morales, one of the most significant and original Spanish Renaissance masters. Featuring this artist’s most representative and best-known works, it will provide viewers with an insight into his skills in two fields, altarpieces and devotional panels. Nineteen works owned by the Prado, including the Christ on the Cross and the Resurrection gifted by Plácido Arango, will be joined by 35 from national and international museums, private collectors and religious institutions, such as the Virgin with the Little Bird from the parish church of San Agustín in Madrid, the Virgin and Child with the Infant Saint John from the New Cathedral in Salamanca and the Ecce Homo from the Museu Nacional de Arte Antiga in Lisbon, which was recently restored in the Prado workshops.

Nursing Virgin, Luis de Morales. Oil on chestnut panel, 84 x 64 cm, c. 1565. Madrid, Museo Nacional del Prado


To mark the publication of its general catalogue of nineteenth-century painting, Pintura del siglo XIX en el Museo del Prado. Catálogo General, and the bicentenary of the birth of the man who was its director from 1860 to 1868 and from 1881 to 1894, the Museo del Prado presents the exhibition ‘Effigies amicorum. Portraits of Artists by Federico de Madrazo’ in room 60 of the Villanueva Building, the gallery devoted to special displays of works from the nineteenth-century collections. Consisting of 21 portraits – seven canvases, twelve drawings and two lithographs – this show offers visitors the chance to reflect on a side that reveals the devotion to art of this painter, the most prominent and prolific portraitist of his generation, through images of artists.



The work, recovered by Abengoa in the United Kingdom, will be exhibited for some months at the Museo del Prado before it takes up its permanent place at the Hospital de los Venerables, now the headquarters of the Foundation.



The Royal Board of Trustees of the Museo Nacional del Prado today approved the appointment of Miguel Falomir Faus, current head of the Department of Italian Renaissance painting, as the Museum’s new Deputy Director for Collections and Research, succeeding Gabriele Finaldi, who has recently been appointed the new Director of the National Gallery in London.



The only sculpture by Michelangelo to be found in Spain, a marble that belongs to the Fundación Casa Ducal de Medinaceli-Sevilla and which was formerly in the chapel of the Salvador in Úbeda, is now on display in Room 47 of the Museum’s Villanueva Building (31 March to 28 June). It is presented within the context of the Museum’s “Invited Work” programme, sponsored by the Fundación Amigos del Museo del Prado. The sculpture was practically destroyed at the outset of the Spanish Civil War and consisted of no more than fragments until its recent and complete restoration at the Opificio delle Pietre Dure e Laboratori di Restauro in Florence.



The Museo del Prado and Fundación Amigos del Museo del Prado present the “Rogier van der Weyden” exhibition, which revolves around the completion of the restoration of the El Escorial Calvary, a project carried out in collaboration with Patrimonio Nacional and with the support of Fundación Iberdrola. The exhibition provides a unique and unlikely to be repeated opportunity to view the restored work alongside the Prado Descent from the Cross, the Miraflores Triptych, now in Berlin, and the Antwerp Altarpiece of the Seven Sacraments. These four masterpieces by Van der Weyden have been brought together for the first time in history together with other paintings by the



The Museo del Prado and the Kunstmuseum Basel, in collaboration with the Comunidad de Madrid, are presenting ten masterpieces by Pablo Picasso from the Kuntsmuseum Basel, eight of which are being shown in Spain for the first time. These ten works by the Malaga-born painter, dated between 1906 and 1907, make up a small retrospective that will be displayed alongside some of the Prado’s masterpieces in the Central Gallery, which is considered the “backbone” of its permanent collection. This project is part of the Kunstmuseum Basel’s generous collaboration with the Museo del Prado and the Museo Nacional Centro de Arte Reina Sofía, which is showing a broad selection of modern and contemporary works also from the Swiss museum while the latter is closed for its final stage of renovation work.



On display at the Museo del Prado until 31 May (Room 18A) is the monstrance from the church of San Ignacio in Bogotá, an object known as “The Lettuce” in reference to the green of its 1,485 emeralds, and a remarkable example of Baroque art in a land of goldsmiths. Now exhibited for the first time outside Colombia, “The Lettuce”, which was made by the goldsmith José de Galaz between 1700 and 1707, is considered one of the most beautiful and ornate liturgical items in South America. “The Lettuce” is part of the Collection of the Banco de la República de Colombia. It has been loaned within the Prado’s “Invited Work” programme, sponsored by the Fundación Amigos del Museo del Prado since 2010. President Santos of Colombia will be visiting the Museum tomorrow, accompanied by the President of the Spanish government, Mariano Rajoy, and the Minister of Culture, Education and Sport, Ignacio Wert. Their tour of the Museum will

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