The initiative is part of the “Prado online” programme, one of the five priority programmes of the Museum’s Action Plan 2013–2016. It has the support of Telefónica and is aimed at promoting knowledge of the Museum’s collection and activities through the Internet. The different types of content incorporated into each of the educational platforms by the Museo del Prado and Fundación de Amigos del Museo del Prado (FAMP) – seven hundred and fifty audio and video files in the case of iTunes U – will allow users to directly access the research and teachings of both the Prado and the various experts belonging to the museums, universities and cultural and academic institutions that have taken part in its educational and informative activities.



The purchase of this important library has also brought the Museum an important notebook of sketches by the studio of Rubens. The Museodel Prado is providing detailed information on the content of one of its most recent acquisitions: the Juan Bordes Library. This is one of the most important bibliographical holdings in the world for the study of the human figure, consisting of treatises and drawing manuals from the 16th to the 20th centuries. Within this acquisition, the Museum has received as a donation a sketchbook by the studio of Rubens. It is currently considered the closest to the lost original by the master and also includes two original works by his hand.

Sketchbook by the studio of Rubens (Bordes's manuscript). S. XVII, Madrid, Biblioteca Museo Nacional del Prado


Between 19 November (coinciding with the Museum's 195th Anniversary) and next 1 March, Room 40 in the Villanueva Building at the Museo del Prado will present the first two "Poesie" produced by Titian: Danaë, from the Wellington Collection at Apsley House, and Venus and Adonis, belonging to the Museo del Prado. The Italian master painted these works in 1553 and 1554 for the then Prince Philip, the future Philip II. We can now contemplate these works in all their splendour thanks to the recent restoration work that was carried out with the support of the Iberdrola Foundation. The exhibition pays particular attention to the artist's creative process, which is illustrated through the technical documentation relating to these works, which inaugurated one of the most important and influential mythological painting cycles in the history of Western painting, one that served as inspiration for artists such as Veronese and Rubens.



In Room C in the Jerónimos Building, the Prado Museum will present the first exhibition in Spain devoted to the work of Gian Lorenzo Bernini (Naples 1598 -Rome 1680), a key figure in the history of art and a leading light, together with Borromini and Pietro da Cortona, regarding the image and construction of Baroque Rome. The exhibition will also constitute an historiographical first, given that this is the first time an exhibition has been organised that offers a monographic analysis of the complex artistic, cultural, diplomatic and political relations that Bernini maintained with the Spanish Monarchy throughout the 17th century. Amongst the 39 works that make up the exhibition, we might highlight the sculptures entitled Anima beata and Anima dannata, both extraordinary works created by the precocious and surprisingly mature hand of the young artist, which are preserved at the Spanish Embassy at the Holy See in Rome, in its capacity as a deposit for property



Following its showing in the United States at the Meadows Museum in Dallas, for the first time in Spain the Museo Nacional del Prado is presenting more than 85 drawings from the collection of the Hamburger Kunsthalle. The Kunsthalle possesses one of the finest collections of Spanish drawings outside Spain, with more than 200 works representative of Spanish drawing from the 16th to the early 19th century. The core of the exhibition comprises a group of principally Sevillian drawings by Murillo, Herrera the Younger and Valdés Leal, in addition to works by Cano, Castillo and Schut, among others. Goya is also represented with a sizeable group of drawings, including various preparatory studies for his series of copies of portraits by Velázquez.

Prince Baltasar Carlos as Hunter, Francisco de Goya. Red chalk over preliminary drawing in graphite with border lines in graphite and red chalk, 268 x 156 mm, 1778 - 1779. Hamburg, Hamburger Kunsthalle, Kupferstichkabinett © Hamburger, Kunsthalle / bpk, Photo: Christoph Irrgang


In relation to the news item recently published in El País newspaper with the headline “The Museo del Prado unaware of the location of 885 works”, and in response to the queries and questions which the Museum has subsequently received from other media, the Museo del Prado would like to clarify that the information published in El País has been known for more than 30 years. The only new element presented in the audit undertaken by the Tribunal de Cuentas in 2012 is the that fact 41 works have been located, the whereabouts of which had been unknown since 1978 when the first report by the Fiscalía General de Reino was published on the situation of works from the collection of the Museo del Prado on deposit with other institutions. The Tribunal de Cuentas’s recent recommendation to continue looking for the works in question has in fact been repeated in all audits undertaken since 1978.

Most of the missing works were added to the Prado’s inventories at the time when the



The exhibition features a series of 18 photographic portraits taken in the 1980s by Alberto Schommer, a recent recipient of the National Photography Prize, together with a selection of 13 portraits from the Museum’s own collection painted by Spanish artists between the 16th and the early 20th century.



The Prado Museum and ”la Caixa” Foundation present The Captive Beauty. Small Treasures at the Prado Museum, the second major exhibition based on the collections of the Madrid museum to be hosted at CaixaForum Barcelona following the successful presentation of Goya. Light and Shade in 2012. This new project, conceived as a prolongation of the exhibition that opened at the Prado Museum itself just a year ago, showcases the finest and widest selection of works from the Museum’s superb collections ever to be presented outside Madrid. Featuring exclusively small-format works, the show includes 135 masterpieces that enable the visitor to enjoy the complete “Prado experience”, embracing all the schools and the entire chronology that this most illustrious gallery encompasses, from the late-2nd century, with the sculpture Athena Parthenos, to Goya and the 19th century with Fortuny. Over more than five months, then, the exhibition will give visitors the chance, not only to



In conjunction with the 400th anniversary of the death of El Greco, the Museo Nacional del Prado, Accíon Cultural Española (AC/E) and Fundación BBVA are presenting El Greco and Modern Painting. This is the first exhibition to offer a comprehensive analysis of the artist’s influence on the development of modern painting, with loans from around 70 institutions and private collections in Spain and elsewhere. A group of twenty-six works by El Greco (of which only seven were to be seen in El Griego de Toledo, which closed recently) are shown alongside fifty-seven paintings and twenty-three drawings and prints by artists including Manet, Cézanne, Picasso, Chagall, Modigliani, Kokoschka, Pollock and Saura. Together, these one hundred and five works, in addition to twelve books and a postcard, reveal how El Greco’s influence was particularly important for the evolution of painting in the last third of the 19th century and much of the 20th century.



This April, the Museo del Prado, the Biblioteca Nacional de España and Fundación El Greco 2014 will be presenting the exhibition El Greco’s Library. Its aim is to reconstruct the theoretical and literary roots of El Greco’s art through 39 books, four of which belonged to him, that have been identified from two inventories compiled by the artist’s son Jorge Manuel in 1614 and 1621. Notable among them is a copy of Vitruvius’s treatise on architecture (from the BNE), and another of Giorgio Vasari’s Lives of the most excellent Painters, Sculptors and Architects. Both were copiously annotated by El Greco with comments that reveal his ideas on architecture and above all on painting. Also on display will be a copy of Xenophon’s Works and one of Appian’s Civil Wars, both of which were represented in his library, and one of Sebastiano Serlio’s architectural treatise with annotations that have on occasions been attributed to the artist. The exhibition is

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