Eduardo Arroyo. The Mystic Lamb, now presented at the Museo del Prado, constitutes a reflection by Arroyo on the contemporary meaning of the polyptych in Ghent painted by the brothers Hubert and Jan van Eyck. In Arroyo’s own words, his new interpretation is devoid of “imitation, copy, overcharged spirituality that descends into the grotesque, caricature or criticism.” The exhibition includes twenty-one drawings of the panels of The Mystic Lamb or Ghent Altarpiece, thirty examples of preparatory material again based on those panels, and three further works by Arroyo. They are displayed alongside The Fountain of Grace (1430), a painting by the School of Van Eyck in the Prado’s collection that is also based on The Ghent Altarpiece. Juxtaposed with Arroyo’s contemporary version, it offers a period variant of the original by the Van Eyck brothers. The exhibition is completed with an interactive screen that will allow visitors to compare the numerous

From left to right: Miguel Zugaza, Director of the  Museo del Prado, Eduardo Arroyo and José Manuel Matilla, Head of the Department of Prints and Drawings at the Museum and curator of the exhibition


Murillo and Justino de Neve. The Art of Friendship brings together a group of seventeen late works by Murillo - loaned from London, Paris, Houston, Madrid and Seville, among other cities – that were created within the context of the artist’s friendship with Justino de Neve, canon of Seville cathedral and an important patron and friend of Murillo’s. Focusing on this period within the artist’s career, the exhibition constitutes an important contribution to research on Murillo, which in recent years has concentrated on an analysis of his relationship with his patrons, the evolution of his technique, collectors of his work and the compilation of his catalogued oeuvre. The exhibition will subsequently be shown at the Hospital de los Venerables in Seville between October 2012 and January 2013, after which it will travel to the Dulwich Picture Gallery, London (February to May next year).

The Flower Girl, Bartolomé Esteban Murillo. Oil on canvas, 120.7 x 98.3 cm


The Museo del Prado is presenting the exhibition Late Raphael, which is one of the most important ever to be devoted to the artist and his studio and the first to focus on his final years, during which time Raphael became the most influential painter in Western art. Co-organised with the Musée du Louvre, which will show the exhibition between October 2012 and January 2013, and sponsored by Fundación AXA, it will be inaugurated this Monday, 11 June, by Her Majesty the Queen accompanied by the President of the Italian Chamber of Deputies, Gianfranco Fini, the President of the Spanish Congress, Jesús Posada, and the Spanish Minister of Education, José Wert. The exhibition includes a total of 74 works, the majority of them never previously exhibited in Spain. It will present a chronological survey of Raphael’s artistic activities from the start of the pontificate of Leo X (1513) to the artist’s death in 1520, as well as analysing the activities of his principal assistants, Giulio Romano

Press conference of the exhibition Late Raphael


The Altarpiece of the Gozos de Santa María by Jorge Inglés will be on display in Room 57 of the Villanueva Building as the result of an agreement signed with its present owner, the Duque del Infantado, Íñigo de Arteaga y Martín. An exceptional work for the history of both art and literature will thus be added to the Prado’s collection for a period of ten years.

Altarpiece of the Gozos de Santa María (Altarpiece of the Marquis and Marchioness of Santillana), Jorge Inglés. Doc. 1455. Oil on panel, 497 x 463cm. On deposit with the Museo del Prado from Don Íñigo de Arteaga, Duque del Infantado


The Museo del Prado, Fundación Focus Abengoa and the Dulwich Picture Gallery in London presented the exhibition Murillo and Justino de Neve. The Art of Friendship in Seville today. It brings together a group of late works by Murillo that were commissioned by Justino de Neve, a canon of Seville cathedral, an important patron of art and a personal friend of Murillo’s. As such, the exhibition represents a significant contribution to research on the artist’s life and work. Organised by the three above-mentioned institutions and curated by Gabriele Finaldi, Associate Director of Curatorship and Research at the Museo del Prado, the exhibition opens at the Prado on 26 June, after which it will travel to the Hospital de los Venerables in Seville, home of Fundación Focus Abengoa, and will finally be seen in London next year.

Gabriele Finaldi, Associate Director of Curatorship and Research at the Museo del Prado, Anabel Morillo, chief director of Fundación Focus-Abengoa and Xavier Bray, chief curator of the Dulwich Picture Gallery


Opening on 25 March, the exhibition From El Greco to Goya: Masterpieces from the Museo del Prado, organised by the Prado, the Museo de Arte de Ponce (MAP) and Acción Cultural Española (AC/E), with the sponsorship of the Compañía de Turismo of Puerto Rico, Banco Santander de Puerto Rico and Goya, Puerto Rico, will offer visitors the chance to see an outstanding selection of 24 works from the Prado’s collection by artists such as El Greco, Van Dyck, Ribera, Murillo, Rubens, Velázquez and Goya.

The Cardinal Infante Fernando de Austria, Anthony van Dyck, Oil on canvas, 107 x 106 cm, Ca. 1634, Madrid, Museo Nacional del Prado


Goya: Light and Shade is the first exhibition in a new series based on works from the Prado’s permanent collection. It is the result of a collaborative agreement signed by Obra Social “la Caixa” and the Museum in July last year through which the Catalan savings bank will become a Benefactor Sponsor of the Museum. The exhibition will be on display at the CaixaForum in Barcelona until 24 June. The exhibition includes almost 100 works presented chronologically and grouped into the principal phases that define Goya’s career. It has been conceived and directed by Manuela Mena and José Manuel Matilla, Chief Curator of Goya and 18th-century Painting and Head of the Department of Prints and Drawings at the Prado, respectively. For the first time in more than thirty years the exhibition will present local residents and visitors to Catalonia with a comprehensive and important selection of works by Goya from the Prado, which possesses the most important holdings of his paintings in

Press conference: Goya. Light and Shade


Mikhail Piotrovsky, Director of the State Hermitage Museum, today confirmed his authorisation for the extension of the exhibition The Hermitage in the Prado, co-organised with Acción Cultural Española (AC/E) and sponsored by Fundación BBVA. During a visit to Madrid this week, Mr Piotrovsky generously agreed to the Prado’s proposal, which will allow many more visitors to see the exhibition in the light of the continuing demand for tickets and the fact that an increased number of visitors is expected during Easter Week.



The painting is on display from today until 13 March in Room 49 of the Museum before it travels to the Louvre for inclusion in a temporary exhibition. The principal conclusion of the recent restoration and study of the work lies in its identification as a work by Leonardo’s studio, painted at the same time as the original. Comparison of technical documentation on the two works, the copy and the original, has revealed the successive phases in the creation of Leonardo’s Gioconda (Musée du Louvre) and has allowed for a better understanding of that painting

La Gioconda, Leonardo da Vinci's atelier, ca.1503-16. Oil on walnut pane


At the meeting of the Prado’s Royal Board of Trustees held yesterday and attended by the Minister of Education, Culture and Sport, José Ignacio Wert, the Board was given important news relating to the Museum’s activities in the field of restoration, which are sponsored by Fundación Iberdrola. This is the discovery that the copy of Leonardo da Vinci’s painting the Mona Lisa, the original of which is in the Louvre, was painted by a pupil or follower of the artist at around the same time as the original. The importance of this discovery, which was made during the study and restoration of the painting at the Prado for its inclusion in the exhibition at the Louvre on Leonardo that opens on 29 March, lies

Detail of the copy of the Mona Lisa in the collection of the Museo del Prado during the final phase of restoration
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