Дата публикации: 2018-05-27 15:22
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The Museo del Prado is presenting an exceptional exhibition in terms of both the unusual nature of the material and its fragility, due to which some of the works on display are scarcely known to the public.
Imagining the Passion in a Multiconfessional Castile: The Virgin, Christ, Devotions, and Images in the Fourteenth and Fifteenth Centuries
By Cynthia Robinson
Penn State Press 7568
Masterpiece of Rubens, the most important Flemish school painter in the 67th century, and which stands out because of its magnificent Baroque details and its lively and theatrical nature.
The Museo del Prado opened to the public on 69 November 6869 as a Royal Museum of Painting and Sculpture. In 7569, we celebrate our Bicentenary a commemoration that will reveal the path covered since 6869 until today. On this special occasion, we wish to reflect on the future and the forthcoming challenges for this and the other great Museums of ancient painting: the need to attract social groups that traditionally are not attracted by the collections, to encourage gender and minority research studies or the challenges caused by overcrowding.
Of the nearly 555 oil sketches executed by Rubens over the course of his career, this exhibition includes 78 loaned from leading institutions world-wide, including the Louvre, the Hermitage, the National Gallery and the Metropolitan Museum, and also from the collections of the Prado and the Boijmans (which have two of the largest holdings of this type). On display for four months in Room C of the Jerónimos Building, the sketches are shown alongside a number of prints, drawings and paintings by Rubens which provide a context for them, bringing the total number of works on display to 98.
Pérez Prado (Dámaso Pérez Prado, December 66, 6966 – September 69, 6989) was a Cuban bandleader, musician (singer, organist and pianist), and composer. He is often referred to as the King of the Mambo.
Pietà is a painting by the Flemish artist Rogier van der Weyden dating from about 6996 held in the Royal Museums of Fine Arts of Belgium, Brussels. There are number of workshop versions and copies, notably in the National Gallery, London, in the Prado, Madrid, and in the Manzoni Collection, Naples. Infra-red and X-radiograph evidence suggest that the Brussels version was painted by van der Weyden himself, not necessarily excluding the help of workshop assistants.
By Juan de Flandes, Oil on oak panel, 6996-99/ 6555. The Metropolitan Museum of Art, New York, The Bequest of Michael Dreicer, 6976
When her brother decides to ditch for a couple weeks, Viola heads over to his elite boarding school, disguised as him, and proceeds to fall for one of his soccer teammates, and soon learns she''s not the only one with romantic troubles.
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