Exhibition Prado Museum: The locked up beauty. From Fra Angelico to Fortuny

The locked up beauty. From Fra Angelico to Fortuny

Museum of meadow, from May 21 until November 10, 2013

«Sight two times to see the exact thing. Do not look any more than once to see the beautiful thing».
Henry F. Amiel. Intimate newspaper (1822-1881)

From May 21 The locked up beauty one can contemplate in the Museum of Meadow the exhibition. From Fra Angelico to Fortuny. 281 works met a common denominator: its small format. In crisis times it is necessary to sharpen the ingenuity and the direction of this institution has been extracted of the this magnificent sleeve shows that it has another peculiarity: all the works belong to the funds of the Prado Museum. It constitutes an unpublished sample and in her we can observe, of chronological form, the works of the big artists of the XIVth century and beginning of the XVth (like Fra Angelico) up to coming to the XIXth century (Fortuny).
The result is «a small guide of pocket» that he exercises of collection of samples of the collection of the Prado Museum. The assembly of the exhibition has been designed to invite to inform the spectator to whom it discovers these small beauties, whom comes closer them and who is locked up (because they do not go so far as to show) or restricted (between its big older brothers who usually happen, often, unnoticed). You act in different supports, of extraordinary, rare and particular beauty, some of which has been restored and been cleaned by them for this occasion. It includes all the topics (from mythological, portraits, sceneries, exaltation of power, etc.) as well as different supports and skills (crystal, marble, table, linen charges, etc.)
The Prado Museum proposes to us to stoop, to look across the little windows that have opened in its walls, that we sit down and that we rest to be able to contemplate with all thoroughness the magnificent works exhibited in 17 rooms that they have enabled in the first floor in the place accustomed for the temporary exhibitions. There are a series of explanatory resources different from the habitual ones. Also they have edited a small handlebar of the exhibition with a brief introduction to every room and that gathers the card of each of the works to which they assign a number. The same number is the one that, logically, they place next to every exposed work. If the traveling onlooker does not want to take to its house this minihandlebar, Prado Museum has enabled an urn to deposit it there for sureutilización.

Our trip

El tránsito de la Virgen. Hacia 1462. Andrea Mantegna. Técnica mixta, tabla, 54,5 x 42 cm.

The transit of the Virgin. About 1462. Andrea Mantegna. Mixed skill, table, 54,5 x 42 cm.

Magazine Atticus invites to that each one discovers its work. We, from here, and after our visit we propose a series of them that we have liked for some subjective reason or for mere artistic question.

Spades Atenea, a copy of Roman epoch of the IInd century A.D., in marble, reduced from the original of Fidias (12 meters high) receives us. That one was presiding at Athens from the interior of the Parthenon like warlike goddess and boss of the city. In this occasion, the copy they did it without its warlike attributes, being seen like goddess of the Knowledge and of the Arts. This dedication is low as he presides at the rest of the rooms. Across several little windows opened in the walls of the room we can observe some of the works that wait for us in our visit.

In the room 2 we can enjoy the contemplation of one of the big masterpieces of the Prado Museum The announcement of Fra Angelico. It is not a question of a work of small format but the museum wants that we center on a few small pictures that usually happen unnoticed and that belong to what is named the predela (or bank) of the reredos that receives the magnificent table of the XVth century. They place it at a height of our eyes so that we could contemplate them.

The transit of the Virgin is an example of these pictures of small format but of exquisite execution. It is a work of one of the big artists of the quattrocento, Andrea Mantegna. The scene gathers last moment of the life of Virgin Mary. In the center of the composition the figure of Saint Peter officiates with a missal surrounded with other apostles. The composition is solved perfectly with a skillful game of horizontal lines (window and bed of the Virgin) with vertical (apostles and pilasters) underlined by the checkered soil. The scenery that we can contemplate for the window is one of the topographic first sights in the Italian painting with a lake and a bridge in the Mantua surroundings.

It salts 3. Only a visit already deserves this room and to move there where it was although it was only some of the pieces that here are exhibited.

Self-portrait of Alberto Durero. Classic and well-known painting. Represented like a gentleman in clear tones showing its best finery. It takes an open jerkin black and white and touched with a cap with lists tassel in the same tones. The shirt has a mopboard embroider in gold and drawstring of silk with blue and white ends that holds a brown layer placed on the left shoulder. The hair him falls down on the shoulders in long corkscrews. The painter takes its hands covered with a few gloves that denote a high status. To its left, a window allows us to see, lightly, a scenery. Durero proposes an interesting game of vertical and horizontal lines.

Table of the cardinal sins. With big wise move this piece is included in the exhibition. Only a hundred of meters has had to move. But they have surrounded with a child murete that acts as rail we being allowed to support our hands to rest our body and to bring the sight over to these small details that in previous visits could happen unnoticed. Big wise move and big table of a magnificent one The Bosco. Five circles on a black square. In the angles of the corners, of less dimensions that the head office, they gather scenes of the last years of the life: Death, Judgment, Hell and Glory. Two phylacteries with inscriptions in Latin, extracted from the Deuteronomy they warn of the consequences of the sin. The first one (32: 28-29) he says: "Because there are a people that has neither any comprehension nor vision, if they were intelligent they would understand this and would be prepared for its end». The second one below (32:20) says:« I will separate of them my face and will observe its end». The center circle resembles an eye in whose pupil Christ Varón of Pains appears, going out of its grave, and the phrase «Care, Elegant, the Gentleman is looking» and Seven Cardinal Sins in its exterior ring reproduced like genre scenes with the customs and the vices of the epoch. Just in case we have doubt a few inscriptions, in Latin, they clarify the scenes: Anger, Pride, Lechery, Indolence, Gluttony, Avarice and Envy.

Detalle Virgen con el Niño, hacia 1565. Luis de Morales. Óleo sobre tabla, 38 x 28 cm.

Virgin detail with the Child, about 1565. Luis de Morales. Oil on table, 38 x 28 cm.

It salts 5. A Roman Afrodita copy presides at this room, but what more he would emphasize is a small picture: Virgin with the Child of Luis Morales. It is no wonder that this artist was met like «the Divine one» (although in honor of the truth it was more for its Biblical topics than for the mastery in the execution). The Virgin supports with its right hand the head of its Son, while the child introduces its manita in the bosom of its Mother. A Marian picture full of delicacy that constitutes one of the most emblematic creations of this style painter manierista. They emphasize the sweet look of the Virgin, as well as the delicate features of the face; and the treatment in the gauze which the child pulls, of subtle line.

It salts 8. A series of inns and vases opens in this room that they demonstrate the concept of vanitas that sublies in the art of the XVIIth century: the passage of time, the vanity of the beauty and of the things and the presence of the death.

A philosopher. Of melancholic and somewhat disconsolate aspect it pays powerfully the attention for the quality in the pictorial treatment of the black jerkin that the elder takes and that reflects, of magisterial form, the light. The scene completes the books piled up in the table. In one of them it seems that the philosopher spills its last treatises. One believes that it is a question of a rabbi (for the beard and the cap). This work can remind us to Rembrandt.

Agnus Dei. A corderito is the only motive that is on a table standing out on the dark fund. Knocked down and with the paws united with a cord in an attitude unequivocally sacrificial. Big skill at the time of reproducing the different textures with a very natural and studied light. It alludes to Christ's sacrifico who dies for saving the humanity, therefore it comes out of the realistic image acquiring a big symbolic value. It is therefore it takes part of the inn (still life) and of the religious painting.

It salts 9. We can see pictures of the XVIIth century with topics of the nature and mythological or religious events.

The Christian soul accepts its cross. One of the most surprising things of this picture is its modernity. It is necessary to look at the card to see that it is a question of anonymous French realized in the XVIIth century. Christ loads with the Cross and behind him it walks (or it tries it) supporting another cross a young woman with the naked torso. That already produces surprise. But what more attracts attention is the surrealistic ambience. The space is full of crossings of distressing form: in the soil, to the fund, for all the sides. There is an interesting game of light and half-light that makes stand out some more than others. It is a study of the perspective, of the light and of the color and nevertheless it is full of austerity (it is enough to see Christ's tunic). Enigmatic beauty.

It salts 10. From the Antiquity there is a taste for representing the life that happens before the artist. The office pictures acquire big importance. Across them the spectator who was coming to the houses of the big collectors could discover other worlds, another form of life.

The old man and the servant. This is one of these pictures that turn out to be "delightful" on having contemplated them thoroughly. We can evoke a cartoon story, and almost surely that we are not wrong very much, on having seen as the old man him whispers to the ear some lustful desire to the young woman. The whole care for the details that leaks the work concentrates on this boiler of copper, placed to our left, whose interior shines with proper light. The light penetrates for the left emphasizing the couple on a fund in half-light.

It salts 15. We stop in this room to contemplate a pair of inns, works of Tiépolo and Vicente López Portaña.

Inn of fruits and crystal vase. An inn that mixes fruits in a wicker receptacle, others on the table and in a background a delicate crystal vase with a branch of red fruits and flowers of jasmine. To the right, finished one the scene, a plate with plums. All this arranged staggered form. The picture possesses certain features diferenciadores and that give him a special attraction. One of them is the fund in not habitual blue tone. The texture aporcelanada also is novel.

Los tres viajeros aéreos favoritos, hacia 1785. John-Francis Rigaud. Óleo sobre lámina de cobre 36 x 31 cm.

Three favorite air travelers, about 1785. John-Francis Rigaud. Oil on copper plate 36 x 31 cm.

Three favorite air travelers. A curious work that more looks like a postcard of the epoch. The fashion of going in balloon was in full heyday. It seems that he narrates a historical episode: the second Lunardi flight in balloon in England before the very same Prince of Wales. Rigaud painted this picture as model later to do an engraving and this way to extract a money to so many sense of expectancy for these new adventures.

It salts 16. He emphasizes in the center of the room the imposing mock-up of Villanueva that presented the king in 1787 of the Office of Natural sciences that constituted the embryo of the Prado Museum. They propose another small game to us. In this case it is a question of looking for a small sight that would place us in ancient Prado Museum seeing one of the first works that it lodged. Also they are exhibited, under the light of the skylight, symbol of the Century of the Lights, sketches, pictures of office and small portraits. We can contemplate a good collection of «goyas«.

The prairie of San Isidro. Spectacular picture that in spite of its limited dimensions, and of being a preparatory sketch for a set of pasteboards, does not lose its nobility. It recreates the recreation area in the outskirts of Madrid, between the chapel of San Isidro and the river Manzanares, with conference of the city to the fund. The crowd turns out to be represented during the festivity of the employer of Madrid, the day of the pilgrimage. The death of Carlos III ruined the project. It was going to be a picture of more than seven meters. A wonderful work that in spite of its limited dimensions provokes a sensation of big space. It predominates over a scale of white, pink colors, being in the intermediate area dark tones, what centers our look on the depth, leaving the framed personages of the forefront. This fund, the city, is painted the portrait of meticulous and realistic form. We can identify each of the architectural details. The set shows one of the characteristics of Goya and that is this impressionistic stroke that awards the author a proper personality, considering it like a big "modern" artist.

It salts 17. We come to the last room. After a pleasant trip, we meet a good fistful of small jewels that constitute the best possible colophon for this exhibition. Although some of them is quite well-known not that's why it reduces an interest not even apex. It is a question of paintings of the XIXth century of small format. Followers of Goya (like Alenza or Lucas) or the preciosity of Jiménez Aranda or Pradilla. We are in the century of the excellent bourgeoisie. Like that it does not wonder to find us with cozy stays and of voluptuous checkers full of refinement and elegance (Madrazo). Also we meet some work of Fortuny of big relevancy.

The queen Mrs Juana «the Madwoman», imprisoned in Tordesillas with its daughter, infanta Mrs Catalina. After this resounding title is a lofty work. Picture of office identical with full ripeness for Pradilla. He gathers a well-known episode in the History of Spain. The painter felt weakness for the ups and downs of the queen Mrs Juana de Castilla (meet as Juana «the Madwoman»). The queen appears inside a stay of its place of sit-in in Tordesillas. Sitting along with a large window, with the far-away look captivated in its thought, in its wish of remaining along with the body of its deceased husband. Next to you, in its lap, Infanta Catalina is unattended. To the fund, to the right, placed in front of a chimney they remain, as guards, a lady of court, richly dressed, and a servant with more modest clothing. Behind the queen, to the fund of the stay, to the left, it is possible to observe an open door that allows us to contemplate the coffin that contains the mortal remains of Felipe Beautiful. The picture leaks a romantic intensity and a big melodramatic load. There is a big accumulation of incidental, decorative elements, painted with big thoroughness and luxury of details. It is enough to stop them in the window and all the things that are in the sill. They are even taken care of the most minimal detail respecting the history that, for its formation, the artist must know on Reyes Católicos. This way we can see it in the rich furniture that brings together it with other architectural details as it is the ogee arch of the chimney. Magnificent painting.

Detalle La reina doña Juana «la Loca», recluida en Tordesillas con su hija, la infanta doña Catalina, 1096. Óleo sobre lienzo 85 x 146 cm. Francisco Pradilla y Ortiz

There details The queen Mrs Juana «the Madwoman», imprisoned in Tordesillas with its daughter, infanta Mrs Catalina, 1096. Oil on linen 85 x 146 cm. Francisco Pradilla and Ortiz

And with this work we give for our trip finished by the exhibition The locked up beauty. On having initiated the trip, it did not have great idea of that is what was going to find me in the rooms dedicated to the temporary exhibitions in the Prado Museum. So the surprise has been capital on having enjoyed a collection of works of art, of small size, varied and extensive. There it is the locked up beauty of these jewels because they are not usually at sight and if they it are they usually happen unnoticed on having been concealed by the sheen of its older sisters with whom some of them coexist. We have reviewed close to 45 of the 281 that compose the exhibition. Discover your own works! The crisis has made possible that the direction of the museum looks for its stores and pulls «its fund of closet» and insurance that with many less economic resources could have washed it facing many of these works and to present them in a bold, novel and attractive assembly. An exhibition much taken care with details and initiatives like having an urn to the exit of our visit if you want to deposit there our small minihandlebar that perhaps does not have any more life in our houses.

He is accompanied to the exhibition by a series of habitual events for which I recommend the visit to the web. There has been edited a catalog of limited size that will serve as small guide almost as pocket, but with all details luxury in the images and accompanied by a series of texts of the main conservatives of the Prado Museum. Probably it will serve to us to recall the sample. Along with him there sells separately an excellent CD that contains a series of topics of classical music. The justification of the election of these topics is not very clear. It is a good merchandising product with works known about Vivaldi, Bach or Mozart. But these topics have accompanied me in a glorious way in the achievement of this work. They already know it, during this summer they have an appointment in the Prado Museum.

A video of the sample:

Note of the writing. This text and images is an extract of the article that we include complete in our specially exhibitions Madrid July, 2013 that shortly we will put at your disposal in this web.

Square Luisjo

 

 


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Exhibition Prado Museum: The locked up beauty. From Fra Angelico to Fortuny | Magazine Atticus

Exhibition Prado Museum: The locked up beauty. From Fra Angelico to Fortuny

The locked up beauty. From Fra Angelico to Fortuny

Museum of meadow, from May 21 until November 10, 2013

«Sight two times to see the exact thing. Do not look any more than once to see the beautiful thing».
Henry F. Amiel. Intimate newspaper (1822-1881)

From May 21 The locked up beauty one can contemplate in the Museum of Meadow the exhibition. From Fra Angelico to Fortuny. 281 works met a common denominator: its small format. In crisis times it is necessary to sharpen the ingenuity and the direction of this institution has been extracted of the this magnificent sleeve shows that it has another peculiarity: all the works belong to the funds of the Prado Museum. It constitutes an unpublished sample and in her we can observe, of chronological form, the works of the big artists of the XIVth century and beginning of the XVth (like Fra Angelico) up to coming to the XIXth century (Fortuny).
The result is «a small guide of pocket» that he exercises of collection of samples of the collection of the Prado Museum. The assembly of the exhibition has been designed to invite to inform the spectator to whom it discovers these small beauties, whom comes closer them and who is locked up (because they do not go so far as to show) or restricted (between its big older brothers who usually happen, often, unnoticed). You act in different supports, of extraordinary, rare and particular beauty, some of which has been restored and been cleaned by them for this occasion. It includes all the topics (from mythological, portraits, sceneries, exaltation of power, etc.) as well as different supports and skills (crystal, marble, table, linen charges, etc.)
The Prado Museum proposes to us to stoop, to look across the little windows that have opened in its walls, that we sit down and that we rest to be able to contemplate with all thoroughness the magnificent works exhibited in 17 rooms that they have enabled in the first floor in the place accustomed for the temporary exhibitions. There are a series of explanatory resources different from the habitual ones. Also they have edited a small handlebar of the exhibition with a brief introduction to every room and that gathers the card of each of the works to which they assign a number. The same number is the one that, logically, they place next to every exposed work. If the traveling onlooker does not want to take to its house this minihandlebar, Prado Museum has enabled an urn to deposit it there for sureutilización.

Our trip

El tránsito de la Virgen. Hacia 1462. Andrea Mantegna. Técnica mixta, tabla, 54,5 x 42 cm.

The transit of the Virgin. About 1462. Andrea Mantegna. Mixed skill, table, 54,5 x 42 cm.

Magazine Atticus invites to that each one discovers its work. We, from here, and after our visit we propose a series of them that we have liked for some subjective reason or for mere artistic question.

Spades Atenea, a copy of Roman epoch of the IInd century A.D., in marble, reduced from the original of Fidias (12 meters high) receives us. That one was presiding at Athens from the interior of the Parthenon like warlike goddess and boss of the city. In this occasion, the copy they did it without its warlike attributes, being seen like goddess of the Knowledge and of the Arts. This dedication is low as he presides at the rest of the rooms. Across several little windows opened in the walls of the room we can observe some of the works that wait for us in our visit.

In the room 2 we can enjoy the contemplation of one of the big masterpieces of the Prado Museum The announcement of Fra Angelico. It is not a question of a work of small format but the museum wants that we center on a few small pictures that usually happen unnoticed and that belong to what is named the predela (or bank) of the reredos that receives the magnificent table of the XVth century. They place it at a height of our eyes so that we could contemplate them.

The transit of the Virgin is an example of these pictures of small format but of exquisite execution. It is a work of one of the big artists of the quattrocento, Andrea Mantegna. The scene gathers last moment of the life of Virgin Mary. In the center of the composition the figure of Saint Peter officiates with a missal surrounded with other apostles. The composition is solved perfectly with a skillful game of horizontal lines (window and bed of the Virgin) with vertical (apostles and pilasters) underlined by the checkered soil. The scenery that we can contemplate for the window is one of the topographic first sights in the Italian painting with a lake and a bridge in the Mantua surroundings.

It salts 3. Only a visit already deserves this room and to move there where it was although it was only some of the pieces that here are exhibited.

Self-portrait of Alberto Durero. Classic and well-known painting. Represented like a gentleman in clear tones showing its best finery. It takes an open jerkin black and white and touched with a cap with lists tassel in the same tones. The shirt has a mopboard embroider in gold and drawstring of silk with blue and white ends that holds a brown layer placed on the left shoulder. The hair him falls down on the shoulders in long corkscrews. The painter takes its hands covered with a few gloves that denote a high status. To its left, a window allows us to see, lightly, a scenery. Durero proposes an interesting game of vertical and horizontal lines.

Table of the cardinal sins. With big wise move this piece is included in the exhibition. Only a hundred of meters has had to move. But they have surrounded with a child murete that acts as rail we being allowed to support our hands to rest our body and to bring the sight over to these small details that in previous visits could happen unnoticed. Big wise move and big table of a magnificent one The Bosco. Five circles on a black square. In the angles of the corners, of less dimensions that the head office, they gather scenes of the last years of the life: Death, Judgment, Hell and Glory. Two phylacteries with inscriptions in Latin, extracted from the Deuteronomy they warn of the consequences of the sin. The first one (32: 28-29) he says: "Because there are a people that has neither any comprehension nor vision, if they were intelligent they would understand this and would be prepared for its end». The second one below (32:20) says:« I will separate of them my face and will observe its end». The center circle resembles an eye in whose pupil Christ Varón of Pains appears, going out of its grave, and the phrase «Care, Elegant, the Gentleman is looking» and Seven Cardinal Sins in its exterior ring reproduced like genre scenes with the customs and the vices of the epoch. Just in case we have doubt a few inscriptions, in Latin, they clarify the scenes: Anger, Pride, Lechery, Indolence, Gluttony, Avarice and Envy.

Detalle Virgen con el Niño, hacia 1565. Luis de Morales. Óleo sobre tabla, 38 x 28 cm.

Virgin detail with the Child, about 1565. Luis de Morales. Oil on table, 38 x 28 cm.

It salts 5. A Roman Afrodita copy presides at this room, but what more he would emphasize is a small picture: Virgin with the Child of Luis Morales. It is no wonder that this artist was met like «the Divine one» (although in honor of the truth it was more for its Biblical topics than for the mastery in the execution). The Virgin supports with its right hand the head of its Son, while the child introduces its manita in the bosom of its Mother. A Marian picture full of delicacy that constitutes one of the most emblematic creations of this style painter manierista. They emphasize the sweet look of the Virgin, as well as the delicate features of the face; and the treatment in the gauze which the child pulls, of subtle line.

It salts 8. A series of inns and vases opens in this room that they demonstrate the concept of vanitas that sublies in the art of the XVIIth century: the passage of time, the vanity of the beauty and of the things and the presence of the death.

A philosopher. Of melancholic and somewhat disconsolate aspect it pays powerfully the attention for the quality in the pictorial treatment of the black jerkin that the elder takes and that reflects, of magisterial form, the light. The scene completes the books piled up in the table. In one of them it seems that the philosopher spills its last treatises. One believes that it is a question of a rabbi (for the beard and the cap). This work can remind us to Rembrandt.

Agnus Dei. A corderito is the only motive that is on a table standing out on the dark fund. Knocked down and with the paws united with a cord in an attitude unequivocally sacrificial. Big skill at the time of reproducing the different textures with a very natural and studied light. It alludes to Christ's sacrifico who dies for saving the humanity, therefore it comes out of the realistic image acquiring a big symbolic value. It is therefore it takes part of the inn (still life) and of the religious painting.

It salts 9. We can see pictures of the XVIIth century with topics of the nature and mythological or religious events.

The Christian soul accepts its cross. One of the most surprising things of this picture is its modernity. It is necessary to look at the card to see that it is a question of anonymous French realized in the XVIIth century. Christ loads with the Cross and behind him it walks (or it tries it) supporting another cross a young woman with the naked torso. That already produces surprise. But what more attracts attention is the surrealistic ambience. The space is full of crossings of distressing form: in the soil, to the fund, for all the sides. There is an interesting game of light and half-light that makes stand out some more than others. It is a study of the perspective, of the light and of the color and nevertheless it is full of austerity (it is enough to see Christ's tunic). Enigmatic beauty.

It salts 10. From the Antiquity there is a taste for representing the life that happens before the artist. The office pictures acquire big importance. Across them the spectator who was coming to the houses of the big collectors could discover other worlds, another form of life.

The old man and the servant. This is one of these pictures that turn out to be "delightful" on having contemplated them thoroughly. We can evoke a cartoon story, and almost surely that we are not wrong very much, on having seen as the old man him whispers to the ear some lustful desire to the young woman. The whole care for the details that leaks the work concentrates on this boiler of copper, placed to our left, whose interior shines with proper light. The light penetrates for the left emphasizing the couple on a fund in half-light.

It salts 15. We stop in this room to contemplate a pair of inns, works of Tiépolo and Vicente López Portaña.

Inn of fruits and crystal vase. An inn that mixes fruits in a wicker receptacle, others on the table and in a background a delicate crystal vase with a branch of red fruits and flowers of jasmine. To the right, finished one the scene, a plate with plums. All this arranged staggered form. The picture possesses certain features diferenciadores and that give him a special attraction. One of them is the fund in not habitual blue tone. The texture aporcelanada also is novel.

Los tres viajeros aéreos favoritos, hacia 1785. John-Francis Rigaud. Óleo sobre lámina de cobre 36 x 31 cm.

Three favorite air travelers, about 1785. John-Francis Rigaud. Oil on copper plate 36 x 31 cm.

Three favorite air travelers. A curious work that more looks like a postcard of the epoch. The fashion of going in balloon was in full heyday. It seems that he narrates a historical episode: the second Lunardi flight in balloon in England before the very same Prince of Wales. Rigaud painted this picture as model later to do an engraving and this way to extract a money to so many sense of expectancy for these new adventures.

It salts 16. He emphasizes in the center of the room the imposing mock-up of Villanueva that presented the king in 1787 of the Office of Natural sciences that constituted the embryo of the Prado Museum. They propose another small game to us. In this case it is a question of looking for a small sight that would place us in ancient Prado Museum seeing one of the first works that it lodged. Also they are exhibited, under the light of the skylight, symbol of the Century of the Lights, sketches, pictures of office and small portraits. We can contemplate a good collection of «goyas«.

The prairie of San Isidro. Spectacular picture that in spite of its limited dimensions, and of being a preparatory sketch for a set of pasteboards, does not lose its nobility. It recreates the recreation area in the outskirts of Madrid, between the chapel of San Isidro and the river Manzanares, with conference of the city to the fund. The crowd turns out to be represented during the festivity of the employer of Madrid, the day of the pilgrimage. The death of Carlos III ruined the project. It was going to be a picture of more than seven meters. A wonderful work that in spite of its limited dimensions provokes a sensation of big space. It predominates over a scale of white, pink colors, being in the intermediate area dark tones, what centers our look on the depth, leaving the framed personages of the forefront. This fund, the city, is painted the portrait of meticulous and realistic form. We can identify each of the architectural details. The set shows one of the characteristics of Goya and that is this impressionistic stroke that awards the author a proper personality, considering it like a big "modern" artist.

It salts 17. We come to the last room. After a pleasant trip, we meet a good fistful of small jewels that constitute the best possible colophon for this exhibition. Although some of them is quite well-known not that's why it reduces an interest not even apex. It is a question of paintings of the XIXth century of small format. Followers of Goya (like Alenza or Lucas) or the preciosity of Jiménez Aranda or Pradilla. We are in the century of the excellent bourgeoisie. Like that it does not wonder to find us with cozy stays and of voluptuous checkers full of refinement and elegance (Madrazo). Also we meet some work of Fortuny of big relevancy.

The queen Mrs Juana «the Madwoman», imprisoned in Tordesillas with its daughter, infanta Mrs Catalina. After this resounding title is a lofty work. Picture of office identical with full ripeness for Pradilla. He gathers a well-known episode in the History of Spain. The painter felt weakness for the ups and downs of the queen Mrs Juana de Castilla (meet as Juana «the Madwoman»). The queen appears inside a stay of its place of sit-in in Tordesillas. Sitting along with a large window, with the far-away look captivated in its thought, in its wish of remaining along with the body of its deceased husband. Next to you, in its lap, Infanta Catalina is unattended. To the fund, to the right, placed in front of a chimney they remain, as guards, a lady of court, richly dressed, and a servant with more modest clothing. Behind the queen, to the fund of the stay, to the left, it is possible to observe an open door that allows us to contemplate the coffin that contains the mortal remains of Felipe Beautiful. The picture leaks a romantic intensity and a big melodramatic load. There is a big accumulation of incidental, decorative elements, painted with big thoroughness and luxury of details. It is enough to stop them in the window and all the things that are in the sill. They are even taken care of the most minimal detail respecting the history that, for its formation, the artist must know on Reyes Católicos. This way we can see it in the rich furniture that brings together it with other architectural details as it is the ogee arch of the chimney. Magnificent painting.

Detalle La reina doña Juana «la Loca», recluida en Tordesillas con su hija, la infanta doña Catalina, 1096. Óleo sobre lienzo 85 x 146 cm. Francisco Pradilla y Ortiz

There details The queen Mrs Juana «the Madwoman», imprisoned in Tordesillas with its daughter, infanta Mrs Catalina, 1096. Oil on linen 85 x 146 cm. Francisco Pradilla and Ortiz

And with this work we give for our trip finished by the exhibition The locked up beauty. On having initiated the trip, it did not have great idea of that is what was going to find me in the rooms dedicated to the temporary exhibitions in the Prado Museum. So the surprise has been capital on having enjoyed a collection of works of art, of small size, varied and extensive. There it is the locked up beauty of these jewels because they are not usually at sight and if they it are they usually happen unnoticed on having been concealed by the sheen of its older sisters with whom some of them coexist. We have reviewed close to 45 of the 281 that compose the exhibition. Discover your own works! The crisis has made possible that the direction of the museum looks for its stores and pulls «its fund of closet» and insurance that with many less economic resources could have washed it facing many of these works and to present them in a bold, novel and attractive assembly. An exhibition much taken care with details and initiatives like having an urn to the exit of our visit if you want to deposit there our small minihandlebar that perhaps does not have any more life in our houses.

He is accompanied to the exhibition by a series of habitual events for which I recommend the visit to the web. There has been edited a catalog of limited size that will serve as small guide almost as pocket, but with all details luxury in the images and accompanied by a series of texts of the main conservatives of the Prado Museum. Probably it will serve to us to recall the sample. Along with him there sells separately an excellent CD that contains a series of topics of classical music. The justification of the election of these topics is not very clear. It is a good merchandising product with works known about Vivaldi, Bach or Mozart. But these topics have accompanied me in a glorious way in the achievement of this work. They already know it, during this summer they have an appointment in the Prado Museum.

A video of the sample:

Note of the writing. This text and images is an extract of the article that we include complete in our specially exhibitions Madrid July, 2013 that shortly we will put at your disposal in this web.

Square Luisjo

 

 


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