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THE MUSEUM’S COLLECTIONS


MASTERPIECES

Previous


ORESTES AND PYLADES OR THE SAN ILDEFONSO GROUP, PUPIL OF PASITELES


THE ANNUNCIATION, ANGELICO, FRA


THE DESCENT FROM THE CROSS, WEYDEN, ROGIER VAN DER


SELF-PORTRAIT, DÜRER, ALBRECHT


THE GARDEN OF EARTHLY DELIGHTS TRIPTYCH, BOSCH, HIERONYMUS


THE CRUCIFIXION, FLANDES, JUAN DE


THE CARDINAL, RAPHAEL (RAFFAELLO SANZIO)


EMPEROR CHARLES V AT MÜHLBERG, TITIAN (TIZIANO VECELLIO)


THE NOBLEMAN WITH HIS HAND ON HIS CHEST, EL GRECO (DOMENIKOS THEOTOKOPOULOS)


THE THREE GRACES, RUBENS, PETER PAUL


JUDITH AT THE BANQUET OF HOLOFERNES, REMBRANDT (REMBRANDT HARMENSZ. VAN RIJN)


JACOB’S DREAM, RIBERA, JUSEPE DE, LO SPAGNOLETTO


LAS MENINAS, VELÁZQUEZ, DIEGO RODRÍGUEZ DE SILVA Y


THE IMMACULATE CONCEPTION, TIEPOLO, GIOVANNI BATTISTA


THE 3RD OF MAY 1808 IN MADRID, OR “THE EXECUTIONS”, GOYA Y LUCIENTES, FRANCISCO
DE


ORESTES AND PYLADES OR THE SAN ILDEFONSO GROUP, PUPIL OF PASITELES


THE ANNUNCIATION, ANGELICO, FRA


THE DESCENT FROM THE CROSS, WEYDEN, ROGIER VAN DER


SELF-PORTRAIT, DÜRER, ALBRECHT


THE GARDEN OF EARTHLY DELIGHTS TRIPTYCH, BOSCH, HIERONYMUS


THE CRUCIFIXION, FLANDES, JUAN DE


THE CARDINAL, RAPHAEL (RAFFAELLO SANZIO)


EMPEROR CHARLES V AT MÜHLBERG, TITIAN (TIZIANO VECELLIO)


THE NOBLEMAN WITH HIS HAND ON HIS CHEST, EL GRECO (DOMENIKOS THEOTOKOPOULOS)


THE THREE GRACES, RUBENS, PETER PAUL


JUDITH AT THE BANQUET OF HOLOFERNES, REMBRANDT (REMBRANDT HARMENSZ. VAN RIJN)


JACOB’S DREAM, RIBERA, JUSEPE DE, LO SPAGNOLETTO


LAS MENINAS, VELÁZQUEZ, DIEGO RODRÍGUEZ DE SILVA Y


THE IMMACULATE CONCEPTION, TIEPOLO, GIOVANNI BATTISTA


THE 3RD OF MAY 1808 IN MADRID, OR “THE EXECUTIONS”, GOYA Y LUCIENTES, FRANCISCO
DE


ORESTES AND PYLADES OR THE SAN ILDEFONSO GROUP, PUPIL OF PASITELES

Next



FEATURED ARTISTS

 * Angelico, Fra
 * Weyden, Rogier van der
 * Bosch, Hieronymus
 * Flandes, Juan de
 * Dürer, Albrecht
 * Raphael (Raffaello Sanzio)
 * Titian (Tiziano Vecellio)
 * El Greco (Domenikos Theotokopoulos)
 * Rubens, Peter Paul
 * Ribera, Jusepe de, lo Spagnoletto
 * Velázquez, Diego Rodríguez de Silva y
 * Rembrandt (Rembrandt Harmensz. van Rijn)
 * Tiepolo, Giovanni Battista
 * Goya y Lucientes, Francisco de


MORE ARTISTS

a b c d e f g h i j k l m n o p q r s t u v w x y z
a b c d e f g h i j k l m n o p q r s t u v w x y z


A

(19)
 * Adrianssen, Alexander van
 * Aguirre, Ginés Andrés de
 * Ajello, Eutichio
 * Alabert, Santiago
 * Alberti, Cherubino
 * Alfaro y Gómez, Juan
 * Aloncle, François-Joseph
 * Alsloot, Denis van
 * Anguissola, Sofonisba
 * Ansaldo, Giovanni Andrea
 * Antolínez y Sarabia, Francisco

 * Antolínez, José
 * Arco, Alonso del
 * Arellano, José de
 * Arellano, Juan de
 * Arias Fernández, Antonio
 * Arias, Ignacio
 * Arpino, Il cavaliere d'
 * Arredondo, Isidoro


COLLECTION

Miguel Falomir Museo del Prado's director [+]

Welcome to the Museo del Prado, an institution dating back 200 years and one
whose origins and unique nature are largely due to the collecting tastes of
Spain’s 16th- and 17th-century monarchs. Collecting at that period differed from
the present day. Rather than aiming at comprehensiveness, collectors aimed to
assemble as many works as possible by their favourite artists. This explains why
the Prado has been described as a museum of painters not of paintings, given
that its artists are represented in a superlative manner with, for example, the
largest holdings of Bosch, Titian, El Greco, Rubens, Velázquez and Goya, some
numbering more than 100 works. This type of instinctive collecting also resulted
in gaps and explains why some periods are less well represented than others,
either because they were not of interest, for example the Italian Primitives, or
for historical reasons, as with 17th-century Dutch painting.

The first painter collected by the Spanish monarchy and the founding pillar of
the Royal Collection is Titian. This choice had decisive consequences for royal
collecting and for the very evolution of Spanish painting. By opting for the
great champion of colour over the Florentine and Roman painters who upheld the
primacy of disegno, the Spanish monarchs focussed on a type of painting which
emphasised the most emotional and sensual aspects. Titian was followed by other
Venetians (Veronese, Tintoretto) and by artists who took up their legacy,
including the Flemish painters Peter Paul Rubens and Anthony van Dyck. Their
influence was crucial for the flowering of Spanish painting in the 17th century,
led by Velazquez. This school is the lynchpin of the old Royal Collection but it
is not the only one, and other painters and schools were added from the 16th
century onwards. Philip II admired 15th-century Flemish painting, hence the
presence of works by Van der Weyden, Memling and above all Bosch, while still
more important was Philip IV, who not only commissioned works from Rubens,
Velázquez and Van Dyck but also from José de Ribera, a Spaniard active in Rome,
from the French artists Nicolas Poussin and Claude Lorrain, and from the Italian
painters who worked on the decoration of his numerous residences. Philip also
attempted to fill gaps in the collection, acquiring works by non-Venetian
Italian Renaissance painters such as Raphael, Parmigianino and Correggio. On his
death the Spanish Royal Collection was the greatest in Europe and the example to
be emulated.

The arrival of the Bourbons at the start of the 18th century led to the
employment of French painters, initiating a new century dominated by non-Spanish
artists. The French were followed by the Italians, and in the third quarter of
the century Madrid was the setting for one of the most fascinating artistic
rivalries in Europe when Charles III employed two artists with totally opposing
ways of understanding and practising painting: the Venetian Giovanni Battista
Tiepolo, a brilliant descendent of the great tradition of art, and the Bohemian
trained in Rome, Anton Rafael Mengs, the herald of Neo-classicism. It was only
with Goya at the end of the century that a Spanish painter once again dominated
the court scene.

The Prado and its collections reflect the history of Spain, whose waning role on
the international stage in the 19th century reduced its appeal for foreign
artists. Spanish artists now trained and worked abroad: in Rome at the beginning
of the century, and from the mid-century onwards in Paris, the new world capital
of art. The nationalistic fervour that characterised the entire century,
reflected by Spanish artists in canvases celebrating the country’s peoples,
landscapes and history, and the Disentailment of ecclesiastical possessions
which, when they entered the Prado from the Museo de la Trinidad, significantly
enriched the original holdings from the Royal Collection, are all reflected in
the Museum’s collections, which terminate in 1881, the year of Picasso’s birth.
Furthermore, while primarily oriented towards painting, these collections also
include outstanding examples of sculpture, the decorative arts and works on
paper, from antiquity to the 19th century.

Since its foundation in 1819, the Museo del Prado has played a key role in the
evolution of art history. It has been crucial for the rediscovery of the Spanish
Primitives and emblematic figures such as El Greco, and for positioning
Velázquez as the greatest figure in the Spanish pictorial Parnassus, while its
galleries have inspired some of the most avant-garde painters of the past 150
years. We are proud to show visitors this great artistic patrimony.


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CURRENT EXHIBITIONS


FROM PENCIL TO BURIN. DRAWINGS FOR PRINTMAKING IN GOYA'S DAY

10/17/2023 - 01/14/2024


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