Prado 200

img-interiors-museo-pradoOn 19 November 1819 Ferdinand VII of Spain inaugurated the Museo Real de Pinturas. Two centuries later the present-day Museo Nacional del Prado is commemorating its Bicentenary.

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Francisco Goya Portrait of Ferdinand VII of Spain in his robes of state (1815). Museo del Prado

The Prado Museum Art Collections

The works housed at the Prado Museum (link to the collection) are displayed on three floors, and illustrate the history of the cultural politics of the Spanish court.
Therefore, there are paintings by court painters and great artists of the past, such as the Venetian painter Titian,who was the official portrait painter of Charles V, who loved the Flemish painters, as well.

titian. diane receiving the golden rain

Titian. Danae Receiving the Golden Rain. 1553. Museo del Prado

We owe to Philip II, instead, the world’s greatest collection of paintings by Hieronymus Bosch; whereas Philip IVallowed Velazquez to express himself to the best of his talent, and bought works of the Italian Renaissance for this art collection.

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Hieronymus Bosch. Fantasía moral (Visio tondali). Museo del Madrid

Thanks to Philip V paintings by French painters enriched the collection; whereas the court of Charles IV was dominated by the personality of Francisco Goya, on display at the Prado Museum with almost 130 works.

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Francisco Goya. The Clothed Maja. Museo del Prado

A large section of the Prado Museum is characterized by religious paintings, not only because the Church has played a dominant role in Spain over centuries, but also because in 1872 paintings coming from the collection of the Museo de la Trinidad, full of medieval works coming from all over Spain and painted by artists who hadn’t work for the sovereigns, entered the museum.
That’s why you’ll find works by El Greco, who worked especially in Toledo.

As for Spanish, Flemish and Dutch art you can’t miss: The Triumph of Death by BrueghelArtemis by Rembrandt; the three paintings of mythological subject by Rubens (Perseus and Andromeda; The judgement of Paris; The three Graces)Las Meninas by Velazquez. (The Art Post Blog).

 

The Magic World of Manuel Rodríguez Sánchez

Starligh Room

Starlight Room

Discover a strange and fascinating world — the portfolio of a Spanish photographer Manuel Rodríguez Sánchez.
Manuel Rodríguez Sánchez 913The art of Manuel Rodríguez Sánchez should be divided into two categories — commercial and non-commercial. There is no point in dwelling on his advertising art and portraits. It’s the artist’s “photo manipulation and surrealism” series that is truly amazing.

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The first date // La primera cita

The first date // La primera cita

The source of Manuel Rodríguez Sánchez’s inspiration is the mystical works of his great countrymen Francisco Goya and Salvador Dali. Their influence is strikingly obvious in darkness, mystery and mystique of his works.Manuel Rodríguez Sánchez 2

Mi rascacielos / My skyscraper

Mi rascacielos / My skyscraper

Manuel Rodríguez Sánchez 31

Manuel Rodríguez Sánchez makes his home in Palma de Mallorca. The vistas on his pictures, however, often photographed outside of Spain. 
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The unique combination of graphics and photography looks intriguing and quite fresh.

Intimate Dinner

Intimate Dinner

March Of Folly In Art

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Print made by William Dickinson after Robert Edge Pine (1775)

Madness. A straw and a scarf in tangled hair, a rope holding a pelt around her, leaving the breast bare, clutching at the chains that restrain her, twisting to the left and staring wildly at something that only she can see and fear.

Hieronymus BOSCH, The Cure of Folly (Extraction of the Stone of Madness) 1475-80

Hieronymus BOSCH,
The Cure of Folly. Extraction of the Stone of Madness. (1475-80)

Madness. The Stone of Madness lodged in the head of a poor fellow. There is a cure, however. With the help of Out Lord and a simple implement, the attempt is made to pluck the Stone of Madness out of the head of a madman. A painting of the procedure was completed between 1475 and 1480 by the Dutch painter Hieronymus Bosch.

Cutting out the Stone of Madness, by Pieter Bruegel

Cutting out the Stone of Madness, by Pieter Bruegel

A curious belief held by some in the Middle Ages was that madness was caused by a “stone of madness” situated anywhere in the body, but most commonly in the head. It was believed that the stone could be removed by surgery; many quack healers roamed Europe performing sham operations on the mentally ill,  removing the stone”, and affecting a cure, which, more often that not, was very short-lived.

Excising the Stone of Folly by Pieter Huys

Excising the Stone of Folly by Pieter Huys

BRUEGEL, Pieter the Elder Dulle Griet (Mad Meg) c. 1562

BRUEGEL, Pieter the Elder
Dulle Griet (Mad Meg) c. 1562

Amidst a fantastically bizarre setting, Mad Meg is both pitiful and pitiless, driven by a colossal mess that darkened her mind and her senses.

Attributed to Renold Elstrack (1607)

Attributed to Renold Elstrack (1607)

While maskinge in their folleis all doe passe, though all say nay yet all doe ride the asse.

Madness of life, the world and people. Satire on the folly of the world: a group of men and a courtesan vie to ride the ass of folly which is led by a beggar who fails to persuade a judge to take part; a fool holds the ass by the tail.

Print made by Michel Honoré Bounieu (1785)

Print made by Michel Honoré Bounieu (1785)

Madness inspires fear. Fear is an overpowering force, thus people are paying their homage to Madness. A woman, carrying a fool’s bauble and leading blindfolded Cupid by the hand is Madness personified, while people on the background bow in awe.

The Tree of Folly growing in the centre, between four rows with scenes that exemplify folly, each with its explanatory text Etching Attributed to Ambrogio Brambilla  (1575-1590)

The Tree of Folly growing in the centre, between four rows with scenes that exemplify folly, each with its explanatory text. Etching. Attributed to Ambrogio Brambilla (1575-1590)

Francisco Goya  Yard with Lunatics (1794)

Francisco Goya
Yard with Lunatics (1794)

Goya wrote that the Yard with lunatics shows a scene in the asylum in Zaragoza, “a yard with lunatics, and two of them fighting completely naked while their warder beats them, and others in sacks.” It has been described as a “somber vision of human bodies without human reason” and as one of Goya’s “deeply disturbing visions of sadism and suffering.”

With this painting, the direction of Goya’s art and career drastically changes, moving from “a world in which there are no shadows to one in which there is no light”.

The painting had been absent from public view since a private sale in 1922.madness1