scholarly journals The Prado Museum: 200 Years of History and Art (The Prado Family: A Carefree and Surprising Walk Through the Museum of the Habsburgs and the Bourbons, Editorial Planeta, Barcelona, 2018, 448 pag.) RECENZIE

2019 ◽  
Vol 6 (2) ◽  
pp. 158-162
Author(s):  
Alina Țiței ◽  
Keyword(s):  
1992 ◽  
Vol 51 (2) ◽  
pp. 161-173 ◽  
Author(s):  
Sergio L. Sanabria

A presentation drawing of the interior of the church of San Juan de los Reyes in Toledo, intended for the Catholic Monarchs Ferdinand and Isabella, reveals aspects of the design procedures followed by Late Gothic master masons. Its unusual optical structure is designed to permit accurate representation of a dense collection of details to be executed by masters from various trades. The Toledan architect and sculptor Juan Guas has been believed to be the sole designer of the drawing. The Burgalese Simón de Colonia may have intervened in the design of the crossing, and a court blazoner must have provided the heraldic and religious program.


2010 ◽  
Vol 35 (2) ◽  
pp. 19-24 ◽  
Author(s):  
Javier Docampo

The library of the Prado Museum has undergone major development in recent years and reached a highpoint with the opening, in 2009, of new premises in the Casón del Buen Retiro. During the past few years three important private libraries have been incorporated into the library and these, taken together with the holdings of early material that already existed and a number of recent acquisitions, have formed an important special collection of some 4500 rare books, mainly on the subject of art history.


Eikon / Imago ◽  
2017 ◽  
Vol 6 (2) ◽  
pp. 49-66
Author(s):  
Mirko Vagnoni

This is the text of the presentation “Charles V and the Fury at the Prado Museum: The Power of the King’s Body as Image” at the International Conference “El poder del la imagen en el Museo del Prado” (Madrid, December 12th-13th, 2017). By analysing the bronze sculpture Charles V and the Fury (Leone and Pompeo Leoni, 1549-1564. Prado Museum, Madrid), this paper aims to underline the necessity to study royal images in their context (with particular attention to their visibility) to understand better their social use and function. This type of methodological approach can be without any doubt very useful for the historiography in the overall analysis of the leader’s portrait and can stimulate new researches for the future and reformulate some of the traditional conceptions on this topic.


2019 ◽  
Vol 7 (1) ◽  
pp. 10
Author(s):  
Manuel Hernández Belver ◽  
Clara Hernández

This paper describes the design of a program of activities of arts education for people with dementia based on visits to the Prado Museum and the Reina Sofia National Art Center Museum (Spanish anagram, MNCARS) of Madrid, and carried out by a team of researchers and artist-teachers. The program, called “Tenemos cita con el arte” (We have a date with art), in addition to the visits, included workshops of artistic activities. The basic aspects taken into account by the team of artist-teachers for the design of the itineraries in the two above-mentioned museums and the design of the artistic activities are specified. The museum itineraries, which included works of Velázquez and Goya (Prado Museum), and of Dalí, Juan Gris, Miró, Lipchitz, and Picasso (MNCARS) are described, as well as the artistic activities carried out by the participants, based on these itineraries. The considerations set out in this work can be extended to other are centers, so that they can be used as contexts for the promotion of the well-being and social inclusion of people with dementia by artist-teachers working in multidisciplinary teams.  


2019 ◽  
pp. 292-295
Author(s):  
N. A. Pastushkova

Second in the anthology, the volume offers a rich collection of materials, including descriptions of 1900s–1930s Spain by Russian travellers. Artists, musicians, journalists and people of the theatre, all of them share their expectations, recollections and impressions from visits to this Southern country. A poeticized image clashes with reality, which often stands in stark contrast to the idyllic picture. Spain beckons, mesmerizes, and reveals its luxurious self. The country is wrought with controversy: the archaic lifestyle in the provinces and the dizzying pace of life in big cities; its amiable, but very apathetic people; its glorious past and almost desperate present. Russians travel to Spain to experience its natural beauty and splendid cultural heritage. Many of them revelled in visiting the Prado Museum. Numerous performers would come to Spain to tour, spreading knowledge of Russian music, ballet and drama among local audiences.


Parnassus ◽  
1931 ◽  
Vol 3 (6) ◽  
pp. 1
Author(s):  
F. J. Sanchez Canton
Keyword(s):  

2013 ◽  
Vol 33 (3) ◽  
Author(s):  
Stephen Kuusisto

<p class="FreeForm">The author describes some experiences as a blind visitor&nbsp; to The Prado in Madrid, the Museum of Modern Art in New York, and elsewhere.&nbsp;</p><p class="FreeForm">Key words:&nbsp;blindness, blind museum access, Prado, Museum of Modern Art</p>


2016 ◽  
Vol 43 (1) ◽  
pp. 43 ◽  
Author(s):  
David Martín Freire-Lista ◽  
Rafael Fort

The Piedra Berroqueña region in the Guadarrama Mountains, part of Spain’s Central Range, supplies most of the construction granite used in Madrid and surrounding provinces. The region’s quarrying towns preserve their granite extraction and hewing traditions. Historic quarries form part of the landscape, as do current extraction sites with huge reserves that guarantee a speedy supply of variously finished dimension stone. Piedra Berroqueña granite has been in use as a construction material since long before Roman times. Many important monuments, including San Lorenzo Royal Monastery at El Escorial (1563−1584), Madrid’s Royal Palace (1738−1764), the Alcalá Gate (1770−1778), the Prado Museum (1785−1808) and Puerta del Sol (one of Madrid’s main squares), owe their good state of preservation to the stone’s petrophysical characteristics and durability. The granite is also found in most of the city’s housing and streets, as well as in modern buildings the world over, such as the airport terminals at Athens and Cork, and the British consulate at Hong Kong.   Four major types of monzogranite occur including: biotitic monzogranites containing some cordierite, biotitic monzogranites containing some amphibole, biotitic monzogranites having no cordierite or amphibole, and leucogranites. The petrological, petrophysical and chemical properties of Piedra Berroqueña, which afford it great durability, vary little from one variety to another and depend on the degree of alteration. Physical and chemical characteristics were determined for five granites representative of historic or active quarries in the Piedra Berroqueña region: Alpedrete (monzogranite containing cordierite); Cadalso de los Vidrios (leucogranite); La Cabrera (monzogranite containing amphibole); Colmenar Viejo (monzogranites containing cordierite) and Zarzalejo (monzogranites having no cordierite or amphibole).    The Piedra Berroqueña region meets the requirements of a Global Heritage Stone Province, and this paper supports the Piedra Berroqueña region's application for recognition as such. This distinction would enhance public awareness of an area committed to quarrying and working the local stone.RÉSUMÉLa région de Piedra Berroqueña dans les monts de Guadarrama, qui fait partie de la chaine centrale d'Espagne, est la principale source du granite de construction utilisé à Madrid et dans les provinces environnantes. Les agglomérations de la région qui exploitent une carrière conservent leur tradition d’extraction et de taille du granite. Les anciennes carrières font maintenant partie du paysage, comme les sites d'extraction actuels avec d'énormes réserves ce qui garantit un approvisionnement rapide en pierre de taille de fini varié. Le granite de Piedra Berroqueña a été utilisé comme matériau de construction bien avant l'époque romaine. De nombreux monuments importants, y compris le monastère royal de San Lorenzo à l'Escurial (1563–1584), le palais royal de Madrid (1738–1764), la porte d'Alcalá (1770–1778), le musée du Prado (1785–1808) et la Puerta del Sol (une des principales places de Madrid), doivent leur bon état de conservation aux caractéristiques pétrophysiques et à la durabilité de la pierre. Ce granite se retrouve également dans la plupart des habitations et des rues de la ville, ainsi que dans des bâtiments modernes du monde entier, tels que les terminaux de l'aéroport d'Athènes et de Cork, et le consulat britannique à Hong Kong.   Il est constitué de quatre grandes classes de monzogranite : des monzogranites à biotite contenant un peu de cordiérite, des monzogranites à biotite contenant un peu d’amphibole, des monzogranites à biotite ne contenant ni cordiérite ni amphibole, et les leucogranites. Les propriétés pétrographiques, pétrophysiques et chimiques des granites de Piedra Berroqueña qui leur assurent une grande durabilité, varient peu d'une variété à l'autre et dépendent du degré d'altération. Les caractéristiques physiques et chimiques ont été déterminées sur cinq granites représentatifs des carrières historiques et actives de la région de Piedra Berroqueña : Alpedrete (monzogranite à cordiérite); Cadalso de los Vidrios (leucogranite); La Cabrera (monzogranite à amphibole); Colmenar Viejo (monzogranite à cordiérite); et Zarzalejo (monzogranite sans cordiérite ni amphibole).   La région Piedra Berroqueña répond aux critères d'une Province pétrologique du patrimoine mondial, et le présent article documente la candidature de la région de Piedra Berroqueña à cet effet. Cette distinction permettrait d'améliorer la sensibilisation du public concernant une région spécialisée dans l’extraction et à la taille de la pierre locale.                                                      Traduit par le Traducteur


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