Since reopening it’s doors in June the Prado Museum has been holding a unique exhibition of it’s most important works that runs until the 29th November showcases 214 works that represent the best and most important of the permanent collection.
The exhibition which involved relocating the artwork to be chronological historical order from the 15th through to the 20th centuries.
The majority of the museum’s most important works will be on display in and around the Central Gallery, an iconic space filled with natural light and large enough to easily comply with the hygiene measures needed to a safe environment for the public.
Juxtaposed for the first time, The Annunciation by Fra Angelico and The Descent from the Cross by Rogier van der Weyden welcome visitors to an installation particularly rich in exceptional dialogues. The two versions of Saturn by Goya and Rubens can now be seen side by side while Las Meninas and The Spinnersshare space in Room XII alongside an exceptional “polyptych” of Velázquez’s Buffoons.This special and unprecedented experience kicks off with Emperor Carlos V and the Fury by Leone and Pompeo Leoni, and continues with The Descent by Van der Weyden and The Annunciation by Fra Angelico; brought together for the first time to welcome visitors to an installation particularly rich in exceptional dialogues. The versions of Saturn by Goya and Rubens can be seen side by side, as well as works by Bosco, Patinir, Titian, Correggio, Rafael, Juan de Flandes, Veronés, Tintoretto or Guido Reni, portraits by Titian, and The Maids of Honour and The Spinners share space in Room XII, alongside an exceptional “polyptych” of Velázquez’s Buffoons.
The exhibition, made up of 214 works by the likes of Hieronymus Bosch, Patinir, Titian, Correggio, Rafael, Juan de Flandes, Veronese, Tintoretto and Guido Reni, follows a principally chronological order, from the 15th century until the dawn of the 20th century. Given its exceptional nature, however, the emphasis on national schools has been reduced in favour of establishing dialogues between artists and paintings separated by time and place: associations that suggest influences, admiration and rivalries and which emphasise the profoundly self-referential nature of the Museo del Prado’s collections.