Relevant bibliographies by topics / Prado Museum (Madrid)

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Academic literature on the topic 'Prado Museum (Madrid)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Prado Museum (Madrid)"

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Cánovas del Castillo, Soledad, and Javier Docampo. "The museum libraries on Madrid's Golden Triangle of Art (2005–2015): New spaces for new services." Art Libraries Journal 43, no. 1 (December 8, 2017): 60–67. http://dx.doi.org/10.1017/alj.2017.49.

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The Prado-Recoletos axis is the main historical boulevard in Madrid, which contains the most important concentration of art museums in all of Spain: the Museo Nacional Centro de Arte Reina Sofía, the Museo Nacional del Prado and the Museo Nacional Thyssen-Bornemisza. In the last years, they have undergone extensive renovation. The different renovation projects can be used to examine how museum libraries today juggle the needs of their users while addressing the challenge of providing the services of a modern research library. The new State Museum Libraries Network (BIMUS) has been an important factor in this development.
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Vagnoni, Mirko. "Charles V and the Fury at the Prado Museum." Eikon / Imago 6, no. 2 (December 11, 2017): 49–66. http://dx.doi.org/10.5209/eiko.73559.

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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.
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Hernández Belver, Manuel, and Clara Hernández. "From Velázquez to Picasso: Proposal of Artistic Mediation Activities for People with Dementia." Barcelona Investigación Arte Creación 7, no. 1 (February 6, 2019): 10. http://dx.doi.org/10.17583/brac.2019.3820.

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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.
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Gonzalo Les, Paula. "Clara Peeters o el negocio de silenciar a las silenciadas." Filanderas, no. 2 (December 4, 2017): 85–88. http://dx.doi.org/10.26754/ojs_filanderas/fil.201722311.

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El arte de Clara Peeters ha sido un hito en la historia del Museo Nacional del Prado de Madrid. En colaboración con el Museum Rockoxhuis de Amberes—donde esta exposición pudo verse del 16 de junio al 2 de octubre de 2016—, El Prado, que atesora cuatro cuadros de dicha artista, acogió, del 25 de octubre de 2016 al 19 de febrero de 2017, la que ha sido su primera muestra dedicada a una mujer artista.
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Sanabria, Sergio L. "A Late Gothic Drawing of San Juan de los Reyes in Toledo at the Prado Museum in Madrid." Journal of the Society of Architectural Historians 51, no. 2 (June 1, 1992): 161–73. http://dx.doi.org/10.2307/990712.

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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.
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Padilha Vieira Júnior, Rivadávia. "MAIORA TIBI TRIUNFO DINÁSTICO DE FELIPE II NA ALEGORIA DA BATALHA DE LEPANTO (C. 1573-1575), DE TICIANO VECELLIO * MAIORA TIBI DYNASTIC TRIUMPH OF PHILIP II IN THE ALLEGORY OF THE BATTLE OF LEPANTO (C. 1573-1575), BY TITIAN VECELLIO." História e Cultura 5, no. 1 (March 29, 2016): 253. http://dx.doi.org/10.18223/hiscult.v5i1.1477.

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Resumo: Este estudo propõe uma análise centrada na pintura Felipe II, después de la victoria de Lepanto, ofrece al cielo al príncipe don Fernando (Madri, Museu do Prado), de Ticiano Vecellio. Produzida em resposta à encomenda do rei espanhol Felipe II, teve por intenção celebrar dois momentos marcantes de seu reinado no ano de 1571: a vitória sobre a frota turca na batalha de Lepanto e o nascimento de seu herdeiro, o infante Dom Fernando. Com o objetivo de compreender os sentidos e funções do objeto imagético nesse contexto, a linguagem simbólica da pintura é interpretada em conexão com os acontecimentos contemporâneos à sua produção. Apesar de ser reconhecida como a “alegoria da batalha de Lepanto”, de facto, esta é representada em último plano, eclipsada por uma série de elementos carregados de simbolismo dinástico e religioso. Palavras-chave: Felipe II de Espanha; Ticiano Vecellio; Batalha de Lepanto; Iconografia; História e Imagem. Abstract: This study proposes an analysis focused on the painting Felipe II , después de la victoria de Lepanto, ofrece al cielo al prince don Fernando (Madrid, Museum of Prado), by Titian Vecellio. It was produced in response to the request of the Spanish King Philip II, with the intention to celebrate two key moments of his reign in the year 1571: the victory over the turkish fleet at the Battle of Lepanto and the birth of his heir, the infante Don Fernando. In order to understand the meanings and functions of imagery object in this context, the symbolic language of painting is interpreted in connection with contemporary events to its production. Despite being recognized as the "Allegory of the Battle of Lepanto", in fact, this is represented in the last level, eclipsed by a series of loaded elements of dynastic and religious symbolism. Keywords: Philip II ofSpain; Titian Vecellio;Battle of Lepanto; Iconography; History and Image.
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Afinoguénova, Eugenia. "Art Education, Class, and Gender in a Foreign Art Gallery: Nineteenth‐Century Cultural Travelers and the Prado Museum in Madrid." Nineteenth-Century Contexts 32, no. 1 (March 2010): 47–63. http://dx.doi.org/10.1080/08905491003704046.

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Filipek, Małgorzata. "Hiszpania w Dziennikach z podróży Miodraga Popovicia." Slavica Wratislaviensia 166 (June 22, 2018): 49–67. http://dx.doi.org/10.19195/0137-1150.166.4.

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Spain in Miodrag Popović’s travel diariesIn addition to well-known works about Spain, written by prominent writers and diplomats of the Kingdom of Yugoslavia Zorić, Dučić, Petrović, Dimitrijević, Andrić, Crnjanski, Serbian literature is full of less famous fiction that has complemented the country’s image through Serbian readers since the 70’s of 20th century to the present. One of them is a literary work Put u Španiju from the travel book, entitled Putopisni dnevnici, by Miodrag Popović. The writer describes impressions from a trip to Spain and other countries. Visiting the most famous museums of Madrid Prado, Museum of Modern Art, monastery of El Escorial and churches and museums of Toledo, Popović draws his attention to the paintings and creates subjective, alternative gallery of global paintings. Шпанија у путописној пpози Миодрага ПоповићаОсим познатих дела о Шпанији, чији су аутори били истакнути писци и дипломати из Краљњвинњ Србије и Краљњвине Југославије Зорић, Дучић, Петровић, Димитријевић, Андрић, Црњански у српској књижевности постоје и мање потнати текстови који допуњују слику ове земље од 70.-тих година XX века до данашњих времена. Један од њих је Put u Španiju, из књиге Putopisni dnevnici, Миодрага Поповића који у овој књизи описује своје утиске из Шпаније и других земаља. Посећујући најпознатије музеје Мадрида Прадо, Музеј савремене уметнoсти, манастир Ескоријал, цркве и музеје Толеда концентрише се пре сцега на сликама, и на тај начин ствара своју субјективну галерију светског сликарства.
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Freire-Lista, David Martín, and Rafael Fort. "Heritage Stone 4. The Piedra Berroqueña Region: Candidacy for Global Heritage Stone Province Status." Geoscience Canada 43, no. 1 (March 14, 2016): 43. http://dx.doi.org/10.12789/geocanj.2015.42.076.

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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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Ridgway, Brunilde Sismondo. "Mythological sculptures in the Prado Museum - STEPHAN F. SCHRÖDER, photos von Peter Witte, Zeichnungen von Laureano de Frutos, KATALOG DER ANTIKEN SKULPTUREN DES MUSEO DEL PRADO IN MADRID. BAND 2: IDEALPLASTIK (Deutsches Archäologisches Institut Madrid; Verlag Philipp von Zabern, Mainz 2004). S. xii + 537, davon 350 Seiten Text mit 221 Abbildungen und 187 Seiten Schwarzweißtafeln mit 561 Fotoabbildungen; 28 Farbtafeln. ISBN 3-8053-1758-1. Eur. 98." Journal of Roman Archaeology 18 (2005): 624–30. http://dx.doi.org/10.1017/s1047759400007790.

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Books on the topic "Prado Museum (Madrid)"

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Prado, Museo del. The Prado Museum: [collection of paintings]. [Spain?]: Fonds Mercator, 1996.

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1599-1660, Velázquez Diego, Kunsthistorisches Museum Wien, Museo del Prado, Rmn-Grand Palais (Organization), and Musée du Louvre, eds. Velázquez: Eine Ausstellung des Kunsthistorischen Museums Wien in Zusammenarbeit mit dem Museo Nacional del Prado, Madrid, und der Réunion des Musées Nationaux und dem Musée du Louvre, Paris = An exhibition of the Kunsthistorisches Museum Wien in cooperation with the Museo Nacional del Prado, Madrid, and the Réunion des Musées Nationaux and the Musée du Louvre, Paris. München: Hirmer, 2014.

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1541?-1614, Greco, ed. El Greco's Pentecost in a new context: [exhibition] September 12, 2010 - February 6, 2011, Meadows Museum, Southern Methodist University. Dallas, Tex: The University, 2010.

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Raṿin, Yoram. Madrid: Madrikh le-muzeʼonim : ha-Prado, ha-Malkah Sofiyah, Tisen-Bornemitsah. [Tel Aviv]: ha-Ḳibuts ha-meʼuḥad, 1998.

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E, Pérez Sánchez Alfonso, Sayre Eleanor A, Museo del Prado, Museo del Prado, Museum of Fine Arts, Boston., and Metropolitan Museum of Art (New York, N.Y.), eds. Goya y el espíritu de la ilustración: [exposicion] Museo del Prado, Madrid, 6 de octubre-18 de diciembre de 1988, Museum of Fine Arts, Boston, 18 de enero-26 de mayo de 1989, Metropolitan Museum of Art, Nueva York, 9 de mayo-16 de julio 1989. [Madrid]: Museo del Prado, 1988.

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Pintura española del románico al Renacimiento. [Madrid]: Museo Nacional del Prado, 2010.

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Prado, Museo del. Pintura española del románico al Renacimiento. [Madrid]: Museo Nacional del Prado, 2010.

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Prado, Museo del. La belleza de lo real: Floreros y bodegones españoles en el Museo del Prado 1600-1800 : [exposición] del 21 de julio al 29 de octubre. Madrid: El Museo, 1995.

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Bosch, Hieronymus. El jardín de las delicias de El Bosco: Copias, estudio técnico y restauración : Madrid, Museo Nacional del Prado, del 23 de junio al 10 de septiembre de 2000. [Madrid]: Museo del Prado, 2000.

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Juan de Villanueva, arquitecto del Principe de Asturias: (Carlos IV). [Madrid?: R. Guerra de la Vega], 1986.

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Book chapters on the topic "Prado Museum (Madrid)"

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Colonnese, Fabio. "Reconstructing the Illusion." In Conservation, Restoration, and Analysis of Architectural and Archaeological Heritage, 286–320. IGI Global, 2019. http://dx.doi.org/10.4018/978-1-5225-7555-9.ch012.

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This chapter describes and critically reviews all the phases of an enquiry supported by the Museo Nacional del Prado in Madrid on an almost unknown project of a monument for Felipe IV of Spain in the portico of the Basilica of S. Maria Maggiore in Rome designed by Gian Lorenzo Bernini. The process consists of analysis and re-drawing after the existing documents, of modeling of the solid-perspective sacellum and the bronze statue actually made by Girolamo Lucenti, and of presentation and dissemination of the results, in form of video in the exhibition in Madrid and in other visual product to illustrate scientific publications. This process has been didactically divided between digital heritage, the translation of tangible historical-testimonial documents into digital formats, and virtual heritage, the production of original digital contents aimed at visually recreating the unbuilt monument and its perspective deceptive effects.
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Gifra-Adroher, Pere. "18. Remarks on Illumination in Nineteenth-Century American Travel Writings on Madrid’s Prado Museum." In From Darkness to Light, 211–20. Open Book Publishers, 2019. http://dx.doi.org/10.11647/obp.0151.18.

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