Prado, Guido Reni, Preview conference 27.03.2023 with All Pictures
5 Video Views·Apr 3, 2025
Good morning, good morning everyone.
Thank you for coming.
I want to say, without any modesty,
that this exhibition that Prado presents
to the exhibition of the Renaissance
is an extraordinary exhibition.
It has been difficult to achieve
because we have had problems with transport, etc.
because the education system also does not want us
in the places where we stay.
But without any doubt, it is one of the most beautiful exhibitions
that we have done in recent years.
I would like to say only three words of thanks.
A big thank you, first of all, to everyone who works here in the museum,
who once again has shown how these people
really love the museum.
A second gratitude to the Foundation
that has given us the chance
to serve as a representative of the Foundation
and to allow us to create a special aura
through the restoration of this museum.
When you come to the exhibition,
you will see a very famous painting
that is next to this very famous Italian painting.
It is in Spanish.
It is in our Prado.
It has been restored recently.
It is a jewel of extraordinary value.
I saw it.
It is also being worked on.
I wanted to congratulate those who are working
on this exhibition.
It is a happy day for the Prado.
We could not wait for this spring to bring us
this intimate satisfaction from it.
I hope everything goes well.
When we see it, I will be a little happier.
Thank you.
Good morning, everyone, and welcome to the Museo del Prado.
The history of art is not linear,
nor is the history of the history of art
Other artists in the Western tradition
have known the greatest ups and downs.
There is a critical culture that Guido Reni,
a painter who was a prominent figure in life,
was appreciated not only in Italy but throughout Europe.
However, in the 19th century,
there was a kind of critical ostracism
that was only recovered in the 20th century.
If there is a work that illustrates these vicissitudes,
these avatars of the fortune of Guido Reni,
it is probably our Ipomenea and Atalanta,
an important work in the royal collections.
It arrived in the 24th century,
but in 1919 it was moved from a deposit to Granada
because it was considered that it lacked the aesthetic virtues
of the paintings that hung in the Museo del Prado.
It was only recovered for the Museo del Prado in 1964.
We find it difficult to conceive this.
In fact, it is a work that we find recurrently
in the books of texts, in the manuals,
as an example of those tactile words,
of that movement of the Baroque,
as if one of those paintings that alone encapsulates
all that is an aesthetic or an artistic movement.
What I mean is that the great masters
need to be constantly visited.
Each generation has the right to reread,
to reinterpret these great artists.
The last great exhibition dedicated to Guido Reni
was in 1988-1989,
which was carried out by two of the great people
responsible for the critical recovery of Guido Reni,
Cerdanismo and Emiliani.
35 years have passed since that last great exhibition
and it seemed the time to address it again.
Obviously, in all these almost 500 years,
there have been very different things
that each generation has valued or appreciated.
Probably we are less interested in his religious dimension,
or his quality as a religious painter.
We are more interested in his possible misogyny,
in aspects such as the monk,
the workshop or his chronic ludopathy
that led him to paint as a painter in his last years.
But I would like to think that there are a series of themes
that seem constant to me
and that are absolutely fundamental
for anyone who considers
what is the creative and historical process.
One is the centrality that gives to the human body
and, on the other hand,
an ideal of beauty
that, in some way,
when questioned or related,
one ceases to have an answer.
It was a coincidence that,
less than 100 meters away,
there was an exhibition of religious life
and one of Freud's illusions.
It is difficult to understand
two more diverse approximations of the human body,
but that is what it is,
to be able to find these alternatives
and to know how to appreciate and love them all.
This is a project that has been done
together with the Stade, a museum in Frankfurt.
It was a collaboration
in more or less logistical terms.
Each museum did its own exhibition,
to a large extent,
because it was not the same
Nido Reni's case in the respective collections
and neither did Nido Reni have as much importance
in Spain in the 12th century
as in Germany in the 17th century.
The one responsible for the exhibition
at the Museo del Prado
is David Akiakutu,
who premiered with this exhibition
and I want to congratulate him
for his magnificent work,
a work that has benefited,
as is usual,
from all the departments
of the Museo del Prado
and from the generous sponsorship
of the BTA Foundation.
Once again, thank you very much
for your complicity
and for your partnership
with the Museo del Prado.
I think, as you said,
the President is a magnificent exhibition,
an unrepeatable exhibition
and an exhibition that I think
we should also reflect on.
Thank you very much.
Good morning.
Thank you all for attending
this press conference.
This is an extraordinary exhibition.
We are visiting here
a closed auditorium
to check it.
I think this exhibition
is a good example
of the importance
of a collaboration
of cultural sponsorship
and a collaboration
with the BTA Foundation.
For more than 20 years
we have been maintaining
these institutions,
but there are 40 museums,
institutions,
collectors,
public places
that have donated works
to create a great exhibition
like the one we are presenting today.
For the BTA Foundation,
it is very important
to be able to support
great cultural institutions
with a brand of prestige.
It is a great team
that allows to design,
design and coordinate
a great exhibition like this
with international agents.
In addition,
there is the luxury
of having the great restoration
of one of the works
that we are going to present.
In addition to all this,
I think it is important
to highlight
all the work of this team
in terms of
what the director of the museum said,
to revisit already known figures,
but there is a research
and innovation work
for which this exhibition
is not,
although it is titled
Mundo Reino,
we are seeing the context,
its influences,
its external impact
and it is very interesting.
For all this,
I just want to say
that in the name of the BTA Foundation,
I want to thank
the people,
the president,
the director,
the constant work
of the Museo Nacional del Prado
to offer society
not only access
to its great collection,
but also this effort
to offer each year
great exhibitions,
which I consider
to be extraordinary
and which will surely be a reference
in the cultural panorama
of the next few months.
We are personally
very happy with the exhibition
and when it opens,
it will be the first time.
Good morning,
thank you very much
for your presence.
Thanks to the BTA Foundation
for their valuable support,
to the president,
to the director
for having entrusted me with this project
and to all the teams
of the Museo del Prado
who, with exemplary dedication,
have made it possible
for this exhibition to open.
As the director has mentioned,
the protagonist of this project
is an artist
whose fame
had a huge diffusion
in his own life
and who later,
with the decimonomic prejudices
around the concept of artist
and creativity,
suffered a certain ostracism
that has been gradually
recovering
since the 50s of the 20th century.
The exhibition presented
at the Museo del Prado
is inserted in this chain
of exhibitions dedicated
to this creator
who intends to reclaim
the value of his legacy
to a creator
whose codes of beauty
and aesthetic approach
are still an inspiration
and an object of delight
for those who,
from our current society,
can approach his legacy.
The exhibition we present today
occupies the A&B room
of the Museo del Prado.
At the moment,
the exhibition space
with which the institution counts
is in the A&B room.
Eleven areas have been defined
with a simple
but monumental
that allows a full enjoyment
of all the pieces
that welcome this project.
A simple figure
to indicate
the magnitude
of what we present to you today.
96 works are gathered
of which 73 are by Guido René.
Within this core
of 73 works by René
we present paintings
on canvas,
which constitutes
the largest core of works
of this creator
never exposed
in a context
of temporary exhibition.
You can see in the close-up
and how it appears
there are not only paintings
but also drawings,
preparatory cardboard
and an important number
of sculptures,
the institutions
and private owners
to whom we are very grateful
and they are located
in ten European nations
also in the American continent
that have made possible
despite these difficulties
that President Solana
alluded to
in the current pre-political context
to gather here
this high number
of creations
of the 17th century
and the exhibition
consists of 11 sections
that logically refer
to the other architectural areas
to which I previously referred.
Here are the titles
that each one of them carries
and I will go over them
in a very brief way
to comment on the purpose,
meaning and content
of each one of them.
But before that,
allow me to try
to give you
an overview
of each visitor.
These are argumentative lines
that each visitor
who comes to the Museo del Prado
will be able to adapt
to their own curiosity,
to their own concerns
and also, if we believe so,
to their own time of study.
They can make a deeper reading,
they can make a lighter reading
depending on the desire
of each visitor.
These are four argumentative lines
that, at all times,
advance in parallel.
They are not solidified,
they are not developed
in any of the areas
but are intertwined
in a dynamic and smooth way
throughout the entire tour.
The first of these lines
is the one that is usually
classic and unmistakable
in any monographic exhibition project
and it is to go through
the life and stylistic evolution
of the artist
in his native Bologna
in 1575
and to say goodbye
to him in the last ambit
in the same city
at the time of his death
in 1648.
This biographical advance
is logically paired
with the stylistic development
of the mutations of his art
throughout those decades.
A proposal
in which we have wanted
to highlight
the importance
of the observation,
the study
and the representation
of the human body
in the art of Bologna.
The body as a means
of expressing physical beauty
but also as a means
to achieve a superior reading
of spiritual, moral
or ethical idols
through the characters
and the narrations represented.
As I said,
another of these
primordial arguments
has been the dialogue
with the sculpture.
It is well known
how all the artists
of the Baroque Renaissance
at some point faced
the study of sculptures
as a means
to enhance their own
creative capacity.
What, on the contrary,
is more curious
is that it was used
as a starting point
to create sculptures
and there we see
the dialogue between Reni
and Alessandro Regardi
as primordial.
A point that,
as Alumin mentioned,
the Museo del Prado
can not only tell
but should tell
is the fourth and last
of these elements.
The relationship
between Reni and Alessandro
and his work
once received
in the Iberian Peninsula
and later very important
in the Madrid collections
was an inspiration
for such fundamental creators
as Murillo,
Zurbagán
or Velázquez himself.
The first of these sections
is called
Giorgio Reni Bologna.
The artist presents us
with a historical relationship,
a balance between drawing
and color,
but with a certain predominance
of drawing as a controller
of the totality.
Here we see this boy
who symbolizes drawing
by passing his arm
over the figure
that would be the allegory of color.
The second section
is called
The Path to Perfection.
It was considered
a transcendent path
and hence the title we propose.
This second section
investigates the masters
of Reni
and his first artistic production
as a painter.
In this sense,
some works by authors
who influenced his career
such as Denis Calvary,
who was his first master,
or Aníbal Carrachi,
a member of the famous
Academy of the Contaminated
which was the artistic
department he created.
The third section
of the exhibition
is called
Rome between Paestum and Caravaggio
and addresses what was
a fundamental experience
in Reni's life
as well as in the life
of many modern artists.
He travelled to Rome
to discover the artistic novelties
that the V Gang,
the Pontifical Capital,
and the Master's
of Raphael Urbino.
But he met,
almost by chance,
another extraordinary creator,
Reni Calvary.
He was fascinated by him
and offered him some guidelines
for his own art
that, according to some
of Reni's works,
entailed a certain rivalry
that at some point
reached endemicity.
From there,
and from other circumstances
that cannot be recalled
due to the fact
that this act was reduced,
he received the alternative
of anti-Caravaggio.
But in the end,
with all these elements
of tradition,
of modernity,
and with his own personal
interaction,
Reni forged a distinctive
style, his own style,
of the Pinacoteca de Bologna,
this painting being almost
the icon of the city of Bologna.
The fourth area
is entitled The Beauty of the Divine Body.
Here we see this first
of the great thematic groups
to which I referred.
The paintings in this room
allude to the evangelical reality
of the life of Jesus
from his childhood
to his Passion.
But beyond this Christological
context,
in getting closer
to the importance
that the physical beauty,
the beauty of the human body,
in this case male,
had in the concept
of this type of Reni.
The perception of beauty
as a way to encompass
the viewer
towards a knowledge
of the transcendent.
Here, for example,
Reni is especially patented.
The fifth area
is entitled Heroes and Gods
of Supernatural Anatomy.
In this case,
we wanted to get closer
to a mythological Reni
in which the adaptation
of the figure,
of the protagonists,
of the main mythical stories,
such as Jupiter himself
or Hercules,
gives rise to an approach
to an ancient tradition
of over-dimensioning.
This comes,
as you know,
from the mystical world
that passes through
Michelangelo and the Sistine Chapel.
Reni makes it his own
and offers extraordinary examples
of this over-dimensioning
of the human body
but without over-emphasizing
the supernatural.
In this area,
we also influence
the dialogue with sculpture.
Reni's slightly younger philosophy
transposes
in sculpture
a concept that he had already developed
previously in the pictorials.
It would be this painting
of the Chivite Placoteca of Pesaro
that you can see in dialogue
with his son.
We thus come to the sixth area.
It is also a thematic grouping
but a thematic grouping
again with a duality.
It is entitled The Power of the Saints
and the Beautiful Age.
This is the definition
of any European Baroque artist.
Reni was not an exception
but it is true that the approach
that Reni made
to the figure of the saints
was impregnated with a desire,
the desire to show
that old age can also be beautiful,
that old age can also be beautiful.
There are some codes
of pictorial approach
to sagubas, the mass of the skin,
the hairy hair,
that show that beyond youth
one has to know how to contemplate it
in a different way.
In this section we have
a really extraordinary loan
for the complexity of the work
and for what it symbolically implies.
It is the enormous work
of the triumph of Hoppe,
usually exposed in the cathedral
of Notre-Dame de Paris,
and that, with great generosity
of the Ministry of Culture of France,
which we thank for this gesture
of trust in us and our project,
has given for its temporary exhibition
just after its restoration.
The painting was saved
from the terrible fire in Notre-Dame,
it has been restored in the workshops
of the Museum in France
and for the first time, as I say,
it can be seen in the Museo del Prado
after this restorative intervention
in all its splendor
and in this sixth section
dedicated to the saint.
Here we see Saint Hoppe being
shabby with multiple presents
due to his rectitude
and, as you know,
in the biblical story
God himself wants to put him as a priest.
We come to the seventh section
entitled Mary or the Humanized Divinity.
In it, the protagonists are
large-format canvases
with the Virgin as the protagonist.
The Virgin, in some cases,
is close to what would be
her most human appearance,
in other cases,
in her fully transcendent condition.
And in this sense,
the Virgin is of great importance
for the project that we present today,
the presence of the Immaculate Conception
by Guido Reni,
owned by the Metropolitan Museum of New York.
This work,
until the Napoleonic invasion,
was found in the Cathedral of Seville
after being commissioned
in 1626-1627
by Guido Reni
for the Spanish crown.
In Seville, this painting
was admired, copied
and served as inspiration
for all autonomous entities
but which feel
certain stylistic and formal bases
in the example of Reni.
The most paradigmatic case
is that of Bartholomew of Mauritius
and we recall it in the exhibition
having arranged,
close to the Immaculate Conception by Reni,
this so-called Corean painting
of Mauritius that you can see in the image.
It is thus accessed to the eighth scope,
possibly the one that has
a greater force,
we could say,
of theatrical importance.
This is the one
to which President Solana
pointed out
our Ipomenes de Atalanta.
An Ipomenes de Atalanta
that, as the director has also mentioned,
has been the subject
of changing perceptions
throughout history
and within the specific debate
about the art of Guido Reni
the question has always been open
whether another version of this painting
owned by Capodimonte in Naples
could be restored.
I take a position on this issue
but we have the extraordinary opportunity
to be able to see
the work of the Museo del Prado
that has been restored
together with the version of Capodimonte
as you can see in the wall
in the background of this image
for the first time
so that visitors, specialists
or art lovers
can also draw their own conclusions.
We have wanted to have at the centre of the room
two sculptures
a statue of the Goddess of Peace
and an icon of the God of Dream
to create a visual dialogue
with the figure of Ipomenes de Atalanta
and thus be able to underline
the importance that the classic gift
and the study of antiquity
also had for Guido Reni.
Here you can see
the two versions of Ipomenes de Atalanta
the first one on the left
and the one of Capodimonte on the right
and it will be a unique opportunity
to be able to examine the painting
on which of them,
if any of them really makes
such a difference,
deserves the first view.
This same context
in which the two versions
of Ipomenes de Atalanta are linked
presents a work of enormous importance
for the knowledge of the art of Guido Reni
and of his collection.
It is this canvas with Baco and Ariadna.
This canvas was made
for one of the main collections
of the city of Bologna
in the seventeenth century
during the Napoleonic invasion.
The painting left the city of Bologna
and was lost for more than two hundred years.
Thanks to the scientific work
carried out in the framework of this exhibition
it has been able to be located
in a private collection
and its owner,
who wanted to remain anonymous,
had confidence in us
so that after two hundred years
it has been shown here publicly
for the first time.
I approach the final section
of the exhibition
and we find a private room
with a cabinet mode
that would be the novena of the spaces
in the kingdom of Cupid,
fire, love and tenderness.
We have gathered in it
a series of pictorial, sculptural
and graphic works
that speak of the representation
of childhood
with the intention of referring
fundamentally to the god of love,
to Cupid, to the putis,
to the little monkeys.
There are a series of references
and wishes for dialogue
between the works
that are displayed in this room.
One of them,
not to go into details
now unnecessary,
would be, for example,
this pictorial-sculptural
that, again,
features Guido Renes
as the creator of a prototype of Cupid
and Alessandro Del Gardi
as the mastermind
of the Liszt-Stein collection.
The tenth section
is called Skin and Clothes.
It is a work that,
I must confess,
is the result of a particular reaction.
We have gathered in this section
a series of female representations,
most of them three-quarters,
although some of them full body.
These female representations
allude to goddesses,
to heroines, to saints,
to great women of history
represented by Renes.
A way in which
sensuality and tragedy coexist,
in which the beauty of the body is present,
often half-naked,
as in this Cleopatra,
and also the sumptuosity of luxury.
These clothes
envelop the protagonists
and are also a curious element
of the Cuban economy.
Bologna was a great center
of silk production
and these Bologna silks
did not have prints
because they were sold
as a way of selling
and almost as a way of advertising
products from their own city.
Here we have all the protagonists
of this section.
And we come to the last section,
the eleventh section,
entitled Money, Matter and Spirit,
the last years of Reni
and the non-finite.
As the director said,
Reni was considered
a great artist,
he deserved the appellation of divine,
and with his problems
as we all are.
And in that case,
throughout his life
he was feeling
a problem of bureaucracy.
He lost a very important amount
of money playing cards
and playing cards.
At times,
that annoyed him so much
that he entered into dynamics
of painting very fast
in order to have a quick income
from his activity as a painter.
Sometimes he was frantic
creating finished works,
others he managed to finish
and put them on the market.
But above all,
from the artistic point of view,
he experienced his painting
as a dematerialization,
a game towards the synthetic,
a reduction of the chromatic ball,
a tendency towards the grisaille
that equals him.
And we do not know
if that is what happened
intentionally with another great artist
that leads to a process
of transformation,
of extraordinary dematerialization.
He deserved the appellation of divine,
and that is why we wanted
the last work the visitor sees
before leaving the exhibition
to be this Christian soul
or this blessed soul
floating in paradise.
The divine Reni,
the genius Reni,
the Reni human with vices
summarizes a career
in this late painting
of a Christian soul
that has had a correct behavior
and in which he,
perhaps he wanted to be reflected,
touches paradise
making allusion
to that condition of divine.
Why divine Guido Reni?
Well, well,
the director has mentioned it.
Divine fundamentally
by two circumstances.
Because he was able
to create an extraordinary beauty.
He had something
because also
those paintings
transmitted or transferred
to a higher dimension.
They were vehicles
for the knowledge
of the great mysteries of religion,
of the great models of ethics
or of the great budgets of modernity.
Also divine
for being privileged vehicles
for those who were observers
and spectators of his paintings.
As Don Javier Solana has said,
the restorative effort
of this project has been very considerable.
Works have been restored
of the Museo del Prado,
of our collection,
which will now be released
for the next decades,
perfect in our rooms.
It is the case of the Palanta Congress
where a framework has also been created,
as many of you already know,
there was a specific event
to talk about it a few months ago,
a framework that covers
non-original additions of the painting
and that therefore allows
the restoration of the iconic work
of our collection.
It has also been very relevant
in terms of the restoration work,
the recovery of this San Sebastián.
We have also had,
through our social networks,
specific content on it.
Now we can see the saint
stripped of that pure repaint
of the 18th century
and, on the other hand,
with all the effect of the light
of the full moon
on the white anatomy
of the character.
It is also very significant,
despite its small size,
the work of La Chica de la Rosa,
in which, with a new framework,
all the non-original additions
and it is possible
to focus the contemplation
of what is specific
to the Museo del Prado.
In addition to these restorations
of works of our collection,
other pieces have been added
that do not belong to the Museo
but are exhibited in this project
by the Museo del Prado
and other institutions
have also made the restoration
of some of their works
before being sent to Madrid,
as was the case,
as I was telling you,
of the painting of No Esperanza
with the triumph of Hoppe.
Let me also make an allusion
to the work of the catalogue,
an extraordinary work
in which the most eminent authors
who are currently
investigating the figure
of Will O'Brien
have contributed
with enormous generosity.
It is a truly commendable
with a dedication
far above
what was expected
of these collaborators
and it is presented
in Spanish edition
and also in English edition.
With regard to the Spanish edition,
and in English
and from now on,
although it is not an exhaustive work
because it is not intended
nor can it be,
it has this catalogue
as a reference element
to delve into the knowledge
of this author
and also of his own time.
Without further ado,
I thank you for your attendance
this morning
and wish you a pleasant evening.
Good morning.
This is a question
for the Commissioner
of the University of Cueva.
When you were appointed
as Commissioner of this exhibition,
what was the first work
you visualized for this exhibition?
Thank you for your question.
It is essential
if we want to tell
about the Spanish edition
to have the official
permission of the European Commission.
It is a work of a format
with a solid state of conservation
but with some problems
of ease
and we were not absolutely sure
to count on it
until the negotiations began
to make this project possible
but it would be, without a doubt,
the one that came to me first
as the essential one
to be able to tell you
what we wanted to tell.
I have several questions.
The first one
is about the absence
of a motive,
an absence of intention
or even focus
of the exhibition
which is a very bad thing.
I would like to clarify
what is the contribution
to the research
of the work.
On the other hand,
the Director has raised
some very interesting questions
about the absence
of intention
which would have
an influence
on the treatment
of the body
as it is possible
that a misogynist
approaches
to know
why he has been
in this situation.
There is an aspect
that I would like to clarify.
Although I am not a
misogynist,
I would like to clarify
that he tried
to make his debts
multiply
in this aspect
in position
and I would like
to tell you
what is the position
that he has
in comparison
with this.
Thank you.
I would like to say something
and I am sorry
and I would like to say
that the scientific contribution
of Hannover
is not mine
but of a team
that is here
is enormous.
The whole work
has been subjected
to a revision
of iconographic
and stylistic
in an absolutely
exact and rigorous way.
In this sense,
the treatise takes into account
what I have said
and in a very brief way
also presents it.
Look,
with the subject
of the supposed misogyny
we enter again
into something that
concerns us
for several years
and it is certainly
a necessary debate
but in which
very rarely
it occurs in a starting error
and it is to apply
ethical and moral categories
of the 21st century
to a preferential society.
So if we intend
to make this reading
we have to start
from a context
in which the key
is the historical truth
and we all know
that the role of the woman
was usually superimposed on the man.
Well, this is a debate
in which we are not going to enter now
but I do want to respond
concretely to the case of Will O'Reilly.
Will O'Reilly was held
by his contemporaries
as an angelic being
and he had a mission
we could say
absolutely idealized
of the woman.
Was it only his mission?
Of course,
it started with Petrarca.
It is the Petrarchist idealization
of the woman
and that is what we see
in Will O'Reilly.
We can then enter
in other questions
that have led
to talk about
that supposed misogyny.
For example, we know
from his biographical story
that at a certain moment
he decides not to have
his personal life
to be masculine.
But if we read that
in a context of the volume
of the time,
and here we have great specialists
like Rafael Amoselli,
Florenzo Pelicoro
or Elisabeth Crocker
with us,
we see that there had been
cases of harassment
by men
by their female servants.
It was a fear,
in the 17th century,
but trying to get closer
to what the sources
tell us,
these would be the reasons
that we can put on the table
to evaluate a supposed
misogyny or not
of Will O'Reilly.
We also ask you
about the versions of
the Communist Party.
Look, it seems passion
of those who serve
this institution,
but it is not
of modest scholars.
There are details
in the elaboration of the feet,
in the figure of the faces
to appreciate that the version
of the Museo del Prado
of Gomez de Atalanta
has an entity
slightly superior
to its sister of Capodimonte.
But in any case,
my opinion is not
absolutely definitive
of the great international
which will certainly
give a definitive answer
to this issue.
And I also take advantage,
although they have it
on the website of the Museum,
to comment that to evaluate
all this scientific dimension
of Will O'Reilly,
beyond what the catalogue
has proposed,
on June 15 and 16
we will have
the publication
of the book
of Will O'Reilly
on June 15
in the catalogue
of the Museum.
Thank you very much.
And as for the workshop,
it was a structure
oriented to make money
logically
and to offer products
of different quality ranges
depending on the money
that the potential client
had at his disposal.
The exhibition does not speak of the workshop,
but it does so
based on the fact that
the objective of the Museo del Prado
is to provide the visitor
with a variety of products
and that is why the presence
of the workshop
in the exhibition
is limited,
although there is.
On the one hand,
we talk about the so-called
original multiples.
How, by hand,
O'Reilly repeats
once and again
certain compositions,
as happens with the case
that we have just seen
that are really subtle.
And the theme of the workshop
can also be seen
in a painting of the workshop
that has been given to us
by the National Museum
exposed alongside
an original painting
of the same theme
of the Museo del Prado.
The theme of the canvas
is Santa Catalina de Alexandria
so that the visitor
also has that pause.
And as you say,
it is like a vice.
And look,
it had an implication
that today we overlook it.
Today, people who suffer from this problem
can take it out
to a psychological tendency
or a diverse question
to get there.
But in the seventeenth century
the question should be added
that the executors of Jesus,
the Aiones
who end the life of Jesus,
were judged by their garments.
So,
read in a Christian key,
in that orthodox key
of the seventeenth century,
the fact of judging by luck
was something that still had
a connotation,
we can say,
even more serious
than the one given today.
Good morning, Luis Reyes.
I don't know if the question
will go to the commissioner
or to the director.
I am very happy
that you have brought
the Immaculate Conception
because, as an obsession
with the Immaculate Conception,
it is a myth.
But I wonder
why you have not dared
to confront it
with the Immaculate General
and have pretended
an Immaculate
of less rank
as it is the Immaculate General.
Is that you have crushed
to say the truth?
I am not looking for a division,
I am looking for a commissioner
because I am a commissioner.
Well, look,
there is already a recent study
of these last years
about the completely
immaculate influence
of the king in Murillo
and the example that would tell us
this influence
in a more perfect way
was not available for interest
because it is the one
that is in the oratory
of San Felipe Neri
in the city of Cádiz
in the place of the meeting
of the constituents
of the PEPA,
as you know,
in Castilla,
at the highest level
and in a framework
that made it very difficult
and practically impossible
to subvert it.
So, not being the available
in the collection
of the Museo del Prado.
And look,
looking at social networks
in the last week
I saw that someone had launched
the bet of whether Murillo
or Reni would win,
precisely in this comparison.
Of course,
it seems that Murillo would win
but my Italian colleagues
tell me that if we launch it
in Italy,
they are sure that the answer
I would like to announce
in May a meeting
of Reni with Spain.
If you could anticipate a little
what are going to be
the main points
of this meeting.
Yes, in fact,
the Estudio Central
of the Museo del Prado
has prepared
a wonderful conference cycle
for the exhibition.
I am one of those who
in this conference
will try to make known
to an audience
that is not necessarily
a specialist,
but people who have
a varied artistic background,
how Murillo Reni works
for Spanish clients
in his own life,
how his work arrives
quite early
to the territory
of Iberian art
and how it is appreciated
in his baran
or even in the art
of certain creations of his
as can be our
crucified Christ
of the Museo del Prado.
And I will also take care
of what Murillo Reni
has been working on
in his last years
of professional activity
even before arriving
to the Museo del Prado
which is copying,
the processes of copying.
For example,
if you have a copy
you also have this important
role of transmitter
and editor of the exhibition.
Any questions?
None.
Thank you all very much.
We just remind you
that this exhibition
is part of the program
dedicated this spring
to Baroque art
and in three weeks
we will present
Baroque architecture
and visual arts
and all this will be accompanied
by his conferences,
concerts,
theatres,
presentations.
Thank you.
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