The Shootings of May Third. / Los Fusilamientos del 3 de Mayo (Prado Museum)

This picture by Francisco de Goya was painted by commission of king Fernando VII together with "The Charge of the Mamelukes" to perpetuate the Madrid people´s stand against the forces of Napoleon.

It was made from sketches drawn by Goya who was one of the witnesses of the shootings in Moncloa.

This is the first great picture which can be called revolutionary in every sense of the word in style, in subject and in intention; and it should be a model for the socialist and revolutionary painting of the present day. Unfortunately social indignation, like other abstract emotions, is not a natural generator of art; also Goya's combination of gifts has proved to be very rare. Almost all the painters who have treated such themes have been illustrators first and artists second. Instead of allowing their feelings about an event to form a corresponding pictorial symbol in their minds, they have tried to reconstruct events, as remembered by witnesses, according to pictorial possibilities. The result is an accumulation of formulas. But in The Third of May not a single stroke is done according to formula. At every point Goya's flash lit eye and his responsive hand have been at one with his indignation.

Text from LOOKING AT PICTURES.

Equestrian portrait of Count-Duke de Olivares (Prado Museum)

The Equestrian portrait of Count-Duke de Olivares is a painting by Spanish artist Diego Velázquez, and it was finished in 1634. It is housed in the Museo del Prado (Prado Museum), Madrid.

The subject of the picture is Gaspar Guzmán, Count-Duke of Olivares, Prime Minister of Spain during the reign of Philip IV. The Count-Duke is portrayed riding a horse, an honour generally reserved for monarchs at the time. He wears a plumed headgear and a gilt cuirass, and holds a command baton.

Count-Duke de Olivares

He was born in Rome, where his father was the Spanish ambassador at the time. He inherited the title of count of Olivares, but was created Duke of San Lucar by King Philip IV.

During the life of King Philip III he was appointed to a post in the household of the heir apparent, Philip, by the interest of his maternal uncle Don Baltasar de Zúñiga, who was the head of the prince's establishment. Olivares made a point of acquiring the most complete influence over the young prince.

When Philip IV ascended the throne in 1621, at the age of sixteen, he became a valido — something more than a prime minister, the favourite and alter ego of the king.

For twenty-two years Olivares directed Spain's destiny. It was a period of constant war, and finally of disaster abroad and of rebellion at home. The Spaniards held the favourite responsible for the misfortunes of the country. The count-duke became, and for long remained, in the opinion of his countrymen, the accepted model of a grasping and incapable favourite, though this opinion changed over the centuries.

It would be unjust to blame Olivares alone for the decadence of Spain, which was due to internal causes of long standing. The gross errors of his policy — the renewal of the war with the Netherlands in 1621 (Eighty Years War), the persistence of Spain in taking part in the Thirty Years' War, the lesser wars undertaken in northern Italy, and the entire neglect of all effort to promote the unification of the different states forming the peninsular kingdom — were shared by him with the king, the Church and the commercial classes.

The fall of Olivares was immediately due to the revolts of Portugal and Catalonia in 1640. The king parted with him reluctantly, and only under the pressure of a strong court intrigue headed by Queen Isabel.

sources wikipedia and spiritus-temporis

Museo del Prado (Prado Museum)

The Prado museum (Museo del Prado) is Spain's largest and most famous art museum.  Set on Paseo del Prado, the museum is a magnificent building from the 18th century and has recently been enlarged to show new pieces of its collection that until now couldn't been showed. 

Visitors will find in it art works from all the great Spanish and European clasic artists.  It features one of the world's finest collections of European art, from the 12th century to the early 19th century, based on the former Spanish Royal Collection.  Founded as a museum of paintings and sculpture, it also contains important collections of more than 5,000 drawings, 2,000 prints, 1,000 coins and medals, and almost 2,000 decorative objects and works of art.

Useful information:

Contacto info:

Tel.: 91 330 28 00
Fax.: 91 330 28 56

Email: museo.nacional@prado.mcu.es
Internet: http://museoprado.mcu.es/

Opening hours:

Tuesday to Sunday: 9.00 -19.00 h
24th, 31st December and 6th January: 9.00 - 14.00 h
Closed on Mondays, 1st January, Good Friday, 1st May and 25th December

Transportation:

Metro: Banco de España y Atocha stations
Buses: 9, 10, 14, 19, 27, 34, 37 y 45
Nearest rail station: Atocha (walking distance)

Admission Price

Permanent Collection

Free entry:
Tuesday to Saturday 6 to 8 pm
Every Sunday 5 to 8 pm

Tickets in advance:
Individual visit (Up to 8 people): 9 €/ticket
Group visit (From 8 people on): 7.50 €/ticket
Under 6 years old: free admission

Entrance tickets sold directly at ticket office:
General entrance tickets: €6
Reduced price entry: €3 (proof required)

* Citizens of the EU who are members of large families.
* Students of non-EU countries under 25 years old.Holders of youth cards
* Groups linked to cultural or educational institutions, with 15 or more members previously authorised by the Director

Free entry (with proof):

* Children under 18 years old.
* Citizens of the EU over 65 years old.
* Pensioners in the EU (recipients only) aged between 60 and 65 years old.
* Persons on Permanent Disability Benefit (recipients only).
* Citizens of the EU who are officially unemployed.
* EU students under 25 years old.
* Large families: including one adult and at least three children, or two if
one of them is disabled.
* Staff of Public Museums of the Ministry of Culture.
* National and local tourist guides.
* Teachers.
* Journalists.
* Members of:
FAMP (Foundation of Friends of the Prado Museum)
APEME (Professional Association of Spanish Museologists)
ANABAD (National Association of Archivists, Librarians and Museologists)
AEM (Spanish Association of Museologists)
ICOM (International Council of Museums)

Free admission days:

* October 12 (Columbus Day)
* 19 November (Anniversary of the Museo Nacional del Prado)
* December 6 (Spanish National Holiday)
* May 2 (Official Holiday for the Region of Madrid)
* May 18 (International Museum Day)

Photo I Wikipedia

Felipe IV by Velázquez (Prado Museum)

Prado Museum

Portrait of Felipe IV (1605-1665), on a dark background, with black clothes and white collar, as an element that extolles the face of the king.  Velázquez painted an image of great proximity, showing the most human condition of the monarch. The portrait shows Velázquez´s ability to capturate the tiredness and melancholy of the king in his last years of life.

Felipe IV

Feeling himself not yet qualified to rule when he ascended to the throne at age 16, he allowed himself to be guided by the most capable men he could find.  His favourite, Olivares, was a far more honest and capable man than his predecessor the Duke of Lerma.  Philip, however, lacked the confidence to free himself from Olivares's influence once he did come of age.

By 1643, when disasters falling on all sides led to the dismissal of the all-powerful minister, Philip had largely lost the power to devote himself to hard work.  After a brief struggle with the task of directing the administration of the most extensive and worst-organized multi-national state in Europe, he sank back into indolence and let other favourites govern.

He thought his duty was to support the House of Habsburg and the cause of the Roman Catholic Church against the Protestants, to assert his sovereignty over the Dutch, and to extend the dominions of his family.

He was idealised by his contemporaries as the model of Baroque kingship.  Outwardly he maintained a bearing of rigid solemnity, and was seen to laugh only three times in the course of his entire public life.  But, in private, his court was grossly corrupt. imself.  On his death, a catafalque was built in Rome to commemorate his life.

Carlos III, Goya (Prado Museum)

Prado Museum

Have you visited the Puerta de Alcalá?  Well, that's only one of the gifts from king Carlos III (Charles III) to the people and city of Madrid. The madrileños seemed to like him and he is known as "el mejor alcalde de Madrid" (the best mayor of Madrid).

Albrecht Dürer, self-portrait (Prado Museum)

Prado Museum

Albrecht Dürer (May 21, 1471 – April 6, 1528)[1] was a German painter from Nuremberg, Germany. His still-famous engravings include Knight, Death, and the Devil (1513), Saint Jerome in his Study (1514) and Melencolia I (1514), which has been the subject of extensive analysis and interpretation.

His watercolours mark him as one of the first European landscape artists, while his ambitious woodcuts revolutionized the potential of that medium. Dürer's introduction of classical motifs into Northern art, through his knowledge of Italian artists and German humanists, have secured his reputation as one of the most important figures of the Northern Renaissance. This is reinforced by his theoretical treatise which involve principles of mathematics, perspective and ideal proportions.

His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Renaissance in Northern Europe ever since.

sorce wikipedia.org

Las Meninas, Velázquez (Prado Museum)

Las Meninas is a 1656 painting by Diego de Velázquez y Silva (1599–1660), in the Prado Museum in Madrid.

Las Meninas shows a large room in the Madrid Royal Palace (the old one that was destroyed by a fire) and presents several figures. Some figures look out of the canvas towards the viewer, while others interact among themselves. The young Infanta Margarita is surrounded by her entourage of maids of honour, chaperone, bodyguard, two dwarfs and a dog. Just behind them, Velázquez portrays himself working at a large canvas.

A mirror hangs in the background and reflects the upper bodies of king Felipe IV and the queen. The royal couple appear to be placed outside the picture space in a position similar to that of the viewer, although some scholars have speculated that their image is a reflection from the painting Velázquez is shown working on.

Las Meninas has long been recognised as one of the most important paintings in Western art history. The Baroque painter Luca Giordano said that it represents the "theology of painting", while in the 19th century Sir Thomas Lawrence called the work "the philosophy of art".

Between August and December 1957, Pablo Picasso painted a series of 58 interpretations of Las Meninas, and figures from it, which currently fill the Las Meninas room of the Museu Picasso in Barcelona, Spain.

source wikipedia.org