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It might seem like a controversial montage but opening the debate is precisely what the Prado Museum aspires to with the exhibition Guests Fragments on women ideology and plastic arts in Spain 18331931 critical analysis of the topics that marked the life of half the population at that time and with it the idiosyncrasy and national values

From the breadth of this idea a specific perspective is covered that of art promoted by the State which rewarded some images and disapproved of others based on their moralizing character

From those projections emanating from the instances of power eminently male the exhibition moves the focus towards art created by women forced to do their work either by dodging or by imbibing themselves with those labels

This is a critical journey to the epicenter of nineteenthcentury misogyny explains the curator Carlos G Navarro the Prados curator of 19thcentury painting who calls into question her own journey through the approach of this exhibition

The museum is heir to this acquisitions policy Navarro acknowledges and now it is taking a leap towards a future in which the image of the female artist can be revised with greater precision

With a display of more than 130 works the proposal which should have been inaugurated at the end of March represents for the museum director Miguel Falomir an ambitious step forward both from a numerical and a conceptual point of view .

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