The Prado oxygenates Bosco so that he does not die of success

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The Prado oxygenates Bosco so that he does not die of success




The triptych of 'The Adoration of the Magi', by Bosco, during the reopening of the room dedicated to the Dutch master in the Prado. .


© Image LaVanguardia.com
The triptych of ‘The Adoration of the Magi’, by Bosco, during the reopening of the room dedicated to the Dutch master in the Prado. .


The room of the Bosco in the Museum of Prado, with the Garden of delights in the center, was “dying of success”And asking for some reform than oxygenating it. It is already done. The space reopened this Tuesday in new conditions that, when the influx to the art gallery normalizes, will allow to see the works of the Dutchman with less run over.




The reform offers more space to visitors who want to contemplate the triptych of the 'Garden of Delights', the great star of a room that houses six works by the author plus one from his workshop and another from a follower (Dani Duch)


© Provided by La Vanguardia
The reform offers more space to visitors who want to contemplate the triptych of the ‘Garden of Delights’, the great star of a room that houses six works by the author plus one from his workshop and another from a follower (Dani Duch)


The space houses seven works, five of them by the Dutch painter himself, in addition to the famous triptych of delights and sins: the triple tables of The hay cart Y The Adoration of the Magi, the Table of Deadly Sins, The extraction of the stone of madness, The temptations of Saint Anthony the Abbot, another version of this last work in charge of his workshop, and the Landscape with Tundal’s visit to Hell made by an anonymous follower.

With six works by the author out of a total of twenty that are preserved by him, the Prado is the largest collection of Bosch in a museum

About a total of twenty works that are preserved from the author, the Prado is the biggest collection yours in a museum. Not in vain does Bosco give prestige to the Prado and, historically, the Prado has guaranteed and underpinned the fame of Bosco in the last two hundred years, highlighted in the presentation of the renovated room the head of Conservation of Flemish Painting of the museum, Alejandro Vergara.

The reform of the space that houses the treasures of the great artist of the late 15th and early 16th centuries basically consists of a lightening of the supports of the works, now metallic and removable and with fire blankets inside to avoid damage by fire; a repeated from the walls; a illumination plus neat on the oil paintings but also on the backs of the frames, and a large screen where the public can see details remarkable of each and every one of the pieces.




Before 'The Temptations of San Antonio Abad, another of Bosco's works in his recently renovated room in the Prado (Dani Duch)


© Provided by La Vanguardia
Before ‘The Temptations of San Antonio Abad, another of Bosco’s works in his recently renovated room in the Prado (Dani Duch)


The new and narrower supports of the three triptychs are those that, by bulking much less than the previous ones, make win space and feeling of spaciousness to a room that, as indicated by the deputy director of Conservation and Research of the institution, Andrés Úbeda, “It was done uncomfortable at times”.




'The hay cart', with which Bosch anticipated the trend towards 'landscape culture' in painting, according to experts (Dani Duch)


© Provided by La Vanguardia
‘The hay cart’, with which Bosch anticipated the trend towards ‘landscape culture’ in painting, according to experts (Dani Duch)


The remodeling of the Bosco space is part of a plan of progressive resuscitation from the museum after the parenthesis of confinement between March and June. First, the central gallery and adjoining spaces were reopened, with the concentration there of great works from the museum in the exhibition Reunion ; later the first floor was almost completely deconfined and the room dedicated to the Dolphin Treasure, to later inaugurate the exhibition Guests , on the role of women in the 19th and early 20th centuries.

The remodeling of the Bosco space is part of a plan to progressive resuscitation of the museum after the parenthesis of confinement

From now on and depending on the evolution of the pandemic and the limitations it imposes, the idea is compartmentalize The meadow in modules in order to continue the reopening of the exhibition area, starting with what remains to be unsealed on the ground floor and continuing on the two upper floors. All of which will be done in parallel to the implementation of a new exhibition model that, as is the case in Reunion e Guests, will make the exploitation of the museum’s own funds a priority – either through new monographic exhibitions or thematic itineraries.

The objective of this recycling is to compensate greater difficulty that the health crisis imposes, and it is feared that for a long time, to organize large exhibitions with loans of works from other institutions and private collectors.




'The Garden of Earthly Delights', the great work of Jheronimus van Aken, Bosch. (Dani Duch)


© Provided by La Vanguardia
‘The Garden of Earthly Delights’, the masterpiece of Jheronimus van Aken, Bosch. (Dani Duch)


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