The project also seeks to understand in greater depth the meaning of the collection that the Prado treasures in its warehouses and to value pieces that until now have barely if ever had the opportunity to surface
Without understanding the idea of women it is very difficult to think how they could practice painting It is about seeing which were the models of femininity that the authorities projected which was the type of woman that was privileged and praised and which was the one that was denigrated and censured abounds
Four years after the first exhibition in its history devoted to an artist the Flemish Clara Peeters the Prado wants to overcome the aspirations of a first heroic generation of feminist art historiographers to unravel divergent perspectives on the established artistic canon
where other disdained creators also have a place from LGTBI authors to those originating from other origins such as former Spanish colonies and alternative ways of investigating the role of women in art history
We want to make exhibitions about a patron saint of the arts and about the historian María Luisa Caturla one of the most prominent in Spain says Falomir who boasts This is a very novel type of exhibition that makes us feel proud I dont think something similar has been done in any other country in Europe
From the unfolded approach of women as passive and active subjects of artistic creation Guests are divided into two general areas that differ in addition to their authorship by the origin of the works It is a detail that reveals what the Prados inclinations have been historically as an integral part of the officiality of its time with regard to its own acquisitions.
Analyzing and showing the public these inherited deficiencies serves to examine ones conscience and adapt to the mentality and demands of the society of this time It is a brave project that has not been easy to carry out confirms Navarro
The first section the one dedicated to state art in many cases rewarded with national medals and with works by Pradilla Inurria or the Madrazo emerges to a large extent from the funds of the museums warehouses
The second part with paintings and some sculptures photographs films and miniatures made by artists from Queen Elizabeth II to photographer Jane Clifford and painters such as María Luisa de la Riva has received numerous loans from various institutions
Of the hundreds of pieces that belong to the museum about 40 have been restored a huge work that says Falomir had not been seen in the last 10 or 12 years are permanently in the room
This is a research exhibition says the director Only a public museum could spend so much time on it an enormous effort has been made to study and present these works
Each of the 17 subsections that mark the itinerary has been devoted to a specific theme the education of girls the female role in the family the representation of the traditional woman.
The Enlightenment favors an emergence of painters literary and wise women But that with the arrival of the bourgeois mentality is interrupted and reverted explains the curator about the historical context that surrounds the exhibition
Suddenly the State has the function of offering women the place that the bourgeois mentality considers appropriate which is to be the angel of the home.