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“La España del siglo XIX vista por la España de hoy”: “La catedral de los pobres”(1898), de Joaquim Mir, con el Presidente de Cáritas Vídeo en directo... | By Museo Nacional del PradoFacebook
“La España del siglo XIX vista por la España de hoy”: “La catedral de los pobres”(1898), de Joaquim Mir, con el Presidente de Cáritas Vídeo en directo... | By Museo Nacional del PradoFacebook
a woman in a white dress holding her hands up
Poesía en el Museo del Prado con Gonzalo Escarpa y Elsa Moreno | Poesía en el Museo del Prado con #LdeLírica Vídeo en directo sobre “La Fama” de Ricardo Bellver, con Gonzalo Escarpa, gestor cultural y poeta, y Elsa... | By Museo Nacional del Prado | Hello there, good morning. Today we are in room seventy-five of the National Museum of Prado in Madrid. And today we're going to talk about poetry of the sixth edition of the competition L of Lyric of the cultural context of the English Court and for that we have Gonzalo Escarpa who is the coordinator of the competition. He is a cultural manager and poet and Elsa Moreno who you will now know is one of the last, the last winner. Gonzalo how are you doing ? Very good morning. Happy to be back here. We are watching the fame with us. Menos. Indeed, it is a sculpture of Ricardo who is also the author of the famous statue of the fallen angel, from the retirement. This one is about one thousand eight hundred and eighty seven. It presents the traditional image of a woman with eagle wings. Some very particular wings because behind each wing is supposed to be. Behind every feather there is forgiveness. There is an eye. And in that eye, there is a tongue. That's what he allows, that thanks also to his trumpet, which is the classic representation, therefore, everyone knows good and bad. That's what makes fame not so dear in heaven. It's a strange animal because she won't tell the difference between right and wrong. He's going to tell absolutely everything. So that's what makes Eneas say he's the worst of demons and the fastest. The idea of fame has changed throughout history and therefore this wonderful smiling woman is considered different in the classical age, for example, are the muses, who are engaged in singing lacleos, right? The fame, that's how they say. And there is a terrible enemy of fame, which is lying. The lie, which is provoked by envy, and stirs up slander. A word that is very trendy nowadays. In the revival all this is going to change, the Jewish Christian idea of pursuing glory. It's because good deeds only have to be directed at singing to God. Well that's going to change as I told you and death is no longer the end of anything thanks to fame will follow others keep talking about us. That's what eh want all artists, all great men and poets, in this case, are fundamental, because they are the ones who are going to sing, those great gestures, and in addition to doing so, they also get a space in the stars, right? At the Parnaso. Albert Camí said, fame is very easy to get. And very difficult to deserve. We with the L prize of Lírica, which ends the fifteenth of the deadline to participate, what we want is to pass to posterity, to get eternal life, to get it, just upload an Instagram or TikTok video with the hashtag poetry alive two thousand twenty four. In that regard, we're going to also get uh break Instain's head, who also told us that fame is like hair. That continues to grow after death, when it is no longer useful. Therefore Carpe Diem, dear friends and poets, and present yourselves now, not after death, like Elsa Moreno and managed nothing more or less but to rise with the award the previous year. Dear Elsa, congratulations and we hope fame is with you and you behave well. And so we jumped from Virgilio to Elsa Moreno and suddenly we're the winner of the fifth edition of the L prize for Lyrica. And so we reached the sixth. Elsa is an honor to be here at the Prado Museum at this time of the morning and Gonzalo another curious fact about the fame is his etymology. Because fame comes from Latin which means to talk. So, I think it's wonderful that, well, I mean, I guess in the end you just need to raise your voice and that's where the fame lies, right? Well, I'm going to share a poem with you, which is also collected within the anthology that they have published with the finalists and more poets of the National Prize for Lyrical Live Poetry, from the last edition, and it says so. The musical composition of the poem is just a tear-up solo. A rip on the saxophone. May the silence of the one who finally observes irrelevance and falls in love. Badly blind is he who searches only under the spotlight. But lower your focus. Lower your focus. Look under the feet. Had to read the plants. The stones of the road are stuck in the plants. Their grooves, those are life lines, that hurt. We have to scratch the earth with our teeth and spit in our mouths. We have to be persistent with irrelevance. Untie the wires and let the light life elude you. Eleve, eleve. Because if we all organize ourselves gravity is an invention we can do without. A saxophone outburst turns on the cohibid fruit. I lick her seams until they give up. Just for the pleasure of softening the meats, juice against cheek. I will stay barefooted. Then the field will cease and plead. Matria. Look at my prayers. When I kneel, my prayers, a salt water fountain in summer, Motherland. My prayers are this elbow flexing. Mírame. I'm doing just fine. Elsa Moreno thank you very much. This has been incredible. Bueno. Living poetry, he, lyrically. Congratulations. Young talent, Elsa. How Old Are You ? Veinticuatro. Twenty four years. Wow. And where are you from? I'm from Valencia. De Valencia. Since when do you write, Elsa? So I started writing, I guess like many, in my adolescence, no? For this thing of emotional overflow and an almost physiological need. And so mmm I went from that need to find her match. No? And the fun to this of using words and messing them up and undoing them and putting them back together. So to this day and I hope it gets longer, I don't know if until after my death, but it's amazing to hear, it's been wonderful. What would you say to those who stand up to participate, if they submit their video, they have until the 15th of June? Yes, it's a very simple thing, that is, it doesn't cost anything, upload a one-minute video to Instagram, to TikTok, it's what it is and that to me it's something I get asked a lot, right? From twenty-four years old, I can already be moving so much with poetry and such, and it's just a matter of exhibiting. Of, of putting yourself in front of a microphone on a screen you have to show your art, because if not, then, how will they know you? So, I highly encourage everyone to have, to have this bug, to bite the bug, to throw, to not lose anything, to win it. Well Elsa Moreno Gonzalo Escarpa, thank you very much, we encourage everyone who has that bug that has stung them, to participate in the contest organized by the cultural scope of the English Court. Thank you for making us start the day with poetry. You are inspiring, thank you so much. To you. We farewell you here from this, from this sculpture, from this fame, you also have one outside the museum, one of the two sculptures that decorate the facade, is a fame also of Valeriano Salvatierra, we will show the poster of this, if you want to look for more information, Ricardo Ricardo Belver, you can download images of the work in high quality and share them on social networks. We're back tomorrow with a new live video like this one we do Monday through Friday, ten down ten for ten. Thank you so much for following us.
a man wearing a suit and tie standing in front of an entrance to a building
Por primera vez este cuadro de Caravaggio se puede ver en público | Por primera vez este cuadro de Caravaggio se podrá ver en público Vídeo en directo con Carlos Chaguaceda, jefe de Comunicación del #MuseodelPrado,... | By Museo Nacional del Prado | Hiii good morning. Today we are in room nine A of the National Museum of Prado in Madrid. And Carlos Aguaceda is with us, head of communication of the museum, how good, today is a great day in which besides good, he is the main star. How are you, Carlos? How are we ?. Very good, wonderful. Every day is good in the meadow, but today is a little special because not every day a Caraballo shows up. And on top of that a Caraballo has been lost. For a long time, and that he has recovered and will be able to see. Starting tomorrow here in the room behind me. Besides, we're watching, aren't we? How, just, the colleagues in the press, media, well, are taking those first images. No? Because he's running now, right? He is presenting himself to the media. Well, now we are, we have had a press conference, there are sixty media from, all over the world, television, radio, major international media. And what we're trying is eh organizing it. Right now it is being explained by the director and the president Javier Solana, Miguel Falomir. A little bit of the details of how this agreement is reached. Then eh Cristina Terzai and David Garcia Cueto. They will explain the historical intringulis and tendency of this work, in the race of this genius of painting, this damn painting with so much fame that is Caraballo and finishing as televisions will come here to record, but by organizing it, today we are to make an idea, people who are watching the channel right now, because it is the way photographers are taking pictures, everyone wants to have that personal photo, so to transfer it to their readers or followers of their websites. Carlos, and what is the story of this good one, this is the Lost Caraballo. The Lost Caraballo is a painting whose trace was lost, that came from Naples. We counted on Instagram, they have a cartoon video that tells it better than me, but pretty much. It's a painting that comes to Spain, surely, from the hand of the Viceroy of Naples, who was then part of the crown of Aragon. That ends up in the hands of a eh Evaristo Perez de Castro, who is a secretary of the courts of one thousand eight hundred twelve in Cadiz, who is in the family. And that he is lost or time is depositing layers of powder and you think that good that you do not know where it is, are the records of the Academy of Fine Arts, but from there comes out and is not known what has happened with the time passes and three years ago in the month of March, if I remember not wrong, in an auction, goes for sale the auction, a painting for one thousand five hundred euros, one thousand five hundred euro, but that painting has something, something that draws the attention of the experts, of the Museum del Prado, who raises the red flag says and here is this picture worth more than those thousand five hundred euros, it is worth analyzing slowly. And by analyzing it slowly, because eh quickly the Ministry decrees that it is an inexportable frame and the Community of Madrid, which is the competent authority, decrees it is a BIC, of cultural interest. And from there begins a research work, which is presented today, which concludes that, effectively, this is not a painting was not as it was said in the auction, a panel of Rivera's followers, but directly one of the paintings of Caraballo, whose trail eh is I had lost. From there already the eh there is an investor, a British philanthropist, has been said, who knows, have to keep a little the mystery that what acquires it and we from that transaction between individuals occurs decide or think it is the time to talk with the new owner to try to offer it to all Spanish citizens and around the world. And for that, thanks to your philanthropy, your goodwill, for this painting will be deposited here at the beginning of nine months, enough time to see it and be known, and today we present it in a special montage. In this room eight A. That now I think photographers have left blank. I don't know if we should present it before the fast press. Surely Javier, he's a competitive guy. At the bottom a plan at the bottom of the picture because we're eh maintaining the magic of this video. We have a lot of footage of how it was restored, how it hung, how the room was cleaned and equipped and painted to give you this spectacular scenery and via our Instagram feed. We'll share it and we'll be happy if you spread it, won't you? And importantly, you all come and see the painting that will be in this room until October. From October it will surely be in the room next to the caraballists where is the great caraballo that we have here owned by all the Spaniards, David Vencedor of Goliath and here is a unique occasion, one more occasion, one more reason to come to the museum. Carlos, one last question. Eh, they've also talked about attributing a cockroach, because it's a very very complicated thing, isn't it? Very sharp on this art history thing, but there seems to be some unanimity. Well, the sources here match from all angles. It's first that one of the ways is the study of the work. Then the work by materials, by typology, by eh fabrics, by eh, paintings, everything fits. But very important, there is a historical trace of this painting. All this we have told you that he comes from Naples, Evaristo Perez de Castro, brings him to Spain. He exchanges it for an Alonso Cano, which he had, everything is documented. In the history of art, there is a part that is the eye. Well this fits, doesn't fit. There is another part that is the eh the ID of which is their past eh through the files and in the files many truths are hidden or found and in this case it seems that the experts who are who know have agreed that it is the lost cockroach. Well Carlos, we don't steal more time than you have to get back to the media. Thank you so much. Thank you and coming to the meadow. Thank you. And we leave you all. We invite you all to come to the Meadow Museum. You will be able to see this caraballo that we are not showing now. But tomorrow yes, tomorrow we will have a live video with David Garcia Cueto. Expert in Italian painting how good, we'll go deep into this one in this lost Caraballo. And we call it a day. Reminder that we do live videos, Monday through Friday, ten minus ten to ten. Thank you so much for following us.
an image of a poster with the words elarte goticoo
Centro Integral de Educación Cultural. Historia del Arte, Música y Cine
a large painting on display in a museum
166K views · 8.8K reactions | "El 2 y el 3 de mayo de 1808 en Madrid", de Goya #MuseodelPrado | Museo Nacional del Prado | Museo Nacional del Prado · Original audio
an empty room with paintings on the wall
“Vistas del jardín de la Villa Medici en Roma”, de Velázquez | “Vistas del jardín de la Villa Medici en Roma”, de Velázquez Vídeo en directo desde la sala 11 del #MuseodelPrado sobre las dos “Vistas del jardín de la... | By Museo Nacional del PradoFacebook
a painting hanging on the wall in a room
Monet's waterlilies | Musée de l'Orangerie | Paris
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a painting hanging on the wall with a clock in it's center and red light at the top
Georgia O'Keefe, " Calle de Nueva York con Luna".'New York Street with moon' 1925
a man with glasses is smiling and looking at the camera while standing in front of a painting
Cristina de Suecia, con el Nationalmuseum de Estocolmo Vídeo en directo sobre Cristina de Suecia con Manuel Arias, Jefe de Departamento de Escultura en... | By Museo Nacional del PradoFacebook
a woman standing in front of a painting with her hands out to the side,
"Las meninas", de Velázquez | Vídeo en directo sobre “Las meninas”, de Velázquez (1656), con comentarios de Paloma Málaga, del Centro de Estudios del Museo del Prado | By Museo Nacional del PradoFacebook
a woman standing in front of a painting with her hands out to the camera and smiling
"Las hilanderas, o la fábula de Aracne", de Velázquez | "Las hilanderas, o la fábula de Aracne" (entre 1655 y 1660), de Velázquez. Vídeo en directo con Paloma Málaga Shaw, del Centro de Estudios del Museo del... | By Museo Nacional del PradoFacebook
the painting is hanging on the wall
“Las tres Gracias” de Rubens | Vídeo en directo desde la sala 29 del #MuseodelPrado sobre “Las tres Gracias” (1630-1635), de Rubens | By Museo Nacional del PradoFacebook
a glass vase with a bird on the top and a snake on the bottom sitting on a table
Un paseo por el Tesoro del Delfín Vídeo en directo desde la sala 79B del #MuseodelPrado sobre el Tesoro del Delfín, llamado así porque perteneció al... | By Museo Nacional del PradoFacebook
442K views · 1.2K comments | “Eugenia Martínez Vallejo, desnuda”, de Carreño de Miranda, y el síndrome de Prader-Willi | “Eugenia Martínez Vallejo, desnuda” (hacia 1680), de Carreño de Miranda Vídeo en directo con la doctora en Farmacia y divulgadora @boticariagarcia sobre... | By Museo Nacional del Prado | Facebook
442K views · 1.2K comments | “Eugenia Martínez Vallejo, desnuda”, de Carreño de Miranda, y el síndrome de Prader-Willi | “Eugenia Martínez Vallejo, desnuda” (hacia 1680), de Carreño de Miranda Vídeo en directo con la doctora en Farmacia y divulgadora @boticariagarcia sobre... | By Museo Nacional del Prado | Facebook