Word: prado
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...squalid as it was tragic, but it did boast one supreme ornament. The Painter to the King was Francisco Jose de Goya y Lucientes, who left behind on canvas a royal family album that has dazzled the world ever since. Each year thousands of visitors to the Prado in Madrid have come to know Goya's bumbling old King, his sharp-faced Queen, the sulky heir apparent, and a host of beribboned infantes and infantas, all portrayed with ruthless candor. But one member of the family is rarely seen: the frail Countess of Chinchon (see color), whose portrait hangs...
Beltrán got his job through a strange chain of circumstances that began with the election of President Manuel Prado in 1956. Like Beltrán, Prado belongs to the aristocracy of 30 or 40 interlocking families that dominate Peru, yet he was elected by APRA on his promise, which he kept, of restoring the outlawed party's legality. APRA's advice to Prado was to develop Peru's backward land by deficit financing. Against his own preferences Prado acquiesced, and government presses cranked out endless paper sols to pay for the expansion. He was soon...
...Francisco (to help set up the U.N.). Returning to Peru, he built La Prensa along U.S. newspaper lines into the most influential daily in Lima. He at first supported the army dictatorship headed by Manuel Odria, then helped persuade Odria to eliminate himself by holding the free election that Prado...
When the beset Prado defied Publisher Beltrán to do any better himself, the critic decided that he belonged onstage: "Like missionaries who go among the savages and must be prepared to face being eaten, we independent newspapermen and honest politicians should be prepared for the worst." Peru's economy was in such sorry shape that the sol had dropped from 19 to the dollar to 31.5. The simple act of making Beltrán Premier checked the decline. Then Beltrán stopped the currency printing presses that La Prensa had long cartooned as a loathsome, hairy...
Fernando Alvarez de Sotomayor, late director of Madrid's Prado: "Restoration is necessary. You have to do it with great care, but you have to do it. We can be proud of the work Spanish restorers do, but in most other European museums the work is not so good. For instance, I have been told of a Velasquez portrait of Philip IV in London's National Gallery which after restoration is a very bad picture. We have another Velasquez portrait of the same king, which originally was not so good as the one in London. Now ours...