Word: prado
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...down the toilet, burning it in a trash can, burying it in the park, dumping it in the river, putting it on the back of a truck, and returning it to the company from whence it came, but it always comes back. This is what Peter Hunter (Sergio Prado ’09), his wife Francis (Caroline E. Cochin de Billy ’09), and Peter’s hapless colleague Brian Runnicles (Rory N. Kulz ’08) find when Francis orders a box of pornographic pictures, thinking she’s ordering glassware. Don?...
While I did, indeed, walk down Paseo del Prado and wander through rooms of remarkable art in the Prado Museum, I had incorrectly assumed that it would be home to “Guernica.” In fact, the Prado Museum houses artwork dating only until the mid-nineteenth century. Its existing collection is certainly nothing short of impressive—greatness covered every inch of the innumerable walls. In fact, the vast quantity of paintings by the old Spanish Masters, El Greco, Goya, and Velazquez, particularly struck me. El Greco’s “Crucifixion?...
Unfortunately, excluding the otherwise limited Picasso and Dali collections, the Reina Sofia Museum did not meet the standard of excellence set by the Prado. Its twentieth century art collection lacked both quantity and quality. In contrast to the Prado, where the walls seemed more a collage of masterpieces than a museum display, the Reina Sofia’s wall space greatly exceeded the necessity for a small, growing collection. Inaugurated only in 1992, the young museum’s disproportions portrayed an atmosphere of scarcity. Indeed, within the context of these imbalances, the majority of the pieces in the museum?...
...Guernica” with paintings and sculptures which merely exist to redraw the boundaries of art is an insult its political and artistic value. The old Spanish masters are known throughout the world and represent Spain’s rich history, culture, and artistic innovation, much like the Prado. As engaged as I was when viewing the vast collection of traditional art at the Prado and Picasso’s “Guernica” at the Reina Sofia, my piecemeal experience with Spanish art was disappointing. To exclude modern art, particularly Picasso, from such a prominent, iconic museum...
Giselle Barcia ‘08, a Crimson editorial editor, is an english concentrator in Mather House. She treasured her visit to Spain despite the fact that Guernica was not in the Prado, and now wishes she was at either museum instead of at her office...