Publication: Los públicos que formaron el Museo del Prado: transformaciones en la proyección pública y la utilidad social del Museo tras su nacionalización (1868-1900)
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2022-02-03
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Universidad Complutense de Madrid
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Abstract
El Museo del Prado surgido de las colecciones reales, permaneció unido a la Corona hasta su nacionalización en 1868, a partir de la cual comenzó a germinarse el museo maduro que hoy conocemos, gracias a una sucesión de direcciones con las que fueron configurándose tanto su organización interna como su personal y sus colecciones. El año de la Revolución La Gloriosa, 1868, coincidió con el inicio de la dirección de Antonio Gisbert (1868-1873). Antonio Gisbert trabajó intensamente para dotar al Museo de un reglamento con carácter, definido y con personalidad que configurase una institución que, hasta ese momento, había presentado enormes carencias de organización y de personal, pero nunca de identidad. A la dirección de Antonio Gisbert (1868-1873) le sucedieron las de Francisco Sans y Cabot (1873-1881), Federico Madrazo (1881-1889), Vicente Palmaroli (1895-1896), Francisco Pradilla (1896-1898)y Luis Alvaréz Catalá (1898-1901). Junto a la sucesión de direcciones, de manera paralela, se iniciaría la redacción de una serie de reglamentos que pusieron las bases de la organización interna del museo y la reglamentación del público...
The Prado Museum came to existence by benefiting from the royal art collections and remained attached to the Crown until its nationalization in 1868. However, the unique museum that we know and the institution that it has become, was theresult of the successive contributions of its directors, that progressively, shaped and moulded its internal organization, its structures and the consolidation of its collections. In 1868, the year of the “La Gloriosa Revolution”, Antonio Gisbert became its13 Director (1868-1873). He devoted himself to provide the Museum with a regulation possessed of a distinctive character and personality that would shape an institution that, up to that moment, had presented great deficiencies concerning its organization and structures, but never its identity. Gisbert (1868-1873) was succeeded by Francisco Sans y Cabot (1873-1881), Federico Madrazo (1881-1889), Vicente Palmaroli (1895-1896), Francisco Pradilla (1896-1898) and Luis Alvaréz Catalá (1898-1901). Along with each of the directors came the sequential drafting changes of the regulatory framework that laid the foundations for the internal organization of the Museum and the statutes and formal provisions for the public...
The Prado Museum came to existence by benefiting from the royal art collections and remained attached to the Crown until its nationalization in 1868. However, the unique museum that we know and the institution that it has become, was theresult of the successive contributions of its directors, that progressively, shaped and moulded its internal organization, its structures and the consolidation of its collections. In 1868, the year of the “La Gloriosa Revolution”, Antonio Gisbert became its13 Director (1868-1873). He devoted himself to provide the Museum with a regulation possessed of a distinctive character and personality that would shape an institution that, up to that moment, had presented great deficiencies concerning its organization and structures, but never its identity. Gisbert (1868-1873) was succeeded by Francisco Sans y Cabot (1873-1881), Federico Madrazo (1881-1889), Vicente Palmaroli (1895-1896), Francisco Pradilla (1896-1898) and Luis Alvaréz Catalá (1898-1901). Along with each of the directors came the sequential drafting changes of the regulatory framework that laid the foundations for the internal organization of the Museum and the statutes and formal provisions for the public...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 19-10-2021