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WOMEN

Why Prado’s exhibition on women is provoking sexist storm

Slave, witch, prostitute or mother: a new exhibit at Spain's Prado explores how misogyny influenced the way women were portrayed in art, and the role that the museum itself played.

Why Prado's exhibition on women is provoking sexist storm
Painting entitled Phalaena by Carlos Verger Fioretti. Photo: Prado Museum

“Uninvited Guests”, the museum's first post-lockdown exhibition, is divided into sections with names such as “mothers under judgement”, “guidance for the wayward” and “the art of indoctrination”.

One of the aims is to put the spotlight on “an ideology, a State propaganda regarding the female figure”, which existed between 1833 and 1931, curator Carlos Navarro told AFP.

The artworks from this period reveal a “bourgeois thinking which sought to validate the role that society attributed to women,” he added.   

With this show the Prado, one of Europe's finest painting collections which celebrated its 200th anniversary last year, hopes to make amends for the role it played in this process.

The museum acknowledges that during the period in question, discrimination operated not just against female artists but in the way women were represented in the works the state bought and exhibited.

The show focuses on the period between 1833 and 1931 because that is when the Prado says it started to play a “key” role in the “acquisition and display of contemporary art”.

That gave it “an important role in the construction of the idea of a modern Spanish school” of art.

Young nudes

The exhibition explores how paintings by men at the time relegated women to secondary roles, usually as attractive accessories.   

Two works by Spanish painter Pedro Saenz Saenz, his 1897 “Chrysalid” (pictured above), and “Innocence” completed two years later, both depict a naked, prepubescent girl in a suggestive pose.

Young models at the time were forced to pose naked, in tears, for painters during an era when there was “no age limit or violence in the nude,” said Navarro as he stood before the paintings.

The few times women are the protagonists it is often against their will.    

“The Rebel”, for example, a 1914 work by Spanish painter Antonio Fillol Granell, depicts a Roma girl being expelled by her family from their camp — presumably for some kind of moral transgression.   

The second half of the exhibition features works by women from that era, who were marginalised because of their gender.    

It includes many still-lifes — representation of household objects such as flowers or food. But there are few portraits, as these were reserved for male painters.

'Missed opportunity'

This section includes works by two women, France's Rosa Bonheur and Spain's Maria Antonia Banuelos, who did not get the recognition they deserved in Spain at the time, Navarro said. No works by Banuelos can be found in Spain today, he added.

Ironically, shortly after the exhibition opened, the Prado was forced to remove a painting from this section after it was found to have been painted by a man, and not a woman as previously thought.

And of the 130 works in the exhibition, 70 are signed by men, prompting complaints from some feminist groups that it does not dedicate enough space to works by women.

A group called Women in the Visual Arts, which has over 500 members, said the show was a “missed opportunity” to give overlooked female artists their due.

Navarro, who is the lead curator for the exhibition, dismissed the controversy, saying it was sparked by “historians and especially contemporary art critics who had hoped to be part of the project”.

Uninvited Guests” opened to the public on October 10th and is due to run until March 14th.

 By AFP's Marie Giffard

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ART

Paul Gauguin’s ‘Mata Mua’ returns to Spain

One of French painter Paul Gauguin's most famous paintings, "Mata Mua", will return to a Madrid museum on Monday following an agreement between the Spanish government and its owner, who took it out of the country.

mata mua madrid
Toward the end of his life, Gauguin spent ten years in French Polynesia, where he completed some of his most famous artwork Painting: Paul Gaugin

The artwork had been on display for two decades at Madrid’s Thyssen-Bornemisza museum but in 2020 when the institution closed because of the pandemic, the painting’s owner Carmen Thyssen moved it to Andorra where she currently lives.

Her decision to take “Mata Mua” to the microstate sandwiched between Spain and France raised fears she would remove other works from her collection which are on display at the museum.

“It is expected that the painting will arrive today,” a spokeswoman for the museum told AFP.

mata-mua_gauguin-madrid

In 1989, Baron Thyssen-Bornemisza bought Mata Mua at the Sotheby’s auction in New York. Painting: Paul Gauguin

The artwork will go back on display to the public “a few days after” Thyssen signs a new agreement with the Spanish state for the lease of her collection, she added. The deal is expected to be signed on Wednesday.

Painted in 1892 in vivid, flat colours, “Mata Mua” depicts two women, one playing the flute and the other listening, set against a lush Tahitian landscape.

It is one of the stars of Thyssen’s collection of several hundred paintings which are on show at the museum, including works by Pablo Picasso, Henri Matisse and Claude Monet.

Her collection had initially been displayed at the Madrid museum as part of a free loan agreement signed in February 2002 that was subsequently extended.

But in August 2021 Spain’s culture ministry announced it had reached an agreement with Thyssen to rent the collection from her for 15 years for €97.5 million ($111.5 million), with “preferential acquisition rights on all or part” of the works. The collection includes a Degas, a Hopper and a Monet.

Aside from housing her collection of works, the museum displays the collection of her late husband, Hans Heinrich Thyssen-Bornemisza, the Swiss heir to a powerful industrial lineage who died in Spain in 2002.

The Spanish state bought his collection in 1993 from $350 million, according to the museum.

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