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"Invitadas" Del Museo Nacional Del Prado

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0002_001-013#.indd 1 10/9/20 11:07 0002_001-013#.indd 2 10/9/20 11:07 INVITADAS Fragmentos sobre mujeres, ideología y artes plásticas en España (1833-1931) Edición a cargo de Carlos G. Navarro MADRID, MUSEO NACIONAL DEL PRADO, 2020 0002_001-013#.indd 3 10/9/20 11:07 Este catálogo se ha editado con motivo de la exposición Invitadas celebrada en el Museo Nacional del Prado, Madrid, entre el 6 de octubre de 2020 y el 14 de marzo de 2021. GOBIERNO MINISTERIO MUSEO NACIONAL DE ESPAÑA DE CULTURA DEL PRADO Y DEPORTE Con el patrocinio de 0002_001-013#.indd 4 10/9/20 11:07 MINISTERIO DE CULTURA REAL PATRONATO Y DEPORTE DEL MUSEO NACIONAL DEL PRADO MINISTRO PRESIDENTE DEL ORGANISMO José Manuel Rodríguez Uribes José Manuel Rodríguez Uribes PRESIDENCIA DE HONOR SS. MM. los Reyes MUSEO NACIONAL DEL PRADO PRESIDENTE Javier Solana Madariaga DIRECTOR Miguel Falomir Faus VICEPRESIDENTA Amelia Valcárcel y Bernaldo de Quirós DIRECTOR ADJUNTO DE CONSERVACIÓN VOCALES E INVESTIGACIÓN César Alierta IzuelOMaría Blasco MarhuendaO Andrés Úbeda de los Cobos María de los Llanos Castellanos GarijoOPilar del Castillo VeraOGuillermo de la Dehesa DIRECTORA ADJUNTA O O DE ADMINISTRACIÓN Romero Isabel Díaz Ayuso Estrella de Diego Marina Chinchilla Gómez OteroOJosé Manuel Entrecanales DomecqO Isidro Fainé CasasOMiguel Falomir FausO Román Fernández-BacaOÁlvaro Fernández- Villaverde y Silva, marqués de Santa CruzO Víctor García de la ConchaOJavier García FernándezOAndrea Gavela LlopisOM.ª José Gualda RomeroOJosé Guirao CabreraO Francisco Hernández SpínolaOCarmen Iglesias CanoOPablo Isla Álvarez de TejeraO María Dolores Jiménez-Blanco Carrillo de AlbornozOAlicia Koplowitz y Romero de JuseuOJosé Luis Martínez-AlmeidaOÍñigo Méndez de Vigo y MontojoORafael Moneo VallésOAnabel Morillo LeónOFrancisco Pérez UrbánOCarlos Rontomé RomeroOJosé Ignacio Sánchez GalánOOlga SánchezOEduardo Serra RexachOJuan Tejedor CarneroOFernando de Terán TroyanoOCarlos Westendorp y CabezaO Carlos Zurita, duque de Soria PATRONOS DE HONOR Helena Cambó de GuardansOJosé María Castañé OrtegaOSir John ElliottOCarlos Fitz-James Stuart y Martínez de Irujo, XIX duque de AlbaOEmilio Lledó ÍñigoO Philippe de MontebelloOMaría Várez Benegas SECRETARIA M.ª Dolores Muruzábal Irigoyen 0002_001-013#.indd 5 10/9/20 11:07 0002_001-013#.indd 6 10/9/20 11:07 La exposición Invitadas. Fragmentos sobre mujeres, ideología y artes plásticas en España (1833-1931) nos acerca a la posición que el sistema artístico español ofreció a las mujeres desde el reinado de Isabel II hasta el de su nieto Alfonso XIII. La muestra se introduce en las entrañas de la colección del Museo del Prado para, por un lado, mostrar el trabajo de las artistas de la época y, por otro, dar a conocer a la mujer del siglo XIX a través de la representación de sus conductas públicas y privadas. Es importante recordar que en el periodo histórico que nos ocupa, el Museo Nacio- nal de Pintura y Escultura, que en 1920 pasó por Real Decreto a denominarse Museo Nacional del Prado, desempeñó un papel crucial en la construcción de la modernidad de nuestro país y en el rol que la mujer iba a tener en ella. No cabe duda de que en los casi dos siglos que han transcurrido desde la fecha de partida de esta exposición hasta nuestros días, se ha mejorado en el reconocimiento e integración de la mujer en el sector cultural. Si bien la presencia de las mujeres en las enseñanzas artísticas es mayoritaria, también es verdad que están infrarrepresentadas en el mercado del arte, en las instituciones culturales y en las colecciones artísticas públicas y privadas. La igualdad en el ámbito cultural es una línea de actuación prioritaria de este Mi- nisterio. Por ello, a través de distintas medidas transversales y proyectos específicos, afianzaremos y profundizaremos en la perspectiva de género en el sector artístico, una condición imprescindible para cumplir con el mandato constitucional de la paridad real y efectiva entre hombres y mujeres. Considero que las instituciones públicas deben de hacerse eco de las demandas de la sociedad en la que viven y, gracias a proyectos como este, el Museo del Prado acrecienta su compromiso con la visibilización de la mujer y de las creadoras. A través de la pintura, la fotografía, la escultura, el dibujo, el grabado, la miniatura, el bordado y el cine, nos acercamos a la realidad de unas mujeres que vivieron y crea- ron en España entre 1833 y 1931, periodo previo a la instauración del sufragio universal en nuestro país en 1933. Su vida y su trabajo sentó las bases para nuestras mujeres del presente. Trabajemos para seguir avanzando hacia el reconocimiento de todas ellas. José Manuel Rodríguez Uribes Ministro de Cultura y Deporte 0002_001-013#.indd 7 10/9/20 11:07 La Fundación AXA lleva veintiún años ofreciendo su apoyo al Prado, primer museo nacional de España, a través de una decidida y convencida labor de mecenazgo, desti- nada a trasmitir a la sociedad la riqueza extraordinaria de sus colecciones, pero tam- bién su capacidad única de organizar y acoger algunas de las muestras más ambicio- sas que se han ideado durante este último par de décadas en el campo de las bellas artes, y que convierten al Museo en uno de los principales escenarios culturales a nivel mundial. En este contexto, la presentación de una muestra como esta adquiere un significado especial por el carácter audaz e innovador de su concepción, y que en cierto modo la hace distinta de las concebidas hasta ahora. Invitadas. Fragmentos sobre mujeres, ideología y artes plásticas en España (1833-1931) habla con originalidad del papel de la mujer en el sistema del arte español a través de materiales del siglo XIX y de los primeros años del siglo XX –muchos de ellos de gran calidad y la gran mayoría desconocidos–, que reflejan la severa hostilidad a la que se enfrentaron las sucesivas generaciones de mujeres que lucharon, con escasos resultados al principio, por acce- der a un sistema que, en muchas ocasiones, ignoró incluso su mera presencia e inten- tó fijarlas en su rol de modelos inertes. A buen seguro, esta selección y su discurso no dejarán indiferentes a los visitantes que se acerquen a la muestra. Un trabajo, además, que pone de relieve la importancia de visibilizar el talento femenino en la búsqueda de referentes artísticos hoy y en la historia de nuestro arte. Realizada casi por entero con fondos propios, revela una vez más al Prado como una entidad viva y atenta a los intereses de su público, incluso cuando estos van más allá de la pura contemplación y disfrute estéticos. Al mismo tiempo, y como ha su- cedido ya en anteriores ocasiones, este empeño es también una demostración de la versatilidad infinita de una colección que no deja nunca de sorprender y fascinar, y que es capaz de replantearse a sí misma desde cero. Invitamos –valga este pequeño préstamo del título de la exposición– a todos sus visitantes a recordar una sugestiva y apropiada reflexión de la célebre Emilia Pardo Bazán sobre el ascendente moral de la historia en nuestras pequeñas y vulgares vidas, y sobre la conciencia del pasado que en esta oportunidad nos ofrece el Museo: «Mira delante de ti la suerte de los que fueron; mira delante de ti la suerte de los que serán». Olga Sánchez Rodríguez Presidenta de la Fundación AXA 0002_001-013#.indd 8 10/9/20 11:07 El Museo del Prado es el principal depositario de los tesoros artísticos de nuestro pasado cultural. Desde las capillas medievales a los lienzos naturalistas del siglo XIX, no solo tienen la capacidad de interpelarnos por su belleza, sino que nos ofrecen un retrato polisémico y cambiante de nuestra identidad individual y colectiva. En este sentido, las obras del siglo XIX, más que el resto, están sujetas a la posibilidad de un análisis que, sin caer en el anacronismo fácil o equívoco, es capaz de ofrecer respuestas a las preguntas que plantea nuestra historia más reciente, y explicaciones –o al menos ilustraciones– de lo que apenas hace cien años eran razonamientos válidos, ideales humanos o incluso, razones de Estado. De acuerdo con la fértil corriente de análisis que se abre paso en las líneas exposi- tivas de los museos de los países culturalmente más avanzados, el Prado plantea con Invitadas. Fragmentos sobre mujeres, ideología y artes plásticas en España (1833-1931) una reflexión ambiciosa sobre el papel de la mujer en el sistema artístico español en los años principales de formación de la conciencia contemporánea –desde el reinado de Isabel II y la instauración de la monarquía parlamentaria hasta el establecimiento de la II República–, y a la vez hace visible una parte muy sustancial de su fondo de obras realizadas por las artistas más destacadas del periodo citado. La segunda parte presenta, a través de varios capítulos, los pasos más comunes que siguió la evolución de las carreras de las mujeres artistas, desde su inicios como ayu- dantas anónimas a su trabajo como copistas, fotógrafas o miniaturistas y, finalmente, como pintoras de flores y de bodegones, géneros todos ellos –por otra parte, los únicos cuya práctica se les permitía sin despertar recelos– que les proporcionaron un atis- bo de prestigio efímero en la centuria antepasada y contra los que algunas valientes reaccionaron mediante la propuesta de nuevos argumentos y discursos con los que cuestionaron el orden establecido. Esta muestra ofrece al visitante, en definitiva, un nuevo intento por parte del Museo del Prado de saldar una deuda histórica en lo que concierne al papel de la mujer en las artes y, en general, en la sociedad, a través, principalmente, de obras de sus propias colecciones, respondiendo así a las demandas de un público como el actual, cada vez más exigente y diverso.
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