Key Women in the Creation of the Prado’s Collections
From Isabella II of Spain to Maria Anna of Neuburg

Two relevant features of the Prado Museum’s make it paradigmatic in our study of the role of women in the field of artistic patronage: we can explore, recover, and discuss and disseminate these women’s contributions to the creation of the Museum by addressing both idiosyncrasies. The first feature is that of the Museum’s creation and consolidation: Queen María Isabel of Braganza founded the Museum, and Queen Isabella II later successfully ensured that the collections of the Real Museo de Pintura (Royal Museum of Painting, as the collection was then known) were not dispersed. The second idiosyncrasy has to do with the connections linking the assembly of the collections and the women of Europe’s royal houses. These were the queens, princesses, regents, and governors who – as we learnt in the first edition of our symposium Protagonistas femeninas, held in 2022 – played an influential role by donating magnificent creations to the collection, works which enhanced the Museum that we are fortunate enough to admire today.

During this second edition of the scientific meeting, held immediately prior to International Women's Day, the Prado Museum is proud to bring together an outstanding group of researchers of international renown. Our speakers will analyze the patronage and the artistic agency deployed by new key women, but, on this occasion, the period of time that will be addressed are the years  between the lives of Philip IV’s first wife, Isabella of Bourbon (1603-1644), and Charles II’s second wife, Maria Anna of Neuburg (1667-1740).

Separate issues will be examined in the course of the different theoretical sessions and round tables that have been programmed, among them the concept of queenship in the visual culture of the Modern Age; the crafting of the image of female power; the instrumentalization of art at the service of political or devotional interests; and the role women played as artistic and cultural mediators as they built networks (of women) which had significant impact on the exchange of works of art and the promotion of artists.

These theoretical sessions will be complemented by a practical proposal: the introduction to and subsequent visit of the exhibition El Prado en femenino. Promotoras artísticas de las colecciones del Museo (1451-1633). This journey through the permanent collection invites us to explore new narratives and to learn of the original and surprising stories behind the works commissioned by women of considerable historical impact such as Mary of Hungary, Joanna of Austria or Isabella Clara Eugenia.