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<article article-type="research-article" dtd-version="1.3" xmlns:mml="http://www.w3.org/1998/Math/MathML" xmlns:xlink="http://www.w3.org/1999/xlink" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xml:lang="ru"><front><journal-meta><journal-id journal-id-type="publisher-id">cuadernos</journal-id><journal-title-group><journal-title xml:lang="ru">Ибероамериканские тетради</journal-title><trans-title-group xml:lang="en"><trans-title>Cuadernos Iberoamericanos</trans-title></trans-title-group></journal-title-group><issn pub-type="ppub">2409-3416</issn><issn pub-type="epub">2658-5219</issn><publisher><publisher-name>MGIMO</publisher-name></publisher></journal-meta><article-meta><article-id pub-id-type="doi">10.46272/2409-3416-2024-12-2-51-71</article-id><article-id custom-type="elpub" pub-id-type="custom">cuadernos-625</article-id><article-categories><subj-group subj-group-type="heading"><subject>Research Article</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="ru"><subject>ИБЕРОАМЕРИКА: МУЗЕЙ, МЕСТО ВСТРЕЧИ</subject></subj-group><subj-group subj-group-type="section-heading" xml:lang="en"><subject>IBERO-AMERICA: MUSEUM, MEETING PLACE</subject></subj-group></article-categories><title-group><article-title>Испания в зеркале музея Прадо</article-title><trans-title-group xml:lang="en"><trans-title>Spain in the Mirror of the Museo del Prado</trans-title></trans-title-group></title-group><contrib-group><contrib contrib-type="author" corresp="yes"><name-alternatives><name name-style="eastern" xml:lang="ru"><surname>Пигарёва</surname><given-names>Т. И.</given-names></name><name name-style="western" xml:lang="en"><surname>Pigariova</surname><given-names>T. I.</given-names></name></name-alternatives><bio xml:lang="ru"><p>Татьяна Ивановна Пигарёва, канд. филол. наук, и.о. директора,</p><p>121069, Москва, Новинский бульвар, 20а, стр. 1–2.</p></bio><bio xml:lang="en"><p>Tatiana I. Pigariova, PhD (Philology), Acting Director,</p><p>121069, Moscow, Novinskiy Boulevard, 20a, bldg 1–2.</p></bio><email xlink:type="simple">tatiana.pigariova@gmail.com</email><xref ref-type="aff" rid="aff-1"/></contrib></contrib-group><aff-alternatives id="aff-1"><aff xml:lang="ru"><institution>Институт Сервантеса в Москве</institution><country>Россия</country></aff><aff xml:lang="en"><institution>Cervantes Institute in Moscow</institution><country>Russian Federation</country></aff></aff-alternatives><pub-date pub-type="collection"><year>2024</year></pub-date><pub-date pub-type="epub"><day>22</day><month>07</month><year>2024</year></pub-date><volume>12</volume><issue>2</issue><fpage>51</fpage><lpage>71</lpage><permissions><copyright-statement>Copyright &amp;#x00A9; Пигарёва Т.И., 2024</copyright-statement><copyright-year>2024</copyright-year><copyright-holder xml:lang="ru">Пигарёва Т.И.</copyright-holder><copyright-holder xml:lang="en">Pigariova T.I.</copyright-holder><license xml:lang="ru" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>Данная работа распространяется под лицензией Creative Commons Attribution 4.0.</license-p></license><license xml:lang="en" license-type="creative-commons-attribution" xlink:href="https://creativecommons.org/licenses/by/4.0/" xlink:type="simple"><license-p>This work is licensed under a Creative Commons Attribution 4.0 License.</license-p></license></permissions><self-uri xlink:href="https://www.iberpapers.org/jour/article/view/625">https://www.iberpapers.org/jour/article/view/625</self-uri><abstract><p>Музей Прадо — камертон Испании, хранилище национального культурного кода, отражение разных этапов испанской истории. Это собрание любимых художников испанских королей, подчиненное их вкусу, а также целям и задачам верховной власти. По концентрации шедевров европейского искусства на единицу площади Прадо претендует на мировое первенство. В Прадо лучшая в мире коллекция Босха, Патинира, Яна Брейгеля Старшего, Давида Тенирса, Рубенса, Тициана, Бассано и, конечно, главных испанцев: Эль Греко, Веласкеса, Риберы, Мурильо, Сурбарана, Гойи. Коллекция Прадо — это компактное и осмысленное собрание, «прошитое» внутренними связями. Развеска, композиция залов, диалог картин в музейных собраниях обладают свойством создавать собственные сценарии и цепочки сюжетов, зачастую «над-интенционально», вне рациональных намерений кураторов и коллекционеров. Уникальная «метафизическая» структура, присущая музею, сложилась постепенно и ненамеренно. Сочетание жанров, тем и сюжетов позволяет зрителю осознать эволюцию стилей и авторский почерк гениев музея Прадо. У музея не экстенсивный, а интенсивный подход к расширению коллекций: с начала ХХ в., после появления в музее Попечительского совета и хранителей-профессионалов, в коллекции постепенно заполняют лакуны, прежде всего достраивая исторически сложившиеся блоки, при этом сам характер собрания остается неизменным. А потому, с одной стороны, Прадо застыл во времени, но с другой — это живой, современный музей, организующий успешные, масштабные и выстроенные по новейшим технологиям выставочные проекты. </p></abstract><trans-abstract xml:lang="en"><p>The Museo del Prado preserves the national cultural code and reflects the different stages of Spanish history. The museum’s collection contains masterpieces by artists favored by the Spanish monarchs who had great intuition and refined taste, while also highlighting their supreme power. The Prado is a world leader by the intense concentration of masterpieces of European art in the museum space. The Prado has the world’s finest collection of Bosch, Patinir, Jan Brueghel the Elder, David Teniers, Rubens, Titian, Bassano and, naturally, great Spanish artists, such as El Greco, Velázquez, Ribera, Murillo, Zurbarán and Goya. The Prado’s collection is mindful and well-considered, with strong internal connections and paintings by artists who inspired one another. The placement of pictures in the rooms and the «dialogue» between the works helps to create «supraintentional» scenarios and stories. The museum’s unique and impressive metaphysical structure has developed gradually and unintentionally. The similarity between genres, themes and plots allows us to perceive the evolution of styles and the particular characteristics that define the work of genius artists. The museum’s approach to expanding its collection is intensive rather than extensive: since the beginning of the 20th century, when the museum’s Board of Trustees began to function and a team of professional curators was formed, the Prado has sought to fill the gaps in the collection and to complete the historical «blocks» of paintings, while the essence of the collection has not changed. The Prado remains «static» in time, yet it is a modern institution that continues to evolve in the creative space and successfully organize large-scale innovative projects.</p></trans-abstract><kwd-group xml:lang="ru"><kwd>Музей Прадо</kwd><kwd>национальный код</kwd><kwd>европейское искусство</kwd><kwd>испанская живопись</kwd><kwd>династия Габсбургов</kwd><kwd>фламандская живопись</kwd><kwd>итальянская живопись</kwd><kwd>коллекция</kwd><kwd>масштабные проекты</kwd></kwd-group><kwd-group xml:lang="en"><kwd>Museo del Prado</kwd><kwd>national code</kwd><kwd>European art</kwd><kwd>Spanish art</kwd><kwd>House of Habsburg</kwd><kwd>Flemish art</kwd><kwd>Italian art</kwd><kwd>collection</kwd><kwd>large-scale projects</kwd></kwd-group></article-meta></front><back><ref-list><title>References</title><ref id="cit1"><label>1</label><citation-alternatives><mixed-citation xml:lang="ru">Афиногенова Е.В. 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