Exhibition | Anton Raphael Mengs (1728–1779)
Anton Raphael Mengs, Self-Portrait, detail, 1761, oil on panel, 63 × 50 cm
(Madrid, Museo Nacional del Prado)
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From the press release for the exhibition:
Anton Raphael Mengs (1728–1779)
Museo Nacional del Prado, Madrid, 25 November 2025 — 1 March 2026
Curated by Andrés Úbeda and Javier Jordán de Urríes
The Museo del Prado and Fundación BBVA present an ambitious exhibition devoted to Anton Raphael Mengs, a key figure in the birth of Neoclassicism and one of the most influential artists of the 18th century. Anton Raphael Mengs (1728–1779) offers a detailed analysis of the painter’s work, thought, and legacy, in dialogue with the great masters of the past. It brings together a total of 159 works—including 64 paintings, 14 examples of the decorative arts, and 81 drawings, prints and studies on paper—allowing visitors to explore both the artist’s role as court painter and muralist as well as his intellectual and theoretical dimension. The works have been loaned from twenty-five international and nine Spanish institutions and ten private collections, reflecting the European reach of Mengs’s influence and the richness of his legacy.
Anton Raphael Mengs, Octavian and Cleopatra, 1760, oil on canvas, 300 × 212 cm (National Trust Collections, Stourhead, The Hoare Collection).
The exhibition traces the artist’s journey from his training in Dresden and Rome to his rise to prominence as court painter to Charles III. It highlights his connections with figures such as Raphael, Correggio, and Winckelmann, as well as his role in redefining artistic taste in Europe. Exceptional loans that enrich the exhibition’s argument include The Lamentation over the Dead Christ from the Galería de las Colecciones Reales, Madrid; Jupiter and Ganymede from the Palazzo Barberini, Rome; and Octavian and Cleopatra from the National Trust Collections, United Kingdom.
The show is structured into ten thematic sections, combining a biographical survey of this cosmopolitan artist with areas devoted to specific aspects of his work and thought. Visitors will learn more about Mengs’s early training in Dresden and Rome under the strict discipline of his father, the court painter Ismail Mengs, and discover how the influence of Raphael and Correggio profoundly influenced his style and aspirations.
A section on “The Constant Challenge to Raphael” analyses Mengs’s conscious emulation of that artist, evident in works such as The Lamentation over the Dead Christ, displayed in a dialogue with Raphael’s Lo Spasimo di Sicilia. The sections on Rome, entitled “Rome, Caput Mundi” and “Rome: Fascination with the Ancient World,” show the impact of the Eternal City on Mengs’s work, both as a spiritual capital and as a repository of classical civilisation, with portraits of sitters such as Pope Clement XIII and Cardinal Zelada, as well as copies of antique sculptures that inspired the artist’s ideal of beauty.
The exhibition also addresses Mengs’s complex relationship with the archaeologist Johann Joachim Winckelmann. “The End of Mengs’s Relationship with Winckelmann” tells the story of a friendship betrayed by the falsification of the fresco Jupiter and Ganymede. The section “Mengs, Painter-Philosopher” explores the artist’s theoretical activities, which made him an intellectual reference for Enlightenment art, and analyses the critical reception of his work after his death.
The patronage of Charles III is of central importance. The section “Painter to His Catholic Majesty and the Madrid Court” features portraits of the royal family and figures from Enlightenment Spain, while “Mengs, Painter of Frescoes” highlights the artist’s abilities at decorating large surfaces, such as the frescoes in the Royal Palace in Madrid. The section “Mengs as an Exponent of the New Enlightenment Devotion” focuses on his contribution to religious painting, influenced by Raphael, Correggio, Guido Reni, and Velázquez. Finally, “Mengs’s Legacy” looks at the painter’s influence on subsequent generations of artists, including Antonio Canova and Francisco de Goya.
Organised by the Museo Nacional del Prado with the exclusive sponsorship of Fundación BBVA, Anton Raphael Mengs (1728–1779) is curated by Andrés Úbeda de los Cobos, Head of the 18th-century Painting Collection and Goya at the Museo del Prado, and Javier Jordán de Urríes y de la Colina, Curator of 18th-century painting at Patrimonio Nacional.
Andrés Úbeda and Javier Jordán de Urríes, eds., Antonio Raphael Mengs, 1728–1779 (Madrid: Prado, 2025), 488 pages, ISBN: 978-8484806455, €38. Spanish edition.
Daniel Weiss Named as Director of Philadelphia Art Museum
From the press release:
The Board of Trustees of the Philadelphia Art Museum announced the appointment of Daniel H. Weiss as the George D. Widener Director and CEO, effective 1 December 2025. Weiss, an accomplished museum executive with extensive leadership experience at major educational and cultural institutions, will guide the art museum through at least 2028, providing stability for staff, stakeholders, and the community.
“We are extraordinarily fortunate to have someone of Dan Weiss’s caliber and experience step into this critical role,” said Ellen Caplan, Chair of the Board of Trustees. “Dan’s proven track record of museum leadership, his deep understanding of the field, and his ability to navigate complex institutional challenges make him ideally suited to provide stability and strategic direction during this critical period for the art museum.”
Weiss brings decades of distinguished service in museum and educational leadership. Most recently, he served as President and CEO of The Metropolitan Museum of Art from 2015 to 2023, where he oversaw one of the world’s largest and most respected art museums. Prior to The Met, he served as President of Haverford College (2013–15) and of Lafayette College (2005–13). Weiss has spent the past two years as a Homewood Professor of the Humanities and Senior Advisor to the Provost for the Arts at Johns Hopkins University, where he received his PhD and served as chair of the Art History department and Dean of the Krieger School of Arts and Sciences earlier in his career.
“The Philadelphia Art Museum is one of America’s great cultural treasures, with an extraordinary collection, a dedicated staff, and deep connections to its community,” said Weiss. “It is a privilege and an honor to serve during this important moment, and I look forward to working with the Board, staff, and stakeholders to ensure the art museum continues its vital mission and advances its strategic priorities.”
During Weiss’s tenure at The Met, he led the institution through significant operational improvements, including addressing financial challenges, enhancing visitor experience, and strengthening the museum’s organizational effectiveness and building its infrastructure. Under his leadership, The Met completed a comprehensive facilities master plan, expanded its digital initiatives, and deepened community engagement.
As Director and CEO of the Philadelphia Art Museum, Weiss will oversee all aspects of the art museum’s operations, including curatorial programming, education initiatives, collection stewardship, fundraising, and strategic planning. He will work closely with the Board of Trustees and senior leadership team to maintain institutional momentum.
The Philadelphia Art Museum ranks among the largest art museums in the United States, with a collection of more than 240,000 objects spanning 2,000 years. The art museum serves approximately 700,000 visitors annually and plays a vital role in Philadelphia’s cultural and civic life.
Weiss holds a PhD in western medieval and Byzantine art from Johns Hopkins University, an MBA from Yale University, and a bachelor’s degree from George Washington University. The author of numerous books, Weiss has published extensively on medieval art, higher education, museums, and American culture. An elected member of the American Academy of Arts and Sciences, he serves on numerous cultural and civic boards and is widely recognized as one of the museum field’s most respected leaders.
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