Enfilade

From the press release from the Prado:

The Museo Nacional del Prado has unveiled a fresh look at its 18th-century collections, placing Francisco de Goya at the heart of a thoughtful and immersive re-installation on the south side of its second floor. The highlight is a near-complete presentation of the artist’s celebrated tapestry cartoons, now brought together in rooms 85 and 90–94, offering visitors a rare chance to follow nearly two decades of Goya’s early career in a single, continuous narrative.

Painted between 1775 and the mid-1790s, these works were originally designed to decorate royal residences such as El Escorial and El Pardo for the Princes of Asturias, the future Charles IV and María Luisa of Parma. Now reunited in the museum, they reveal not only Goya’s technical brilliance but also the gradual emergence of a distinctive artistic voice—one that would later redefine Spanish painting. The Prado holds 50 of the 57 cartoons he created, making this installation an exceptional opportunity to grasp the full scope of the series, especially given that several others are either lost or dispersed in different collections.

The new layout guides visitors through Goya’s evolution with clarity and intention. Early works show the strong influence of court painters like Anton Raphael Mengs and Francisco Bayeu, under whom Goya began his career in Madrid. But as the rooms unfold, so too does his independence, with later pieces hinting at the originality and psychological depth that would come to define masterpieces such as Los Caprichos and the Black Paintings. A particularly striking moment comes in the final gallery, where a direct comparison between works by Bayeu and Goya underscores just how far the younger artist had pushed beyond his teacher’s shadow.

Beyond the Goya display, the re-installation expands into a broader exploration of 18th-century art. Nearby rooms present a rich mix of painting, sculpture, and decorative arts that evoke the refined interiors of royal palaces. Works by figures such as Corrado Giaquinto, Giambattista Tiepolo, and Louis-Michel Van Loo share space with British masters like Joshua Reynolds and Thomas Gainsborough, painting a vivid picture of a cosmopolitan Europe shaped by courtly taste, classical revival, and artistic exchange. Intricate marquetry and hardstone objects, including pieces from the Royal Laboratory of Buen Retiro, further deepen the sense of material culture from the period.

The museum has also taken the opportunity to open a window into its conservation work, highlighting ongoing restoration efforts supported by Fundación Iberdrola España. Visitors can explore technical insights into how these fragile works are preserved, including a rare glimpse at an X-ray of one of Goya’s cartoons alongside a reproduction of The Blind Guitarist, the only print he created based on this series. These elements bring the creative and physical processes behind the artworks into sharper focus.

In parallel with the physical redesign, the Prado is extending the experience online with a new microsite dedicated to a set of 31 marble reliefs from the royal collections. The digital platform offers updated research, attribution, and historical context, shedding light on an ambitious 18th-century sculptural program tied to Madrid’s Royal Palace. Several of these reliefs can now be seen in the newly arranged galleries, reinforcing the connection between scholarship, display, and public engagement. Altogether, the Prado’s latest re-installation is more than a simple reshuffling of works—it is a carefully crafted narrative that brings visitors closer to the artistic, cultural, and political currents of the 18th century, with Goya’s early genius shining at its center.

◊    ◊    ◊    ◊    ◊

From the press release for the new platform Canal Prado. The social media clip with Michael Yonan is a perfect example of content that will now be easier to find!

The Museo Nacional del Prado has unveiled Canal Prado, a new online platform designed to gather and organize the institution’s growing library of audiovisual content. Accessible through the museum’s website, the channel brings together everything from interviews and lectures to educational videos and documentary-style features, offering visitors a new way to explore the Prado beyond the gallery walls. The launch represents a significant step in the museum’s digital strategy. For years, the Prado has produced a wide range of videos tied to exhibitions, research, and public programs. Canal Prado now places all of that material in one curated space, making it easier for audiences around the world to discover, revisit, and explore the museum’s knowledge resources. The platform emphasizes content that remains relevant over time—conversations about art, scholarship, and the enduring questions that paintings and artists continue to raise.

One of the highlights of the launch is “Thinking the Prado,” a new series created and presented by art historian Alejandro Vergara, who invites viewers to consider some of the fundamental questions that surround works of art. Why do we value certain paintings? What kind of knowledge can art offer us? How have artistic judgments changed over the centuries? And, in practical terms, how long does it actually take to paint a masterpiece? Rather than presenting quick answers, the series takes a reflective approach, encouraging viewers to think about art as historians and curators do. The goal is not to promote the museum’s latest exhibition, but to create a thoughtful, lasting resource for anyone curious about art history. Vergara, who has worked at the Prado since 1999, has played a key role in shaping the museum’s understanding of Flemish painting and Northern European schools, and has curated numerous exhibitions during his career. He holds a doctorate in art history from the Institute of Fine Arts at New York University and has taught at institutions including Columbia University and Universidad Carlos III in Madrid.

The new platform also integrates “Stories of Art,” the extensive audiovisual archive created by the Fundación Amigos del Museo del Prado. The archive includes more than 1,300 videos and audio recordings, documenting decades of lectures, courses, and cultural programming dedicated to the study of art. Many of these materials were originally produced for members and participants in the foundation’s educational initiatives.

Now, through Canal Prado, the public can explore collections such as:
• Courses on art history
• “Sundays at the Prado” lecture programs
• Educational series like “Art Lessons”

Together, these recordings represent more than forty years of intellectual life connected to the Prado, turning the platform into an evolving archive of art scholarship. To make such a large body of material easier to explore, Canal Prado organizes videos into clear thematic categories. Visitors can browse content based on their interests—whether that means restoration projects, exhibition insights, behind-the-scenes stories, or expert conversations. The platform will also highlight special thematic selections throughout the year. In March, for example, the focus is on material related to women connected to the Prado, from artists to scholars and historical figures. The museum plans to continue expanding the channel with new episodes, interviews, and original series, gradually building a rich audiovisual archive.

The launch of Canal Prado coincides with a broader update to the museum’s website through the Plataforma Prado digital initiative. Among the most notable improvements is a new semantic search engine that allows users to explore the museum’s information system more intuitively. Instead of searching only by titles or keywords, visitors can now navigate by connections such as:
• artists
• techniques
• themes
• places
• historical figures depicted in artworks

The redesign also includes improved mobile navigation, updated menus, and newly structured pages that make the site easier to use on smartphones and tablets. Another new feature allows visitors to revisit exhibition itineraries even after exhibitions have closed, preserving the educational value of past shows. With Canal Prado, the Prado continues expanding its presence beyond Madrid, transforming decades of lectures, scholarship, and research into a resource accessible worldwide. For art lovers, students, and researchers alike, the platform offers something rare: direct access to the voices and ideas that shape one of the world’s great museums.

From the press release:

The Frick Collection announces the appointment of Dr. Aaron Wile as its new John Updike Curator. He will take up the post on 6 April 2026. In this senior curatorial role, Wile succeeds Dr. Aimee Ng, who became the museum’s Peter Jay Sharp Chief Curator last fall. Wile returns to the Frick having held a formative position as Anne L. Poulet Curatorial Fellow from 2014–16, during which he organized the acclaimed exhibition Watteau’s Soldiers: Scenes of Military Life in Eighteenth-Century France. For his work on the show’s catalogue, he received the 2017 Award for Outstanding Article, Essay, or Extended Catalogue Entry from the Association of Art Museum Curators—an appropriate accolade for his new position, which is named in memory of the American novelist, poet, and critic John Updike.

Since 2019, Wile has served as Associate Curator of French Paintings at the National Gallery of Art in Washington, D.C. In this position, he has co-curated innovative installations such as Back and Forth: Rozeal., Titian, Cezanne (2025). He also helped design the Department of French Painting’s first comprehensive collection plan; spearheaded acquisitions, particularly of works by women artists; cultivated donor and collector relationships; and contributed to cross-departmental initiatives related to reinstallations and the presentation of scholarship on digital platforms.

Commented Axel Rüger, the Frick’s Anna-Maria and Stephen Kellen Director, “We are excited for Aaron to contribute his expertise and experience in support of the Curatorial Department as its next chapter unfolds. He joins us at a remarkable time, as this April we celebrate one year since the museum’s historic reopening following the renovation and enhancement of our buildings.”

Added Aimee Ng, “Aaron brings a fresh perspective to the Frick’s collection, especially to its foundational holdings of French paintings. Since he served as a fellow over a decade ago, his curatorial and academic experiences have enhanced his considerable talents, and he returns to the museum with exceptional scholarly rigor, expert communication and interpretive skills, and seasoned and versatile professionalism. We could not be more thrilled to welcome Aaron back to the Frick as John Updike Curator.”

Prior to the National Gallery, Wile held a Postdoctoral Fellowship at the Society of Fellows in the Humanities at the University of Southern California (2017–19) and a Chester Dale Fellowship at The Metropolitan Museum of Art (2016–17). He earned a BA in History from Haverford College and an MA and PhD in the History of Art and Architecture from Harvard University, specializing in seventeenth- and eighteenth-century French art.

From the press release (29 January 2026) from The Clark, with coverage in the The New York Times:

The Board of Trustees of the Clark Art Institute today announced the appointment of Esther Bell as the Institute’s Hardymon Director. Currently serving as the Clark’s Deputy Director and Robert and Martha Berman Lipp Chief Curator, Bell will become the Clark’s sixth director when she assumes her new role on July 1.

The Board unanimously elected Bell to the position following an extensive international search. Bell will be the first woman in the Clark’s seventy-year history to serve as its director. She succeeds Olivier Meslay, who announced last September that he would be leaving the Clark and returning to his native France in 2026.

“We are proud and deeply gratified to announce Esther Bell as our new director, based on her countless achievements at the Clark and a career of recognized excellence in the field,” said Denise Littlefield Sobel, chairman of the Institute’s Board of Trustees. “She is a consummate professional, a collaborative member of the Clark’s senior staff, and has honed her directorial acumen through sharp executive decision-making and a talent for forging close working relationships throughout the museum world. We look forward to her leading the Clark to even greater success in her new position.”

Of his successor, Meslay noted that “I first met Esther Bell in 2003 when she was pursuing a Fulbright Fellowship at the Musée du Louvre. I knew then that she was an exceptional art historian and I have watched her forge a brilliant career. I am delighted to know that the Clark’s next chapter will be entrusted to Esther’s exceedingly capable hands. She is a respected museum leader, an impressive scholar, and a passionate advocate for the arts. I congratulate Esther on her appointment and look forward to celebrating the continued growth and success she is sure to bring to the Clark.”

Bell is a key member of the Clark’s senior leadership team. In addition to leading the Institute’s curatorial staff and directing the care and growth of its collections, Bell oversees the work of the Clark’s library, its education and public programming teams, and its visitor services efforts. She also plays a central role in fulfilling the Clark’s commitment to visitor engagement, while representing the Clark on a number of community-based service organizations.

“I am honored by the opportunity to become the Clark’s Hardymon Director and extraordinarily inspired to imagine where we can take this beloved and celebrated institution in the years ahead,” said Bell. “With the support of my esteemed colleagues, I look forward to being a part of an exciting future for the Clark as we dedicate ourselves to ensuring that the Institute will always be a welcoming place of contemplation, inspiration, and education for all. As we continue to grow our campus and our collections, we recognize the significance of ensuring that we steward the Clark’s remarkable resources with care, consideration, and commitment to fulfill our mission of extending the public’s appreciation of art.”

Esther Bell joined the Clark’s staff in 2017 and was appointed Deputy Director in 2022. Her first engagement with the Institute came in 2001 when she came to Williamstown to pursue her Master’s degree in Williams College’s Graduate Program in the History of Art, which is jointly administered by and housed at the Clark.

In her time at the Clark, Bell has spearheaded the Institute’s embrace of a broader array of artists and genres, making ambitious acquisitions and encouraging critical scholarly research of the objects in the collection. Bell has been deeply involved in the Clark’s special exhibitions program and has organized several of its most important recent exhibitions, including:

• An Exquisite Eye: Introducing the Aso O. Tavitian Collection (13 June 2026 — 21 February 2027), celebrating the transformative gift to the Clark from the foundation of the late collector and connoisseur Aso O. Tavitian. The exhibition will present some 150 of the works recently added to the Clark’s permanent collection, including rare Renaissance and Early Modern masterpieces by artists including Jan Van Eyck, Andrea della Robbia, Gian Lorenzo Bernini, Peter Paul Rubens, Jean-Antoine Watteau, and Elizabeth Vigée-Lebrun. Bell played a central role in the Clark’s acquisition of the Tavitian gift and conceptualized this exhibition, curated along with Lara Yeager-Crasselt, the Clark’s newly appointed Aso O. Tavitian Curator of Early Modern European Painting and Sculpture.

• Guillaume Lethière (15 June — 14 October 2024), the first monographic exhibition ever presented on the Neoclassical artist. Forging new scholarship on an artist who played a central role in eighteenth and nineteenth century French art, the exhibition introduced Lethière’s work to contemporary audiences. Following its debut at the Clark, the exhibition traveled to Paris where it was presented at the Musée du Louvre, and is now on view at the Mémorial ACTe in Pointe-à-Pitre, Guadeloupe. Bell co-curated the exhibition at the Clark with Olivier Meslay and at the Louvre with Marie-Pierre Salé, chief curator in the Department of Drawings.

• Promenades on Paper: Eighteenth-Century French Drawings from the Bibliothèque Nationale de France (17 December 2022 — 12 March 2023), the first American presentation of works from the esteemed collection of France’s national library and the first public exhibition of many of the rare drawings in the library’s vast holdings. The exhibition was organized by the Clark in partnership with the Bibliothèque nationale de France, and was jointly curated by a Clark team including Bell, Sarah Grandin, the Clark-Getty Curatorial Fellow, and Anne Leonard, Manton Curator of Prints, Drawings, and Photographs, in collaboration with Corinne Le Bitouzé, Conservateur general, Pauline Chougnet, Conservateur en charge des dessins, and Chloé Perrot, Conservateur des bibliothèques, from the Bibliothèque nationale.

• Renoir: The Body, The Senses (8 June — 22 September 2019), the critically acclaimed exhibition was the first major exploration of Renoir’s unceasing interest in the human form. Bell and George T.M. Shackleford, deputy director of the Kimbell Art Museum, co-curated the exhibition and authored the accompanying catalogue. Following its premiere at the Clark, Renoir: The Body, The Senses traveled to Fort Worth for its presentation at the Kimbell.

Bell also played an integral role in the inaugural presentation of the Clark’s first outdoor exhibition, Ground/work (6 October 2020 — 17 October 2021) and its second iteration, which is currently on view until 12 October 2026 on the Clark’s 140-acre campus. Featuring monumental sculptural works, both presentations underscore the relationship between art and nature that are so central to the experience of the Clark.

In addition to her curatorial efforts, Bell was responsible for a major expansion of the Clark’s education and public programming activities, culminating in the 2025 establishment of its Division of Learning and Engagement. This project established a framework to more completely integrate the Clark’s educational activities, school and community outreach, and public programming initiatives in support of the Clark’s commitment to fostering meaningful engagements with art and nature. Bell regularly teaches courses in the Williams College/Clark Graduate Program in the History of Art and frequently lectures in the United States and Europe. She has co-edited and contributed to numerous scholarly exhibition catalogues.

Before joining the Clark, Bell served as the curator in charge of European paintings at the Fine Arts Museums of San Francisco, where she organized important exhibitions including Degas, Impressionism, and the Paris Millinery Trade and The Brothers Le Nain: Painters of Seventeenth-Century France. Prior to that, Bell was the curator of European paintings, drawings, and sculpture at the Cincinnati Art Museum. She began her career in New York, holding positions as a research assistant and curatorial fellow at both the Metropolitan Museum of Art and the Morgan Library & Museum.

Bell holds a doctorate in the history of art from the Institute of Fine Arts, New York University, with a specialization in seventeenth- and eighteenth-century European art. She earned a master’s degree from the Williams College/Clark Graduate Program in the History of Art, and a bachelor’s degree in the history of art from the University of Virginia. She completed a Fulbright Fellowship at the Musée du Louvre in 2003 and has held several other fellowships. In 2020, Bell completed a fellowship at the Center for Curatorial Leadership in New York. In 2015, Apollo magazine named her one of the top curators in North America under the age of forty. Bell is active in the Williamstown community and is a member of the boards of both the Williamstown Community Chest and the Williamstown Chamber of Commerce.

Russell Reynolds Associates, New York, coordinated the search for the Clark, working closely with a committee comprised of members of the Institute’s Board of Trustees.

The Clark Art Institute, located in the Berkshires of western Massachusetts, is one of a small number of institutions globally that is both an art museum and a center for research, critical discussion, and higher education in the visual arts. Opened in 1955, the Clark houses exceptional European and American paintings and sculpture, extensive collections of master prints and drawings, English silver, and early photography. Acting as convener through its Research and Academic Program, the Clark gathers an international community of scholars to participate in a lively program of conferences, colloquia, and workshops on topics of vital importance to the visual arts. The Clark library, consisting of nearly 300,000 volumes, is one of the nation’s premier art history libraries. The Clark also houses and co-sponsors the Williams College Graduate Program in the History of Art.

From the press release, via Art Daily and the American Friends of the Louvre:

The Louvre has reopened its renovated galleries of Italian and Spanish painting from the 17th and 18th centuries, offering visitors a refreshed way to experience some of the museum’s most important works. After a year-long renovation, the galleries—located on the first floor of the Denon Wing—now feature a redesigned layout, updated lighting, newly painted walls, and improved interpretive materials that bring renewed clarity and depth to the collection.

The reopening marks more than a cosmetic update. It also reflects a major behind-the-scenes effort to reassess, conserve, and, in some cases, restore the paintings themselves. Many works had remained hung high on the walls since the galleries were first installed in 1999, limiting close inspection. During the renovation, each painting was examined, cleaned, and carefully evaluated for conservation needs. Several works benefited from substantial restoration campaigns, while frames and gilded surfaces were also treated by the Louvre’s specialist workshops. A new configuration of the Porte des Lions now provides faster access to these galleries, creating a more fluid connection between the Grande Galerie and the newly opened Gallery of the Five Continents on the ground floor.

Italian Painting: From Rome to Venice

In the Italian painting galleries, visitors can once again encounter works produced in Rome during the later 17th century, alongside paintings from Naples, Genoa, Florence, Milan, and Venice. Three canvases by Salvator Rosa introduce the Neapolitan school and lead into works by artists such as Luca Giordano, while the diversity of regional styles underscores the richness of Italian painting during this period.

The adjoining gallery dedicated to large-scale 18th-century works places Giambattista Piazzetta’s Assumption of the Virgin in dialogue with Giambattista Tiepolo’s Juno Amid the Clouds, acquired by the Louvre in 2020. Monumental canvases by Giovanni Paolo Panini complete the display, evoking the fascination that Rome exerted over artists and travelers across Europe.

Spanish Painting: From Devotion to Modernity

The first phase of the renovation of the Spanish painting galleries has also been completed, with a renewed focus on both conservation and interpretation. In the Murillo Gallery, restored monumental works from the 17th century return to view, including powerful scenes from the life of Saint Bonaventure by Francisco de Herrera the Elder and Francisco de Zurbarán. Their renewed color and scale reassert the dramatic impact these works once had in their original religious settings.

Beyond this space, the gallery devoted to Spanish painting from 1750 to 1850 highlights one of the Louvre’s greatest strengths: its collection of works by Francisco de Goya. Full-length portraits of Spanish aristocrats sit alongside more intimate images of figures close to the artist. The centerpiece remains Goya’s striking portrait of Ferdinand Guillemardet, painted in 1798 during the turbulent years of the French Republic. For the first time in this gallery, visitors can also encounter Goya’s engraved Disparates, whose unsettling imagery reveals a darker, more experimental side of the artist. These works offer a sharp contrast to his luminous portraits and expand the understanding of his technical and thematic range.

Looking Ahead

Not all works have yet returned to the walls. Murillo’s The Angels’ Kitchen, a monumental canvas currently undergoing major restoration, is expected to rejoin the galleries in autumn 2026. Further renovations are also planned: beginning in 2026, adjacent rooms will be refurbished to present Spanish and Portuguese paintings in smaller formats, spanning the 14th to the 19th centuries. With these renewed galleries, the Louvre offers visitors not only a refreshed visual experience, but also a deeper engagement with the history, materiality, and ongoing care of its collections—reminding audiences that museums are living institutions, constantly revisiting and rethinking the works they preserve.

The renovation was made possible through the generous support of the American Friends of the Louvre and the Sada Melo Family, in memory of Federico Sada González. Additional support was provided by Lionel and Ariane Sauvage and Naoma Tate.

Luisa Roldán, The Rest on the Flight into Egypt, 1691, polychrome terracotta and wood
(Madrid: Museo Nacional del Prado)

◊    ◊    ◊    ◊    ◊

From the press release (18 December 2025) . . .

The Museo del Prado has taken an important step in reshaping the story of Spanish Baroque art with the acquisition of The Rest on the Flight into Egypt by Luisa Roldán, known as La Roldana. Signed and dated 1691, the sculpture marks the first time one of Roldán’s works enters the Prado’s collection—despite her name having long appeared on the museum’s façade alongside Spain’s great masters.

Luisa Roldán (1652–1706) was a remarkable figure in her time: the first woman to be appointed sculptor to the Spanish court, serving under both Charles II and Philip V. Yet, like many women artists of her era, her work has remained underrepresented in major museum collections. This newly acquired sculpture helps to correct that absence and brings her artistry into direct dialogue with the Prado’s holdings of Baroque painting and sculpture.

The work, made of polychrome terracotta and wood, depicts the Holy Family pausing to rest during their flight into Egypt. At first glance, the scene feels intimate and serene, but a closer look reveals Roldán’s extraordinary technical skill. The modeling is delicate and expressive, the gestures natural and carefully observed. The polychromy—exceptionally well preserved—adds warmth and immediacy, while details such as the tree framing the composition give the scene a quiet narrative depth.

The sculpture comes from the renowned Güell collection, long considered a reference point for Spanish sculpture, and was recently acquired at an Abalarte auction for €275,000. Purchased by Spain’s Ministry of Culture and assigned to the Prado, the piece now joins a collection that includes major devotional works by artists such as Gregorio Fernández, Pedro de Mena, Juan de Mesa, and Luis Salvador Carmona. Its arrival strengthens the Prado’s exploration of the relationship between sculpture and painting in Baroque Spain; Roldán’s work resonates with contemporaries such as Luca Giordano, whose paintings are already represented in the museum, highlighting shared interests in movement, emotion, and theatricality across artistic media.

Beyond its artistic importance, the acquisition carries symbolic weight. By welcoming Roldán’s sculpture into its galleries, the Museo del Prado publicly acknowledges the central role women artists played in shaping Spain’s artistic heritage. It is not simply a matter of adding one work to the collection, but of expanding the narrative of art history to better reflect its true complexity. With The Rest on the Flight into Egypt, Luisa Roldan finally takes her place inside the Prado—not just in name, but in substance—offering visitors a fuller, richer view of the Spanish Baroque and the artists who defined it.