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PRADO MUSEUM IN THE CIVIL WAR

By irati2006

  • HISTORY TRANSFER 2

    HISTORY TRANSFER 2
    Madrid in the first moments decided to support the Republican side, where the legal government was maintained, and since its inception a military objective. In the autumn of 1936, the rebel troops led by General Varela moved the columns to Madrid. Finally, the Board for the Defense of the National Artistic Treasure was created and it was decided to transfer most of the pictorial work to the Eastern areas that at that time were in intense moments because of the bombarding.

  • TRANSFER OF THE WORKS OF ART OF THE PRADO MUSEUM 1

    TRANSFER OF THE WORKS OF ART OF THE PRADO MUSEUM 1
    The transfer of works from the Prado Museum was a great historical event for the Prado Museum, in the evacuation of an important collection of artistic works from the Madrid art gallery during the Spanish Civil War and in the, from the city by decision of the republican government, which entrusted its execution to the Board of Seizure and Protection of Artistic Heritage.

  • TRANSFER OF THE WORKS OF ART OF THE PRADO MUSEUM 2

    TRANSFER OF THE WORKS OF ART OF THE PRADO MUSEUM 2
    The transfer of the almost 2,000 works began in the fall of 1936 and the first destination was the city of Valencia, although before this several of the works continued their journey to Catalonia, until they ended up in Geneva (Switzerland). Finally, the expedition returned to Madrid in September 1939, and the works were reintegrated into the Spanish art gallery without suffering any damage.

  • HISTORY OF THE TRANSFER 1

    HISTORY OF THE TRANSFER 1
    In July of 1936, Spain had a coup in different areas of Spain. It caused an armed conflict to begin that would divide the territory into two opposing sides. The rebel troops, started to be more conditioned and prepared for the combat. They were established in the Moroccan protectorate and soon became strong in various important cities in southern Spain.

  • BACKGROUND OF THE TRANSFER

    BACKGROUND OF THE TRANSFER
    At the head of the General Directorate of Fine Arts was the art historian Ricardo de Orueta. During the march on Madrid, the rebel troops had the battle in Toledo, where the siege of the Alcázar was stopped. This alerted to many of the artists, becase the situation could be more dangerous for them and for their artworks.

  • CREATION OF THE JUNTA DE INCAUTACIÓN Y PROTECCIÓN DEL PATRIMONIO ARTÍSTICO 1

    CREATION OF THE JUNTA DE INCAUTACIÓN Y PROTECCIÓN DEL PATRIMONIO ARTÍSTICO 1
    On July 23, 1936, a Board for the moment unnamed and without economic allocation that, in relation to the general director of Fine Arts, formed seven members, members of the Alliance of Anti-Fascist Intellectuals at whose impulse it was created.

  • EVACUATION PLANNING

    EVACUATION PLANNING
    The evacuation falls again on the Defense Board of the National Artistic Treasure and its main
    The culprit will be Josep Renau, a young poster designer and publicist appointed General Director of Fine Arts in September 1936, and the architect Vaamonde.
    The execution of the packaging was supervised by the organizers. The precision with which these operations and movements were carried out made learning to gradually form a specialized team of operators who worked in a chain.

  • TRANSFER TO VALENCIA

    TRANSFER TO VALENCIA
    After the careful and fragile packaging of the works, they are assembled in the trucks that will go to Valencia. Military trucks equipped with fire extinguishers and protection measures were used for what could happen. There were problems, so this forced the carriers to take out the packages and pass them to the other shore by hand. Upon arrival in Valencia, they were delivered by certificate to the General Directorate of Fine Arts.

  • CREATION OF THE JUNTA DE INCAUTACIÓN Y PROTECCIÓN DEL PATRIMONIO ARTÍSTICO 2

    CREATION OF THE JUNTA DE INCAUTACIÓN Y PROTECCIÓN DEL PATRIMONIO ARTÍSTICO 2
    A second decree, dated August , gave the newly created body the name of the Board of Seizure and Protection of Artistic Heritage, now with an economic allocation, and established among its functions that of proceeding with the "seizure or conservation on behalf of the State of all works, movable or immovable, of artistic, historical or bibliographical value, which, due to the present abnormal circumstances, offer, in their opinion, danger of ruin, loss or deterioration.

  • TRANSFER TO THE NORTH OF CATALONIA

    TRANSFER TO THE NORTH OF CATALONIA
    The works are moved along the towns of Peralada, Darnius and finally reach the border talc mines of La Bajol in Alto Ampurdán (Gerona) in what is popularly called the "Mina de Negrín" (also called Canta de La Vajol).16 They are buried 250 meters deep in the mines owned by the Giralt Canta brothers and inducted by the Government of the Republic in 1937.

  • END OF THE CIVIL WAR

    END OF THE CIVIL WAR
    Three weeks after the end of the Civil War in Madrid, the Catalan muralist Josep Maria Sert calls on the high-ranking leaders of the League of Nations to reintegrate the heritage of the Prado Museum into the Spanish state. After an exhibition of the works in Geneva, which was a tremendous success with the public, the expedition returned to Madrid in September 1939.