This "Obras de paso" exhibition cycle illuminates the significant contributions of women to the preservation and dissemination of cultural heritage. It features compelling portraits from house-museums, showcasing the dedication of philanthropists like Regla Manjón and Emilia Pardo-Bazán. Learn about their early 20th-century efforts to protect art, monuments, and archaeological sites, fostering an awareness crucial for history.
Read curatorial context and practical visitor information for Obras de paso - Cerralbo y las mujeres protectoras del Patrimonio Cultural at Cerralbo Museum in Madrid
This exhibition, part of the 'Obras de paso' cycle, highlights the role of women in preserving and disseminating cultural heritage. It features portraits of two philanthropists, Regla Manjón and Emilia Pardo-Bazán, from their respective house-museums, showcasing their dedication to protecting art, monuments, and archaeological sites.
The fourth cycle of the 'Obras de paso' project, titled 'Cerralbo y las mujeres protectoras del Patrimonio Cultural,' aims to shed light on the work of preservation and diffusion of heritage carried out by women contemporary to the Marquis of Cerralbo. This concept, highly contemporary, has its antecedents in the early 20th century, a period with a vastly different social and cultural landscape. The exhibition presents two prominent philanthropists through portraits from their house-museums: Regla Manjón y Mergelina, Countess of Lebrija (1851-1938), and Emilia Pardo-Bazán y de la Rúa Figueroa, Countess of Pardo Bazán (1851-1921). Their dedication fostered an awareness of the need to protect knowledge, works of art, monuments, and archaeological sites, starting from diverse fields at an early and limited stage. The cycle opens with the figure of the Countess of Lebrija, with whom the Marquis of Cerralbo had direct relations through the Royal Academy of Fine Arts of San Fernando and the Superior Board of Excavations and Antiquities, concerning excavations in the Roman city of Italica. Visitors can view the 'Portrait of Doña Regla Manjón, Countess of Lebrija, dressed as an Egyptian,' painted in 1869 by Antonio Rivas (1845-1911), which is linked to a celebration held in Madrid. This proposal marks the first time two important Spanish house-museums, from Seville and A Coruña respectively, are featured, enabling a collaboration between three institutions with significant commonalities: the intellectual relevance of their founders, their museological typology, and the conservation of private and public legacies that are open to research and the public as examples of generosity and responsibility over time.
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