'200, one night at the Prado Museum', awarded at the World Media Festival in Hamburg

(ANGRY) But who hasn't silenced the mobile?

Sorry, that was me. Sorry, sorry.

He has played music from those mummies that freak you out.

What's that? Never heard of it before.

It's playing over the museum PA system, right?

Can't you hear it? Can you turn the music off, please?

So be it, sir.

Among us there are false voices that will try to cast a spell on you

as the mermaids tried with Odysseus...

Like that music you're following.

-Let's see, is anyone listening to something? A piece of music?

-No. Do you only hear it or what?

I'd say this goes... here...

Thank you very much. Very kind.

You will not be so foolish as to believe the lies of Fernando VII.

General Torrijos? Is that you?

Talk to the deaf.Talk to Goya.

Our friend, General Torrijos, sent me.

I'd like to know where that music comes from.

A piece of music? I don't know what you're talking about...

But I see that someone is asking you for help...

and I see who it is! Great. And who is it?

It's about a queen trapped in her portrait.

Shadows of bones! Ferdinand VII's henchmen!

"What the hell is that?

It's a magical museum map!

For some reason the queen can't speak...

Something's keeping her trapped and she's asking me for help...

That's why he gives me this map, to communicate with me...

To tell me how to carry out my mission in the museum...

Free the queen."

(header music)

(Classical music)

"We continue to celebrate the bicentennial of the Prado Museum and, as you know,

we still have the entire museum to ourselves... and at night,

when everything takes on a special air.

Walking through this magical space

We want to tell you what makes this museum so special.

Today we will see that El Prado

not exactly a painting museum

but rather of painters".

In the previous chapter we already saw that the Prado Museum

is a family album of the Spanish monarchy,

but that only partly explains the exceptional nature of this museum.

In addition to being a family album, it is a museum of painters.

"Yes, I know, like everyone else", you'll say. Well... Well, not exactly.

Most museums have works

of the maximum possible artists of each era.

The Prado, on the other hand, has the largest collection of works

from some artists... But...But little or nothing from other artists

as important as Rembrandto Da Vinci, for example.

The museum's collection is over 8000 paintings

and there are around 1500 works on display, but...

Who are the great painters who crown the ranking of the Prado?

Let's see it!

In tenth position, with 40 works,

many of them great masterpieces

as "The gentleman with his hand on his chest", El Greco.

In ninth position, with 43 works,

one of the golden names of the Italian Renaissance: Titian.

In eighth position, with 45 works in the museum,

The one who was the chamber painter of Fernando VII: Vicente López.

At number seven, with almost 50 works,

the member of one of the family sagas of the Flemish school:

Jan Brueghel the Elder.

Sixth place ranking

brings us a very important name for this museum: Diego Velázquez.

With about 50 works... Attention, because 40%

of all Velázquez's production is within these four walls.

In fifth position,

another artist from the Flemish school: David Teniers.

In fourth position,

Italian artist who painted at the court of Charles II

and to whom we owe the magnificent vault

from El Casón del Buen Retiro:Luca Giordano.

70 oil paintings, the fresco of El Casón and 58 drawings.

The podium of most represented artists in El Prado.

With the number three... Attention...

One of the great Spanish masters of the Baroque,

who was nicknamed El Españoleto, José de Ribera, with 88 works.

Number two is occupied by the Baroque painter

most popular of the Flemish school, the favorite painter of Felipe IV,

Rubens, with more than..., attention, 100 works in the museum.

And who crowns the podium with 135 oil paintings and almost 800 engravings,

drawings and prints is...

Don Francisco de Goya.

What a great team of painters.

Most of them are monumental artists,

famous all over the world,

artists who have marked the history of art.

But the singularity of the Prado Museum is explained

both for the painters who are very well represented in it

as well as by painters who are not so painters. You'll see.

If we drop positions in the ranking...

We go down, we go down, we go down. We go down to the last position...

Who are we meeting? Rembrandt, with just one work.

We meet a great painter like Rembrandt

in the last position. How can that be?

How can it be that Rembrandt has only one work in El Prado

and, instead, Rubens has more than 100,

if the two were the painters'

most important in Europe at the time?

"History gives us the answer. You'll see.

To understand it better, let's play Risk

of ancient European painting.

Let's situate ourselves in the empire of Carlos V and Felipe II that occupied half the world

and that gives us some clues about the Prado collection.

Let's start with Flanders, which produced the best European painting at the time

and belonged to the house of Habsburg.

Hence the large amount of Flemish painting

from the Royal Prado Collection.

If we add to this that Felipe IV's favorite painter was Rubens,

you get the figure of more than 100 of his works in the collection.

On the other hand, there is very little Dutch painting from the 17th century.

The reason was the war that confronted Spain

with the northern Netherlands.

That is why there is only one Rembrandt in the Prado.

He was the enemy's painter.

But let's see what happened in the rest of Europe.

Despite the intimate relationship of the crown of Europe with Germany,

There is little German painting in the Prado because it was not to royal taste,

but what there is is of the highest quality.

Italy was another great focus of culture

and the Spanish crown dominated the area.

That is why, for example, the art of Luca Giordano

it poured into the royal collection.

In addition, the crown established strong artistic ties

with the Venetian Republic and thus the royal collection

it was filled with Titian, Tintoretto or Veronese.

Genoa was another great banking power

and supported the monarchy at various times.

That's why Genoese artists like Bernardo Stozzi arrived.

Relations with France,

instead, they weren't good until much later,

with the arrival of the Bourbon dynasty in Spain.

Only then did French art land in the royal collection.

In short, that somehow it is possible to see the history of Spain

through the painters of the Museo del Prado collection".

(Music)

"But let's go back to Rembrandtbecause today, to this painting,

You're going to have to leave the museum.

You already know that the Prado has millions of visitors every year.

People come from all over the world to see his masterpieces,

like this Rembrandt, for example,

but what about all those people

those who like art and who would like to go to El Prado

but that, either due to health or mobility problems

can't they do it? What about them?

Don't they have the same right as us to enjoy the museum?

I think so. That's why today we're going to take this Rembrandt out of the museum.

and we're going to take it to the house of one of those people,

because, you know, if the mountain doesn't go to Muhammad,

Mohammed goes to the mountain.

Or, in our case, if you can't go to the Prado Museum,

We will bring the Prado Museum, or at least a small piece, to your home".

(ring)

Hello, Elizabeth. I'm Ramón. Will you open the door for me, please? Thank you.

(soft music)

Isabel, tell me about it. Doña Isabel, how old are you?

90.

How long has it been since you left the house?

Well, he's going to be four years old. Because it's hard for him to move...

Because my bones hurt a lot.

Do you remember the last time you went to the Prado Museum?

Yes, because I went a lot with my husband.

But how many years are we talking about?

Many. Many.10, 20...

When that...was when I painted.

And all these here have you painted?

Yes. But I sold the best.

Because, of course, people are not stupid.

(LAUGHS)

Well, today we have here in front of us

a painting in the Prado Museum is a Rembrandt.

No more, no less. We have brought the Prado home.

What do you think of the painting? What inspires you? What does it tell you?

Well, I don't know what to say. I don't know.

The protagonist of the painting is Judith.

She was a woman from the city of Bethulia, in Israel.

She's very rich.

He sees her there with her skins, with her beautiful dress,

Her necklaces, her jewelry...

She's in Bethulia, Israel, and the city is under siege...

by Holofernes.

And Holofernes is the general of King Nabucco's troops.

From Babylon. Yes...

Like Verdi's opera "El Nabucco".

So she, who's worried

because Babylonian troops are invading their city,

She learns that General Holofernes is in love with her

and decides to introduce himself where Holofernes is

and agree to dinner with him.

So what we see here is just before the banquet.

This servant here in front is a servant of Holofernes

who is offering him a glass of wine before the banquet.

Wine is very important at the banquet

because what she's going to do is get Holofernes drunk...

and decapitate him.

That's nice.

(LAUGHS)

Well, that's right. He's going to decapitate him.

Maybe he had it coming. Well, he was an invader.

(LAUGHS)

Me, if he deserved it or not, I don't enter into value judgments there.

See that person over there, right back there?

She's a servant too. Judith's, in this case.

And do you see that they carry in their hands like a bag?

That sack is the sack that Holofernes's head is going to be put in.

A memory.

They're going to take her away.

It's pretty. It's pretty.

How can you paint so well? Man...

You don't like everyone, huh?

You don't like them all. You like some more than others.

Maybe the one I like won't like connoisseurs.

But he really likes this one. I do like this one.

Man, this painting is wonderful.

There are other painters I like better.

For example? Man, I like Murillo better.

(INBELIEF) Isabel..., we brought you a Rembrandt from El Prado!

(LAUGHS)

(EXCUSED) I thought: "I'm going to take a Rembrandt to Isabel.

The only Rembrandt in the Prado. I'm going to take it."

And you like...? Yes...Yes I like it, yes.

But he would have preferred that Murillo had brought him.

Murillo.(DISAPPOINTED) My goodness...

(LAUGHS)

Well, doña Isabel, if you can't go to the museum,

because the museum comes to your house.

(soft music)

Thank you very much.

Thank you very much.

(Upbeat music)

"Well, while the team collects all the material

to go back to the museum, I'll see if I take a look at it

to the map I found in the painting of Queen Isabella of Braganza

as founder of El Prado.

I just can't get it out of my head.

It was amazing, like it had a life of its own.

I don't know, like it's magic. Let's see...

Don't let anyone see me...Here I have it...

Let's see...".

(suspenseful music)

"Wow, how strange.

There is nothing. It is blank. I don't understand.

When I took it out of the frame,

all those things that appeared, those skeletons,

and now, instead, nothing at all.

I don't know, did I imagine it or is it...

I don't know..., it's just that maybe...

maybe it only works inside the museum...

Let's see...

That's right, that's right! The map is working again.

Let's see.

Two empty boxes...

As if I had to fill them with something.

And a chest.

And a route!

It will be a matter of following the path he indicates.

Yeah, this route takes me to the chest.

That's right.

Whew, wow, the skeletons again.

There are the henchmen of Fernando VII,

The same ones that came out when I took the queen's map.

And they're coming at me! What do I do?

Oh! The map gives me the answer: an alternative route. That is!

This path avoids the skeletons and still leads me to the chest."

(Music)

So you've been fooled like a hake.

Man! (LAUGHS) Your Majesty.

You don't give up easily, huh?

Are you that blind?! They are using you in their machinations.

Yeah, well, because you say so, right? But whatever it is

I'm going to find out. Do you think it's my queen who's talking to you?

calling? She would never mingle with traitorous idlers.

Yeah, well. Maybe the traitors were the ones who kept her

in the shadows despite being the founding queen of the Prado.

Won't you say it for me? I had him painted some wonderful portraits.

And to be sculpted in Carrara marble.

All you want, but then forget it.

Whatever that factious map says, don't you dare come near it again

to the queen. Keep your commoner hands off that chest!

(music tension)

The chest... makes you nervous, huh?

(music continues)

Well, we'll have to see what's in it.

By my crown the conspirators shall be crushed to the greatest

brevity, you won't get away with it! traitors! scoundrels!

Ruffians! You scoundrels!

(Music)

"Oops, locked. Now what? I need a key to open it.

The map! Exactly, maybe the map will tell me something. We'll see.

A key, yes, but...It doesn't say anything about how to find it.

That's weird. And now what do I do?".

(Music)

(upbeat music)

"Anyway, while I think of a solution let's continue with our museum

of painters. Because I want to talk to you about some professionals who have

all the great art museums.

Professionals who know painters better than anyone:

restorers. They spend hours in front of the paintings.

They study them, investigate their technique, their successes, their mistakes,

his regrets...

The team of restorers at the Prado is sensational, and today I want to

propose to Almudena Sánchez, one of the most important restaurateurs

of the museum, a game: the "Who is who?" in the painting of the Prado".

(Music)

(funny music)

Almudena, like I think you, as a restaurateur, all your colleagues

here, comrades here at the Museo del Prado, you are the ones who best

that nobody knows

the why of painters, I propose that we play this game

that we have here, which is the "Who's who?".

I told you a phrase,

and we try to find out which painter it is.

Let's see. Okay?

OK. Well, we take and put the game in motion, we do like this.

And there we go. First painter.

Painter of geometry and spirituality.

It has to be Fra Angelico.It has to be Fra Angelico.

And so, what's over there... down there.

Why is the painter of geometry and spirituality?

Well, because Fra Angelico dominates geometry, because he dominates

Space dominates perspective.

It is clearly seen in his work of "The Annunciation". Fra Angelico

what you are doing in this play

is separating the divine part from the earthly part.

In the portico where the Archangel Gabriel and the Virgin meet,

as we see, there is a supernatural illumination

which turns space into white glow without casting shadows.

However, if we look at the room in the back,

we are seeing a natural light that enters through the window, that impacts

on the wall, and on the floor, and produces a play of light and shadow around

to the legs of the bench. Come on, one more, one that is

very del Prado, the painter who turns the everyday into sacred.

Okay. (LAUGHS)

Well, I think I'm thinking of Murillo.

In Murillo.

That has a door, even, in the Prado. The south gate is

the Murillo door. (LAUGHS)

Why make the everyday sacred?

Because it represents sacred scenes to us as if they were

from everyday scenes, or from a family environment.

The relationship between parents and children...Like the painting of Santa Ana

teaching his daughter to read, the Virgin, who is his daughter.

Teaching the Virgin to read. There we see a familiar scene.

The mother gives up sewing to teach her daughter to read.

Should we move on to the next one? Very good.

Let's go there. Painter of tactile matter.

Okay. if we think

in a painter from the Prado who is characterized by tactile matter

we have to think about Ribera.En Ribera. Let's go there. Here it is.

Why tactile matter? If we look at those bodies

nudes that Ribera represents, we will always see that difference

on the skin textures of the elderly versus smooth skin

of the young man. Let's see those pronounced wrinkles

that makes with a three-dimensional relief,

Wrinkles appear to be carved into the matter.

We continue with the painter who distorts the image

thanks to the light.

Okay. Well, if we talk about distortion, I think that everyone thinks

in the same: in El Greco.In El Greco.

Which distorts but does not deform.

What El Greco does is, he creates perspectives

strange, very forced. Some perspectives that make

feel to the viewer that they are seeing a distorted image.

For people like me, who watch El Greco and... Oysters! It costs us.

How do we convince them? Well, a very modern painter,

original, with a technique that can almost be described as transgressive.

That's why a lot of people don't like it, because they don't understand it.

Well, I'm going to make an amendment; I'm going to put myself in front

I'll try. Come on, let's go to the next one, the character painter.

I think that if we think of a painter who is capable of

of painting the character of people, that is Goya.

He bares his characters, he's a psychologist.

He is able to paint, represent,

because selfishness, success, defeat, vanity, friendship,

generosity...Everything, does not remain on the superficial,

in the physiognomy of the character, achieving the perfect resemblance.

It goes much further. And it penetrates the interior of the human being.

(Screams and explosions)

(Nighing and gunshots)

(Dark music)

(Shot)

(music continues)

(Shot)

(music continues)

(Shot)

(music tension)

Behind me are two of Goya's most famous paintings. Two pictures

that are not understood without each other, because they count two moments

of the same historical fact.

On May 2, 1808, the people of Madrid rose up against the troops

Napoleonic elite, the so-called Mamluks.

And as a consequence of that revolt, a few hours later,

In the early morning of May 3, the French shot

to the protagonists of the uprising.

But let's not anticipate events, let's go in order.

As we have said, everything begins on May 2, 1808.

This painting is known as "The Charge of the Mamluks".

And who are the Mamluks? Are they members of the cavalry?

of the French imperial guard.

Mercenaries from Egypt who fought with the troops

Napoleonic. Remember that that year Napoleon had entered Spain,

in theory, just to get to Portugal. In practice,

they invaded the Peninsula. Agreeing on the departure of King Carlos IV

and his son Ferdinand VII, and proclaiming a new king:

Joseph Bonaparte, brother of the emperor.

When the people became aware of the usurpation of the crown

rebelled against the invaders.

On May 2nd, the streets of the center of Madrid became

in an authentic powder keg. The common people came out en masse armed

with what he had at hand. Goya portrays him very well. Behold.

Knives, razors, sticks, rods, some shotgun...

Look here, in the foreground, this man stabbing the horse with an awl

of the romper. Look at the expressions of the characters, the fear

in the face of the French. Anger in the face of the people.

And the corpses on the ground; their bloody faces

with these expressions of horror. Everything is a gruesome scene

in which all the characters are engaged in battle.

The only characters looking at the viewer are the horses.

It is as if non-rational beings were the only ones who realized

account of the absurdity of so much violence, and ask for help,

They were somehow asking for help with their eyes.

Well, all this happened on May 2 in Madrid.

Hours later this other thing happened.

What during the day was a rebellion, turned into repression

at night. The protagonists are the same as before,

but you see, the situation has taken a radical turn.

On the left of the painting we see the characters that are going to be

shot. At his feet, those who have just been executed.

And at their side, those who will follow them.

On the right of the image, the firing squad.

Goya organizes the scene starting from this lantern, right here in the middle,

that the French have put up to see the executed.

This spotlight marks the dividing line of the painting. Aside,

the victims. And to the other, the executioners. Goya does not teach us

the face of the French soldiers. Instead, the victims show

all possible emotions. There is the one who lowers his head, imploring

Clemency, with your hands clasped it looks like you're

praying. The one who raises his fist, and throws a look of contempt

because of what's going to happen to him. And there is also, naturally, the character

who attracts all eyes, the character in the white shirt.

Who catches all the light from the lantern: on his knees, with his arms raised,

with his face contorted, as if he didn't understand anything.

As if he doesn't understand why they're going to shoot him, why they're going to

to shoot, why are they going to kill him. Those who wait their turn cover up

the face, desperate. Or they look askance between confused

and frightened. And look also at the blood.

Notice how it stains the floor and how it also stains the face

of the dead.

(SIGHS)

Goya painted these paintings as a welcome gift

for King Ferdinand VII.

It seemed that the king was going to return to retake the throne and abide by

the Constitution of Cádiz, you know, that of 1812.

But, as far as is known, the king

He didn't like the pictures, and what's worse,

He was not enthusiastic about the idea of ​​a Constitution. In fact, he revoked it.

and established an absolutist monarchy in which he was all-powerful.

We cut, it's good. Yeah, good, good, it must have been good

A close call, huh? Because there is someone of you who is

making a little noise with some keys; like a "clin-clin-clin".

That he won't have gotten into the miraculous shot.

What do you say? What rattling keys?

Oh! oh! Nothing, nothing, nothing.

Sorry, I thought there was a "tin-tin-tin".

But nothing, nothing. Nothing, nothing, sorry, sorry.

(Music)

"Whew! I forgot that I'm the only one who seems to listen

the sounds of the museum. Anyway, it must be about the queen, sure.

Maybe she's trying to tell me something with that little noise. it's clear

which is the jingle of a key, so it has to be the key!

Open the chest because it shows me the map!

I think the noise is coming from there."

(Music)

"Of course! The portrait of Luis Veldrof, landlord of Ferdinand VII.

Maybe he can give me the key."

Don Luis, I think you have something for me.

That's right, I've been calling you with my keys for a while now.

It had to be you.

I am the royal lodger of Fernando VII.

It is with me that you have to talk to solve your doubts.

Hey, look, the queen's messages led me to the chest,

but it's closed.

You have the key, don't you?

That key and any keys that are needed,

They are all in my charge, but I have never betrayed my king.

I was by his side until the day of my retirement,

I even accompanied him to France during the war with the French.

Fernando VII always trusted me. I was one of his most faithful servants.

Yeah, but now what you want is to help the queen, right?

María Isabel de Braganza, what a sweet and discreet woman.

If you had seen her looking at the paintings from the royal collection.

He worked hard to give them the place they deserved.

She is the true soul of this museum,

That's why I'm going to help you.

I'll give you the key with which you can open the chest,

because the queen deserves to have her voice heard.

And what's in the chest?

That's a secret only the queen knows.

And what I'm about to do must never be known to anyone either.

Let alone the king.

You have my word, Don Luis.

(Music)

Poor devil, they think I'm going to betray my king.

(LAUGHS)

(music continues)

(THINKS) "It won't open. How is it possible that it won't open.

But the key was given to me by the king's lodger himself.

It's not that the lock is stuck...

Maybe, this hasn't been opened for more than two centuries.

What do I do?

Wah, what the hell.

My queen, I'll take it. I'll open it somehow."

(suspenseful music)

Come on, come on...I'm coming, I'm coming, I'm coming.

Where are you going with the bag? No, no, no. Remove, remove, remove.

I already have it.

You can't get away with the bag. The viewer won't understand anything.

Don't worry, I put it on the back and it won't show.

What are you saying. Really...

Oh look, you'll know!

That it won't be seen, you'll see.

I put it on like this from behind and that's it. She will not be seen.

"Everyone ready. Lights out."

We have spent the entire program talking about the Prado Museum

it's a museum of painters, and that's how it is.

In fact, it is strictly so.

In the Prado collection we find thousands of painters,

but, be careful, male painters, because the number of female painters

is alarmingly small.

It only goes up to 30.

Women artists didn't have it easy.

In the beginning, they were not allowed to enter the academies

to learn painting.

The few who mastered the art of painting often

They were daughters or wives of painters and remained in their shadow.

At the time it was considered that women, attention,

They had neither the talent nor the intelligence,

nor the necessary character to exercise the profession of painters,

but, even against all odds,

There were women who did manage to paint, who managed to make a name for themselves,

although, unfortunately, many of his works

were awarded to male artists

who enjoyed greater prestige.

There is another obvious reason why there is

so few female artists in museums of ancient art.

History has been written by men.

Also the history of art.

Works by female artists were of no interest

neither historians nor restorers,

nor the critics, and that's why they ignored them,

but luckily times change.

And now, here today, we are going to talk about them.

"And we broke up, it's been good."

(suspenseful music)

Marc, can I have the "legrand" for a second, please.

Okay, thanks.

(music continues)

(SURPRISED) Wow, what a scare you gave me, Sara!

And that? A chest, a chest I have.

Yes, it's a mummy. Where did you get it from?

Look at me... Hey! What?

Wasn't he in the cabinet of their majesties?

Are you crazy or what's wrong?

I dunno, I thought it was cool...As a prop, you know?

Ramón... Ramón, you look very strange. Every day more, okay?

Look, I'm going to take it away before anyone notices.

And drop that, let's see if you're going to hurt yourself.

And don't touch anything else, we're going to be kicked out of the museum because of you.

(soft music)

(THINKS) "Now what? What is this?

Some pearls? How strange.

Well, maybe they're a clue."

(soft music)

"Isabel of Portugal, the wife of Emperor Carlos V.

Oh yeah, look, she's missing some pearls from her necklace."

Your Majesty, I think you've lost some accounts.

With your permission.

(music continues)

So maybe it's true that you're legit

and that you are trying to help my namesake, the other Isabel.

I do everything I can, but it's not easy.

Although I see you lax for a key that won't open.

Yeah, the key thing...

I just have to clean it up a bit or sand it down.

You'll see how I finally get it to open.

(LAUGHS) Don't be silly.

The lodger is nothing more than another henchman of Fernando VII,

King Felon. He has given you a false key.

The faithful servant, the lodger... He's going to hear me.

Forget about him. He will never give you that key.

In fact, he doesn't even have it. Oh, right?

And who has it?

Did you know my namesake and I have more in common than

other than the name?

They were both Portuguese, right? Exactly.

Although we didn't have the same luck in love.

I lived happily and was loved by my husband.

In contrast, the other Isabel...

Felon let's say he got a frog, right?

She was a sweet and loving woman, but she died without producing an heir.

and the king promptly forgot her.

In short, I know in whose power the key works,

but I'll only tell you if you do something for me.

If it's in my hand...it is.

Change my nose.

Yeah, I know what you mean.

Hello? José Luis...

Hello, I'm Ramón, good evening. Ramón?

But do you know what time it is?

Yeah, yeah, sorry. Yeah, I know it's really late.

Damn, it's 4 in the morning, man.

Yes, I'm sorry, but I'm calling you about something important.

Look, I'm in the museum, I'm in the Prado,

and I would need you to do me a favor.

I need you to come.

I'm in bed sleeping, is it urgent or what?

I would need you to come over now.

Now? But what do you say?

Yeah, but it's important.

It's for a shooting thing, more or less.

Well, if it's urgent...I'll go tomorrow and we'll see.

No, tomorrow... Tomorrow can't be.

Not tomorrow... You should come right now. Now.

What do you say, now!

(Music)

"Well, I finally got it tonight

come one of the magnificent copyists of the Museo del Prado.

Artists who copy masterpieces on commission

or out of a desire to learn from the greats.

I've asked him to help me with what I need.

Isabel of Portugal had a very pronounced hawk nose.

On her death, Emperor Charles, her husband,

he commissioned Titian to paint a portrait of the queen so he could take it with him

I always get everywhere,

but the emperor asked the Venetian painter to retouch

the queen's nose to beautify her,

so instead of the hooked nose he actually had,

Titian's painting shows a straight and perfect nose.

That is why today, fulfilling the wish of the queen who wants

that we look at it as it really looked,

we are going to make a replica of the painting,

but this time with his real hooked nose.

I hope you like it so you can tell me how to get the key

to open the chest."

(Music)

"Okay, let's let the painter work and take the opportunity to find out

more about the Prado painters.

Let's go with one of the most prestigious, Sofonisba Anguissola".

(Music)

"Anguissola was one of the few painters who achieved fame

in 16th century Europe.

She was an outstanding portraitist who managed to shine

in a masculine world from the court of Felipe II.

One of his hallmarks were the eyes he painted,

which were like his own.Large and expressive."

(music continues)

"Sofonisba Anguissola served for more than ten years

in the court of King Felipe II as a lady-in-waiting

and as Isabel de Valois' painting teacher,

the king's third wife.

During his time at court, he painted magnificent portraits,

like these we're looking at.

Four of his paintings are preserved in the Prado.

Perhaps the most famous is his portrait of the king,

and my favorite about queen Elizabeth of Valois

holding a portrait of her husband Felipe II".

(THINKS) "It's finished, wow.

So this is what it really looked like

Queen Isabella of Portugal with her authentic hooked nose.

Of course, what a difference."

Hurry up, quick. Show me.

Yeah, yeah, sorry.

Finally. That's me with my predatory nose.

As the centuries should have seen me.

And if you don't like it, don't look.

I'm glad you like it so much, Your Majesty.

And now, if you'd be so kind,

could you tell me where the key is?

You know who would want to help a locked-up queen?

Another queen locked up.

How?

That there is another queen locked up who is also the one with the key?

That's right. You should talk to my mother-in-law.

Ah...Thank you very much, Your Majesty.

"I know which queen you mean. I hope you want to help me too."

(Mobile)

Who is it?

No... Not this one again.

Sorry, but I'm past picking up the phone.

(Mobile)

Not if he's not going to leave me alone.

Hello, Your Majesty.

Look, I don't mean to be disrespectful, I'm so sorry,

You'll have to forgive me, but right now I'm super busy.

At worse times you're going to see yourself not come to your senses.

Yeah, yeah... If I'm a traitor and a commoner,

I'm going to regret it and all that.

But do you know who you're talking to?

Don't you see I'm not just any king?

I was the one who established the execution by vile garrote in Spain.

Stop chasing that key immediately, that's an order!

How heavy is this man.

(piano music)

(THINKS) "There she is, mother-in-law Isabel from Portugal.

Nothing more and nothing less than Juana I of Castile.

The famous Juana la Loca".

Your Majesty, I am sent by the Empress of the Holy Roman Empire,

Queen Elizabeth.

Your daughter-in-law, come on.

Felipe? Is that you, beautiful?

No, I'm not Felipe. My name is Ramón.

I'm here for the key.

What a nice jailer he touched me.

If I had the key,

Do you think I would have stayed locked up here for so many centuries?

Your Majesty, I mean the key to Queen Elizabeth's chest.

Isabel my mother or Isabel my daughter-in-law?

Oops, yeah, what a mess. Excuse me.

I mean, Queen Isabella of Braganza,

who is locked up just like you.

Of course, between locked up queens we have to help each other.

Look...

She has given me this map,

I have to open Queen Elizabeth's chest,

but I don't have the key. I think you have the key.

Do I have it? Where, beautiful?

I don't know. I think that...

Maybe it's that one right there by the window.

Silence, we are in danger. The skeletons are coming, hide.

Where?

Well, I don't know, in here. In the painting.

That's it, very good.

(Steps)

But come on, quick, sit on the chair.

(music tension)

They're already here, don't move. Don't breathe.

Stay still. Like this.

They're leaving.

Well done. Breathe. You can get up now.

And now you have to go, beautiful.

Come on...

Whew, what a danger!

But what about the key? Look in your pocket.

(Music)

Thank you, Your Majesty.

(THINKS) "Okay, with this key I can open the chest,

but before that, I have promised to show you

the painters of the Museo del Prado. Let's go there".

(Music)

"We started with Marietta Robusti, called the Tintoretta

because she was the daughter of Tintoretto".

She was a good portraitist,

But her father's shadow was too long.

Something similar happened to Anna Maria Teresa Mengs,

she was a disciple of her father, the painter Anton Raphael Mengs

and known for her pastel portraits,

like this one, in which he portrays precisely him.

Angelica Kauffmann was a prodigy. At the age of 15 she was already taking portraits.

He ended up receiving fame and recognition

and also painted historical and biblical scenes,

skipping the unwritten rule,that they weren't topics for women.

Rosa Bonheur was a woman who broke the mold.

She dressed like a man, had short hair,

and smoked cigars. Something unusual then.

He painted animals, especially lions like this one called "El Cid".

Lucia Anguissola received the same education as her sister Sofonisba.

It was said that, had he not died so young,

she could have become a magnificent painter.

Artemisia Gentileschi, daughter of the painter Orazio Gentileschi,

He had a very complicated life.

Not only was she raped, but she suffered humiliation during

the entire judicial process, but he did not let himself be defeated.

His portraits of extraordinary dramatic force

brought him fame and commissions.

Well, and to finish, I want to talk about the painter,

by the female artist with the most paintings posted

in the showrooms".

(Music)

In this room of the museum dedicated to still lifes

There are four works by Clara Peeters.

Look, one, two, three and four.

Very little is known about this Antwerp artist.

Just that he liked to paint still lifes

and that she was surely from a good family.

His paintings are always exquisite because of their light, because of their perspective.

She painted much more realistically than her colleagues,

and that was new.

He probably belonged to the aristocratic class,

because I would like you to notice a little detail here.

Look at this still life, specifically the knife.

She signs as if in a veiled way, because right here,

on the edge of the knife, it says "Clara Peeters".

When the aristocrats came to dinner,

they usually carried their knife, so,

perhaps what the artist is telling us with this still life

is that she belongs to the aristocratic class.

But his paintings tell us many more things,

especially this one here.

(Music)

"Contemplating a still life is always discovering an endless number of foods,

drinks, objects, but in this still life by Clara Peeters

there is something much more interesting hidden.

Let's see if people get to see it."

Well, in this painting I see that it is a still life where they mix flowers,

food, drinks.

-The flowers are fresh.

-There are roses.There are wild flowers.

-There are lilies, tulips, daisies.

-In the center I see a fountain of nuts.

I see almonds, figs.

-Figs, raisins, dried apricots...

-Dates, pistachios.

-And they look like very detailed raisins too.

-I see a plate with what looks like bagels.

-Is it some sausage or what?

-And there are some donuts that look like they're filled with chocolate.

-A glass with an elixir.

-Rosé wine.

-It must be sweet wine.

-From the size of the drink, I would say that it is more like tea,

because if that's liquor...

That's a pretty big cup.

-The cup is very pretty.

It's made of glass... It could be bohemian.

-What I'm realizing is that as you look at the painting,

You find more things, like the trophy in the center.

-I would have to put on my glasses.

Ah yes, I see a chalice, it could be...with a very small statue.

But you don't see anything else? I don't know.

What else should I see? Can't see anything in the teapot?

In the teapot? I see it normal, gray in color.

-In the teapot? It's a navy blue teapot.

-I look, but I don't see anything else.-Yes, now I see it.

-There is a reflection of something.

-It has the reflection of a window, right?

-There is a portrait... It looks like an inverted portrait.

-There is a reflection of a person inside the jar.

-It looks like a face.

Then the top is the same, but inverted.

-Here, here, here are someone's faces.

-He doesn't look like he's the painter, because he's not with a brush.

He is a dark figure.

That's what I see that catches my eye.

(Music)

"Clara Peeters hid her self-portrait

in the reflection of the teapot as a way of vindicating oneself

as a painter capable of much more than just painting still lifes.

It was her way of telling the world that a woman

He could also be a great artist."

(suspenseful music)

"Eureka, this is the key.

What now? What the hell is going on.

But what is this rain of papers?

A drawing of the fel club?"

Wow, Your Majesty, you never get tired, huh!

Well, let him know that he's not going to stop me with cartoons,

nor that they are from Goya himself.

(suspenseful music)

(THINKS) "A brush!

Sure, it must definitely be the queen's brush.

Isabel de Braganza was a cultured, enlightened person and art lover.

He painted, but none of his paintings have survived.

Maybe this brush will help me complete one of the boxes

that the map marks me.

There it is, the brush. First square complete!

I only have one more left.

Maybe if I can complete the map I can get to the queen."

(suspenseful music)

Excuse me for a moment, forgive me for interrupting you, Mrs. Cecilia.

I'm sorry to tell you that there was a problem with the sheet music for the queen.

This is not the one you're looking for.(AT THE TIME) -No, the one you're looking for.

But the map tells me it's here.

At your service for shipments and messages in general.

Safety and speed is my motto.

I have a message from the gods.

To find out where what you are looking for is,

You must first pass a test that Hercules did to me.

And that's it?

Turn around and see what you have to do to get it.

(music continues)

With the one that's going to fall on you, you're going to miss me.

-Hey, don't hang up the phone on me,

I'm calling you.

Some things are happening to me that freak him out.

What things?

-Sure, the sword.

With the sword of Felipe VII I can nullify the power of Mephistopheles.

My queen, it's our music.

Who's there?

(suspenseful music)