From Library Journal
Not only is the Prado the world's greatest repository of Spanish painting, it is also the home of numerous Italian, Flemish, German, and French masterpieces. Color reproductions of more than 400 of the museum's prime holdings are this volume's raison d'etre. Save for the occasional running of illustrations over the gutter, the handsome plates serve these pictorial treasures well. There is also an introductory history of the Prado and its collections and several brief essays which describe how the various national schools came to be represented in the museum. Accompanying the individual illustrations are compressed discussions of the work's provenance, formal qualities, and iconographic content. The text is flawed by editorial errors, factual gaffes, translation infelicities, and a frequent lack of consonance between text references and the rather slipshod bibliography. Thus disqualified as a ready-reference source, the volume nonetheless should be of service to general collections serving the armchair art lover and potential traveler.?Robert Cahn, Fashion Inst. of Technology, New York
Copyright 1995 Reed Business Information, Inc.
This "portable Prado" reduces in size and display area, but not in tone, the fabulous art collection housed in Madrid's Prado, one of the foremost Western art repositories (and even more noteworthy given that it was founded in 1819, long after other major European art museums). Expectedly, the Spanish collection is unsurpassed, but the collections of Italian and Low Countries paintings are major. And not insignificant are the German, English, and French collections. An introductory history of the Prado is followed by chapters on each of the collections, in which a textual overview precedes gorgeous plates with detailed captions. For busy art-history collections where one-volume treatments of important museums are needed. Brad Hooper