Eugenia Afinoguénova is Professor of Spanish and Spanish Culture at Marquette University. She is the co-editor of Spain Is (Still) Different: Tourism and Discourse in Spanish Identity and the author of El idiota superviviente: Artes y letras españolas frente a la “muerte del hombre,” 1969–1990.

“Afinoguénova's unconventional yet superbly academic take on museum history and analysis will be of interest to art historians, museum studies professionals, and scholars of visual and cultural history alike. . . . Highly recommended.”—A. Verplaetse Choice

• ContentsList of IllustrationsAcknowledgmentsIntroduction: Between the Prado and the Pradera1A Royal Public Institution, 1819–18332Inscribing Monarchy into the New Regime, 1833–18683Museum and Revolution, 1868–18744Becoming National, 1874–19025The Era of the Masses, 1902–1936Epilogue: “More Important for Spain than the Republic and the Monarchy Combined”NotesBibliographyIndex

Eugenia Afinoguénova is Professor of Spanish and Spanish Culture at Marquette University. She is the co-editor of Spain Is (Still) Different: Tourism and Discourse in Spanish Identity and the author of El idiota superviviente: Artes y letras españolas frente a la “muerte del hombre,” 1969–1990.

“Afinoguénova's unconventional yet superbly academic take on museum history and analysis will be of interest to art historians, museum studies professionals, and scholars of visual and cultural history alike. . . . Highly recommended.”—A. Verplaetse Choice

• ContentsList of IllustrationsAcknowledgmentsIntroduction: Between the Prado and the Pradera1A Royal Public Institution, 1819–18332Inscribing Monarchy into the New Regime, 1833–18683Museum and Revolution, 1868–18744Becoming National, 1874–19025The Era of the Masses, 1902–1936Epilogue: “More Important for Spain than the Republic and the Monarchy Combined”NotesBibliographyIndex

Eugenia Afinoguénova is Professor of Spanish and Spanish Culture at Marquette University. She is the co-editor of Spain Is (Still) Different: Tourism and Discourse in Spanish Identity and the author of El idiota superviviente: Artes y letras españolas frente a la “muerte del hombre,” 1969–1990.

“Afinoguénova's unconventional yet superbly academic take on museum history and analysis will be of interest to art historians, museum studies professionals, and scholars of visual and cultural history alike. . . . Highly recommended.”—A. Verplaetse Choice

• ContentsList of IllustrationsAcknowledgmentsIntroduction: Between the Prado and the Pradera1A Royal Public Institution, 1819–18332Inscribing Monarchy into the New Regime, 1833–18683Museum and Revolution, 1868–18744Becoming National, 1874–19025The Era of the Masses, 1902–1936Epilogue: “More Important for Spain than the Republic and the Monarchy Combined”NotesBibliographyIndex