Prado Museum Reforms Language in Catalogs and Materials
Ahead of reforms anticipated under Article 49 of the Constitution, the Prado Museum undertook a careful review of the language used in its paintings and archival materials. Terms now viewed as offensive, such as dwarf, crippled, and deformed, were removed to align with present-day sensibilities and inclusive communication standards.
Following a political agreement between President Pedro Sánchez and PP leader Alberto Núñez Feijóo, the museum shifted away from the term disabled toward phrasing that centers on disabled people. The updates extended to the museum website, posters, and archival files to reflect language that is respectful and in step with current social norms.
In discussing the initiative, museum staff described the move as a leadership responsibility for a reference institution. After the reform to Article 49, the Museo del Prado decided to reassess certain wording with sharper criteria, noting that language once considered acceptable no longer matches the pace of social change and sensitivity.
The process was collaborative and thorough, led by Ana Martín from the documentation department along with colleagues in the collection department. They reviewed nearly 27,000 web files and identified around 1,800 catalog entries tied to paintings that needed revision. Some changes were implemented immediately this week, with others to be completed in the coming days.
Derogatory terms and direct physical descriptions were removed while the names of the paintings themselves were preserved. The museum explained that the goal is to adjust the historical narrative to reflect contemporary values without erasing the historical significance or the descriptive intent of the works. This approach is illustrated by the engraving titled El maricón de la aunt Gila, written in Goya’s own hand, which underscores historical context while aligning with today’s standards of language and representation.
Works such as Velázquez’s El Niño de Vallecas and El jester el Primo, Rodrigo de Villadrando’s Prince Felipe and Miguel Soplillo, and Juan Carreño de Miranda’s Eugenia Martínez Vallejo, dressed, are among those whose catalog descriptions have been updated to remove outdated or biased phrasing while preserving their artistic and historical value.
This initiative sits within a broader pattern of the Prado’s ongoing efforts to present art history with clarity, inclusivity, and accuracy for modern audiences, without compromising the integrity of the works themselves. In 2022, the museum rolled out a new exhibit itinerary titled Feminine Prado, which highlighted the role of women as patrons. In that program, terms such as wife or unattractive woman were removed from posters to present a more contemporary and complete narrative of the artworks. These updates reflect the museum’s commitment to accessibility, understanding, and respect for diverse audiences, balancing viewer engagement with the historical contexts of the pieces.
Through these efforts, the Prado continues to demonstrate its role as a cultural institution that communicates thoughtfully about art while maintaining fidelity to the past. This ongoing work helps ensure that descriptions and presentations remain relevant, respectful, and informative for today’s visitors, researchers, and casual learners alike.