An elegant young lady wearing a fancy dress revels in the love of the small dog nuzzling into her lap. A man standing behind her holds a parasol over her head to shield her from the sun. This scene spans a large promotional poster for From Titian to Goya, an ongoing exhibition at the National Art Museum of China (NAMOC). Inside the exhibition, the real work, The Parasol, is on display. It is believed to be one of the best known and most exquisite tapestries by Francisco de Goya, an historical leader of Spanish art. The artist proved the power of his imagination through the painting, in which he blended Italian Classicism with the novelty of French painting techniques. The painting is but one gem among a treasure trove of 52 extraordinary specimens of the most distinguished works of Western art created between the 16th and 19th centuries. Presented by the prestigious Prado National Museum (Museo Nacional del Prado) in Madrid, these works' arrival in Beijing marks the celebration of the Year of Spain in China. The exceptionally international audience that attended the exhibition on the opening weekend was amazed by the displayed works, the creators of which remain little known among Chinese. Chinese visitors were particularly intrigued by the traditional attire of the paintings' subjects, and many commented that some of these fashions had made their way back into the mainstream. And even more discussed the possibility of making trips to Spain, where the Prado National Museum falls high on the list of most tourism itineraries. "Every painting is an invaluable masterpiece," said Juan J. Luna, curator and head of the Department of the 18th Century Painting of the Prado. "We hope the exhibition will become the Chinese people's starting point for getting to know Madrid and understand Spain." The display at the NAMOC showcases celebrity effigies, religious and historical subjects, mythological anecdotes, secular allegories, still-life works and landscapes. Luna divided the exhibition into five chronologically arranged sections spanning four exhibition halls on the second floor of the NAMOC. The first hall introduces the history, architectural features and collection of the 200-year-old Prado. According to the chronological arrangement of the hall, visitors first encounter the works of Titian, master of he 16th-century Venetian School. The hall dedicated to the Renaissance highlights Titian's Venus and Cupid with an Organist and his portrait Philip II. Completed between 1552-53, the portrait is the oldest painting on show. The next section juxtaposes the Italian, Flemish, French and Spanish schools of painting. Here, audiences could contemplate two works featuring mythological subject matter by Peter Paul Rubens, the best-known Flemish artist. Nymphs and Satyrs demonstrates well Rubens' debt to Titian. The Venetian forms are obvious in both detail and composition, while Saturn Devouring his Son demonstrates the maturity of his later art. The following room showcases the quality and originality of European still-life paintings during the 17th century. The series closes with Andrea Belvedere's spectacular Vase of Flowers. An overwhelming population of flowers of various textures and lavish colors almost covers the entire surface of the canvas. This section also features works by Spanish master Diego Velazquze. The exhibition closes with five of Goya's creations, including his monumental The Parasol. Since visitors weren't permitted to photograph the actual painting, they snapped shots with the large promotional poster outside. The display is the first presentation by a Spanish national museum in China. But compared to previous shows of classical Western art, NAMOC director Fan Di'an said that From Titian to Goya creates a more powerful atmosphere than previous exhibitions. "These might not be the best, but are at least the most representative works from the different schools of European art history," he said. "We now live in a time of hi-tech imagery. This exhibition offers people a rare chance to enter the spiritual world of classical art." During the exhibition, the museum would organize four lectures to help the public better understand the artistic developments the paintings reflect. The exhibition will run in Beijing until August 24, when it would move to the Shanghai Museum, running there from September 13 to November 12.