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Catalan Modernism and Vexillology
Catalan Modernism and Vexillology Sebastià Herreros i Agüí Abstract Modernism (Modern Style, Modernisme, or Art Nouveau) was an artistic and cultural movement which flourished in Europe roughly between 1880 and 1915. In Catalonia, because this era coincided with movements for autonomy and independence and the growth of a rich bourgeoisie, Modernism developed in a special way. Differing from the form in other countries, in Catalonia works in the Modern Style included many symbolic elements reflecting the Catalan nationalism of their creators. This paper, which follows Wladyslaw Serwatowski’s 20 ICV presentation on Antoni Gaudí as a vexillographer, studies other Modernist artists and their flag-related works. Lluís Domènech i Montaner, Josep Puig i Cadafalch, Josep Llimona, Miquel Blay, Alexandre de Riquer, Apel·les Mestres, Antoni Maria Gallissà, Joan Maragall, Josep Maria Jujol, Lluís Masriera, Lluís Millet, and others were masters in many artistic disciplines: Architecture, Sculpture, Jewelry, Poetry, Music, Sigillography, Bookplates, etc. and also, perhaps unconsciously, Vexillography. This paper highlights several flags and banners of unusual quality and national significance: Unió Catalanista, Sant Lluc, CADCI, Catalans d’Amèrica, Ripoll, Orfeó Català, Esbart Català de Dansaires, and some gonfalons and flags from choral groups and sometent (armed civil groups). New Banner, Basilica of the Monastery of Santa Maria de Ripoll Proceedings of the 24th International Congress of Vexillology, Washington, D.C., USA 1–5 August 2011 © 2011 North American Vexillological Association (www.nava.org) 506 Catalan Modernism and Vexillology Background At the 20th International Conference of Vexillology in Stockholm in 2003, Wladyslaw Serwatowski presented the paper “Was Antonio Gaudí i Cornet (1852–1936) a Vexillographer?” in which he analyzed the vexillological works of the Catalan architectural genius Gaudí. -
L'origen DEL MARXANT JOSEP DALMAU E Jaiirne Vidal I Oliveras
DOSSIER L'ORIGEN DEL MARXANT JOSEP DALMAU e Jaiirne Vidal i Oliveras El rnanresb Josep Dalmau i Rafe1 (1867-1 937 , passa er ser el «marxant» d. art mo Bern i I'introductor de I'art d'avantguarda a Catalunya. Va ser qui, per exernple, va donar a coneixer Miró i Dali. El present article es una aproximació que hi aporta nous punk de vista: les etapes de les Galeries Dalmau, els criteris de prornoció, etc. Entre altres, hi ha una hipotesi especialment interessant: la vinculació en el treball de promoció de Josep Dalmau i el Mademisme. L'Obra Cultural de Caixa de Manresa en la convocatoria '88 dels «Premis Oms i de Prat» concedí una beca d'investigació a Jaume Vidal i Oliveras per a I'estudi del marxant Josep Dalmau i Rafael. Ens lau resentar un text que es R.8uit 'aquesta recerca i que ve a ser una mena de pinzellada dlalguns aspectes del seu treball. Joiep hlrnav i Rafel: Aubnhrf. c. IWO. Oli/teh. 39x31 cm. Musw Cmoxol de Manra=o. oc~uslriool - D0"Eii. - 39 Em resulta diffcil parlar de Josep promoció d'art modem del marxant. Romanticisme,que reivindichunnou Dalmau a Mamesa. A Josep Dalmau Com una de les conclusions d'una paper de I'individu en la societai i en (1 867-1937), se'l coneix perla seva recerca sobre el marxant Josep Dal- les arts plhstiques. D'altra banda, la tasca de promoció de I'art modem i mau, em plau reivindicar i donar noci6 d'individu es relaciona tamb6 la introducció de I'avantguarda a sentit a lacol.lecci6 depintures allot- amb el nou ordre econbmic i social Catalunya. -
Del Romanticisme Al Modernisme
primeres 1 a 24 29/9/06 12:52 Página 2 Del Romanticisme al Modernisme Col·lecció de Pintura del Museu Diocesà de Barcelona Organització: Català · Castellano primeres 1 a 24 29/9/06 12:52 Página 4 Del Romanticisme al Modernisme Col·lecció de Pintura del Museu Diocesà de Barcelona Museu Diocesà de Barcelona Del 6 d’octubre al 5 de novembre de 2006 primeres 1 a 24 29/9/06 12:52 Página 8 Índex Presentacions 11 Vicente Sala Belló Josep M. Martí Bonet Pintura dels segles XIX i XX del Museu Diocesà de Barcelona 17 Francesc Fontbona Índex d’artistes 21 Catàleg d’obra 23 Bibliografia 181 Versión en castellano 183 primeres 1 a 24 29/9/06 12:52 Página 10 Vicente Sala Belló President de la Caja de Ahorros del Mediterráneo La Caja de Ahorros del Mediterráneo continua apostant fermament per una políti- ca de patrocini cultural com un servei a la societat actual, avui dia enormement sen- sibilitzada envers aquest àmbit. I més concretament, la nostra Obra Social es plan- teja prioritàriament la coneixença i la divulgació de la cultura mediterrània, de la qual la mostra que avui presentem és un exponent prou clar, en un dels camps de la creació tan fonamental com és la pintura. Novament gaudim del marc incomparable del monument de la Pia Almoina de Barcelona, seu del Museu Diocesà, per presentar l’exposició “Del Romanticisme al Modernisme”. És per a nosaltres tot un honor poder oferir al públic aquesta magní- fica col·lecció de pintura a cavall dels segles XIX i XX. -
Portrait) Seated Girl Girl Seen from the Back
© Salvador Dalí, Fundació Gala-Salvador Dalí, Figueres, 2004 Cat. no. P 149 Retrato (Portrait) Seated Girl Girl Seen From the Back Date: 1925 Technique: Oil on canvas Dimensions: 104 x 74 cm Catalogue Raisonné of Paintings by Salvador Dalí Page 1 of 6 | Cat. no. P 149 Signature: Signed and dated lower right corner: Salvador Dalí / 1925 Location: Museo Nacional Centro de Arte Reina Sofía, Madrid Catalogue Raisonné of Paintings by Salvador Dalí Page 2 of 6 | Cat. no. P 149 Provenance Pere Corominas Galeria Syra, Barcelona Observations This painting, as it is known today, is slightly different from that presented in the exhibition "First Exhibition of the Society of Iberian Artists" held in 1925 in the Exhibition Palace of the Retiro in Madrid. From the information available, we know that the painting was retouched for Salvador Dalí's first individual exhibition at the Dalmau Galleries in Barcelona. X-ray analysis reveals that the painting as seen today is the result of an earlier state which is that visible in the radiograph. Exhibitions 1925, Barcelona, Galeries Dalmau, Exposició S. Dalí, 14/11/1925 - 27/11/1925, cat. no. 1, il. 1925, Madrid, Palacio de Exposiciones del Retiro, Primera Exposición de la Sociedad de Artistas Ibéricos, 28/05/1925 - 30/06/1925, cat. no. 80 1928, Pittsburgh, Carnegie Institute, Twenty-Seventh International Exhibition of Paintings, 18/10/1928 - 09/12/1928, cat. no. 363 1929, Chicago, The Art Institute of Chicago, Catalogue of European Painting from the Carnegie International Carnegie International Exhibition, 19/03/1929 - 21/04/1929, cat. no. 173 1970, Rotterdam, Museum Boymans-van Beuningen, Dalí, 21/11/1970 - 10/01/1971, cat. -
La Trajectòria Professional Del Fotògraf Francesc Serra I Dimas (1877 – 1967)
La trajectòria professional del fotògraf Francesc Serra i Dimas (1877 – 1967) Autora: Carla Arbós Valls Director: Bonaventura Bassegoda Hugas Màster Anàlisi i Gestió del Patrimoni Artístic Departament d’Art i de Musicologia . Facultat de Filosofia i Lletres Universitat Autònoma de Barcelona . 2017-201 - Uno ha asistido a nada menos que al traspaso de un siglo. Y no de una manera indiferente ¿Vé usted? En mi archivo guardo 50 mil fichas. Toda una época vive, palpita, se anima con solo ir al laboratorio y operar en las placas con los ácidos. Eso ¿no es hermoso?¿No es bello poder fijar los recuerdos? Francesc Serra i Dimas, 1964 Agraïments Primerament, voldria agrair a totes aquelles persones que de manera directa o indirecta s’han involucrat en la realització d’aquest Treball de Final de Màster, ja que sense la seva col·laboració i dedicació, no hagués estat possible dur-lo a terme. Moltes gràcies, doncs, al director d’aquesta tesi el Professor Bonaventura Bassegoda, per guiar- me, aconsellar-me i indicar-me a qui i on acudir al llarg d’aquesta investigació, i també per la confiança dipositada i l’empenta rebuda; i a la Núria Llorens, coordinadora del màster Anàlisi i Gestió del Patrimoni Artístic de la Universitat Autònoma de Barcelona, per assenyalar-me un tema de recerca que s’ha adequat perfectament al meu bagatge acadèmic entorn de l’art i la fotografia, com també per la seva disposició i gran amabilitat en tot moment. Per altra banda, voldria expressar la meva més sincera gratitud als familiars de Francesc Serra Dimas, als qui els hi dedico aquesta memòria, per la seva confiança i proximitat, per obrir-me les portes de casa seva i rebrem tan amablement. -
NYU Madrid ARTH-UA.9417 Art and Social Movements in Spain 1888- 1939
NYU Madrid ARTH-UA.9417 Art and Social Movements in Spain 1888- 1939 Instructor Information ● Name: Julia Doménech ● Office hours: Tuesdays: 7.30-8.30pm ● Email address: [email protected] Course Description This survey examines the major artists and institutions that shaped the development of modern art in Spain from 1888, the date of Barcelona's Universal Exposition, to the end of the Spanish Civil War in 1939. The course takes as its working model the complex question of art's relation to social movements, including: the rising tides of cultural and political nationalism in the Basque and Catalan regions; the Colonial Disaster of 1898 and the question of national regeneration; the impact of fin-del-siglo anarchist and workers’ movements; the rise of authoritarian politics with the Dictatorship of Primo de Rivera; and the ideological struggles and social violence unleashed during the Spanish Civil War. Class sessions examine the complex roles played by some of Spain's most prominent artists and architects -- Antoni Gaudí, Pablo Picasso, Joan Miró, Luis Buñuel, Josep Lluís Sert, and Salvador Dalí -- and their multivalent responses to modernization, political instability, and social praxis. ● Co-requisite or prerequisite: N/A ● Class meeting days and times: Tuesdays 4.30-7.20 pm Desired Outcomes Upon Completion of this Course, students will be able to: ● Providing students with a working knowledge of the development of modern art in Spain. Page 1 ● Exploring the complex and highly mediated relations that obtain between art and politics in relation to both progressive and conservative/reactionary social movements. Assessment Components Assignment 1: Group Presentations on a temporary exhibition. -
Cathedrals, Stained Glass, and Constructive Painting in Joaquín Torres-García and in the European Avant-Garde
The Medieval in Modernism: Cathedrals, Stained Glass, and Constructive Painting in Joaquín Torres-García and in the European Avant-garde Begoña Farré Torras Tese de Doutoramento em História da Arte (versão corrigida) Novembro 2019 Tese apresentada para cumprimento dos requisitos necessários à obtenção do grau de Doutor em História da Arte, realizada sob a orientação científica da Prof. Doutora Joana Cunha Leal e a coorientação científica da Prof. Doutora Joana Ramôa Melo Apoio financeiro da FCT e do FSE no âmbito do III Quadro Comunitário de Apoio. Declaro que esta tese/ Dissertação /Relatório /Trabalho de Projecto é o resultado da minha investigação pessoal e independente. O seu conteúdo é original e todas as fontes consultadas estão devidamente mencionadas no texto, nas notas e na bibliografia. O candidato, ____________________ Lisboa, 11 de Novembro de 2019 To Rogério, Marc and Ana (in no particular order) ACKNOWLEDGEMENTS My deepest gratitude to my thesis supervisor, Professor Joana Cunha Leal, for her unfailing support for my project, rigourous and constructive critique of it, and personal encouragement along the way. Many thanks, too, to my thesis co-supervisor, Professor Joana Ramôa Melo, for her incisive reading of my work and encouraging support for it. THE MEDIEVAL IN MODERNISM: CATHEDRALS, STAINED GLASS, AND CONSTRUCTIVE PAINTING IN JOAQUÍN TORRES-GARCÍA AND IN THE EUROPEAN AVANT-GARDE O MEDIEVAL NO MODERNISMO: CATEDRAIS, VITRAIS, E PINTURA CONSTRUTIVA EM JOAQUÍN TORRES-GARCÍA E NA AVANGUARDA EUROPEIA BEGOÑA FARRÉ TORRAS KEYWORDS: -
Versions of Catalan Surrealism Between Barcelona and Paris Enric Bou Università Ca' Foscari Venezia, [email protected]
Artl@s Bulletin Volume 6 Article 3 Issue 2 Migrations, Transfers, and Resemanticization 2017 From Foix to Dalí: Versions of Catalan Surrealism between Barcelona and Paris Enric Bou Università Ca' Foscari Venezia, [email protected] Follow this and additional works at: https://docs.lib.purdue.edu/artlas Part of the Modern Art and Architecture Commons, and the Modern Literature Commons Recommended Citation Bou, Enric. "From Foix to Dalí: Versions of Catalan Surrealism between Barcelona and Paris." Artl@s Bulletin 6, no. 2 (2017): Article 3. This document has been made available through Purdue e-Pubs, a service of the Purdue University Libraries. Please contact [email protected] for additional information. This is an Open Access journal. This means that it uses a funding model that does not charge readers or their institutions for access. Readers may freely read, download, copy, distribute, print, search, or link to the full texts of articles. This journal is covered under the CC BY-NC-ND license. Migrations, Transfers, and Resemantization From Foix to Dalí: Versions of Catalan Surrealism between Barcelona and Paris Enric Bou * Università Ca' Foscari Venezia Abstract This article illustrates a little known episode of Salvador Dalí’s initial intervention in the surrealist movement: his relationship with Catalan writer Josep Vicenç Foix. He made an impact in Catalan literary circles as one of the first imitators of Apollinaire (and Breton). Foix helped Dalí with the publication of his first texts. Close reading of surrealist texts by Foix and Dalí provide an illustration of the limitations of Catalan Surrealism. Foix and Dalí accomplished a dynamic process capable of transforming and reconfiguring the meaning and function of surrealist aesthetics in Catalonia in a complex network and context. -
Subasta Especial Geographica Mapas - Atlas- Libros De Geografia Y Viajes Y Substa Regular De Libros Antiguos
SUBASTA ESPECIAL GEOGRAPHICA MAPAS - ATLAS- LIBROS DE GEOGRAFIA Y VIAJES Y SUBSTA REGULAR DE LIBROS ANTIGUOS 8 de Octubre de 2015 a las 16 h Organizada por En nuestros locales Beethoven, 13 08021 BARCELONA TELEFONO: (34) 93 201 87 33 – FAX: (34) 93 202 33 06 E-mail: [email protected] Catálogo redactado por Marta Pijuan y Raquel Méndez Esta subasta puede consultarse en www.soleryllach.com y los precios realizados a partir del día siguiente Participe de esta subasta: EXAMEN DE LOS LOTES: Días 5,6 y 7 de Octubre de 9:30 a 13:30 h. y de 15 a 19 h. Día 8 de Octubre de 9:30 a 13:30 h. REVISION DE LOTES EN MADRID: Casa de Subastas de Madrid. Día 30 de Setiembre de 9:30 a 13:30 y de 16 a 20 h. Lotes solicitados hasta el 28 de Setiembre a las 13 h. LOTES ADQUIRIDOS EN LA SUBASTA SE PODRAN RETIRAR A PARTIR DEL LUNES 12 DE OCTUBRE CONDICIONES: SALE CONDITIONS: 1º La puja inicial es el precio mínimo, en euros, al que puede adjudicarse un lote, debe entenderse este precio 1st The starting price, in euors is the lowest at which a lot can be adjudicated. This price has to be unders- como el de reserva; en ningún caso se adjudicará por debajo. tood as a reserve price, and it will not be decreased. 2º El precio total de la factura incluirá un 20% sobre el precio de adjudicación más los gastos de envío y/o 2nd The total invoice will include 20% on the hammer price, plus shipping and/or insurance. -
Press Release Dalí. All of the Poetic Suggestions and All of the Plastic
Dalí. All of the poetic suggestions and all of the plastic possibilities DATES: April 27 – September 2, 2013 PLACE: Museo Nacional Centro de Arte Reina Sofía (Madrid) Sabatini Building. 3rd floor. ORGANIZED BY: Museo Reina Sofía and Centre Pompidou, Paris, in collaboration with the Salvador Dalí Museum Saint Petersburg (Florida). With the special collaboration of the Fundació Gala-Salvador Dalí, Figueres. CHIEF CURATOR: Jean-Hubert Martin CURATORS: Montse Aguer (exhibition at the Museo Reina Sofía, Madrid), Jean-Michel Bouhours and Thierry Dufrêne COORDINATOR: Aurora Rabanal The Museo Reina Sofía presents a major exhibition dedicated to Salvador Dalí, one of the most comprehensive shows yet held on the artist from Ampurdán. Gathered together on this unique occasion are more than 200 works from leading institutions, private collections, and the three principal repositories of Salvador Dalí’s work, the Fundació Gala-Salvador Dalí (Figueres), the Salvador Dalí Museum of St. Petersburg (Florida), and the Museo Reina Sofía (Madrid), which in this way are joining forces to show the public the best of their collections. The exhibition, a great success with the public when shown recently at the Centre Pompidou in Paris, aims to revalue Dalí as a thinker, writer and creator of a peculiar vision of the world. One exceptional feature is the presence of loans from leading institutions like the MoMA (New York), which is making available the significant work The Persistence of Memory (1931); the Philadelphia Museum of Art, which is lending Soft Construction with Boiled Beans (Premonition of Civil War) (1936); the Tate Modern, whose contribution is Metamorphosis of Narcissus (1937); and the Musées Royaux des Beaux-Arts, Belgium, the lender of The Temptation of St Anthony (1946). -
Colección Salvat 25 Años 1994-2019 Índice
Colección Salvat 25 años 1994-2019 Colección Salvat 25 años 1994-2019 Índice Una colección nacida por generación espontánea 7 Javier Peris Colección Salvat. 25 años de compromiso 13 Llucià Homs 25 años, 25 obras 19 Biografías de los artistas 73 Conversación con Lluís Lleó y Julio Vaquero 81 Textos en inglés 89 Una colección nacida por generación espontánea Javier Peris Desde la Antigüedad, ya descrita por Aristóteles y luego sustentada por otros científicos de los siglos XVII y XVIII como René Descartes o Isaac Newton, ha existido una hipótesis –hoy obsoleta– que sostenía que ciertas formas de vida, tanto animal como vegetal, nacían de manera espontánea a partir de la materia orgánica, inorgánica o de una combinación de ambas. Tal afirmación jamás llegó a tener una explicación científica, pero se llegó a esta conclusión por evidencia visual. La hipótesis de la generación espontánea aborda la idea de que la materia inerte puede generar vida por sí misma, lo que vendría a denominarse autogénesis. Aristóteles afirmaba que algunas partes de la materia sin vida contienen un «principio activo», gracias al cual, en condiciones adecuadas, podían producir un ser vivo. Este «principio activo» se equiparó al concepto de energía, la cual a su vez se consideraba la capacidad para producir una acción. Nuestra colección de arte contemporáneo en gran formato nació también por generación espontánea, es decir, fruto de la autogénesis. Está en mi memoria aquel año 1994 en el que con mi madre hablaba de cuál sería el recibimiento por parte de personas y empresas colaboradoras de Salvat ubicadas en otros lugares del mundo, lógicamente con otras culturas y pensamientos religiosos, cuando les enviábamos nuestras tarjetas de felicitación navideñas, con las imágenes más tradicionales de nuestra fe católica. -
PRESS KIT CONTENTS 1. General Information
PRESS KIT CONTENTS 1. General Information………………………………………………………………..2 2. Press Release……………………………………………………………………...4 3. Curators …………………………………………………………………………….8 4. Selection of Works in the Exhibition……………………………………………..9 5. Selection of Press Images……………………………………………………….20 6. Artists and Sources of the Works……………………………………………….29 1 1. General Information Barcelona, Neutral Zone (1914-1918) 25 October 2014 - 15 February 2015 Press conference: 23 October, at 12.00 Opening: 24 October, at 19.30 Exhibition organised by: Fundació Joan Miró, Barcelona Curators: Fèlix Fanés and Joan M. Minguet Sponsor: Fundación BBVA Catalogue: Fundació Joan Miró With texts by Enric Ucelay-Da Cal, Robert S. Lubar, Pere Gabriel, Joan Esculies and David Martínez Fiol, Xavier Pla, Jaume Vidal Oliveras, Pascal Rousseau, Christopher Green, Jordana Mendelson Catalan/English and Spanish/English editions Audioguide: In Catalan, Spanish and English Produced by Antenna International 3 € Opening hours: Tuesday to Saturday, 10.00 to 19.00 Thursdays, 10.00 to 21.30 Sundays and public holidays, 10.00 to 14.30 Closed on Mondays (except public holidays) Admission: 7 € Advance booking: www.fundaciomiro-bcn.org Annual Pass: Admission to the permanent collection and temporary exhibitions for 12 months: 12 € Group bookings: Tel. 934 439 479 [email protected] 2 Activities: Thursday 11/12/14, 19.00, Fundació Auditorium: Round table Barcelona, 100 Years Later with the philosopher Marina Garcés, designer Oscar Guayabero and journalist Xavier Montanyà; moderated by Joan M. Minguet, co- curator of the exhibition Thursday 15/01/15, 19.00, Fundació Auditorium: Screening of the documentary Cravan vs Cravan, by Isaki Lacuesta (2002) Thursday 05/02/15, 19.00, Fundació Joan Miró Auditorium: Lecture-recital The Catalan Poetics of the First World War, by the poet, translator, critic and essayist Sam Abrams Tour through the Barcelona of the Great War: And the First World War Changed Barcelona A tour organised by www.itineraplus.com, with the journalist David Ravelles.