Modernism Museum Barcelona

The Museum of Modernism gathers the “Gardens of Spain” painted by Santiago Rusiñol

Brollador del Faune-Santiago Rusiñol-1902

The Museum of Modernism in Barcelona has gathered in an exhibition a wide selection of the “Gardens of Spain” painted by Santiago Rusiñol, and in which he expressed his “poetic vision” of the landscape modified by the human being, explained the curator Mercedes Palau-Ribes in a press conference.

The exhibition ‘Santiago Rusiñol. Jardines de España ‘, which can be visited from this thursday until July 9, exhibits 41 gardens painted in oil, of which 13 are the works originally included in the album with the same title.

The curator has meant that “most of these paintings have not been exposed for a century, and this spring they see the public light for the first time.” Rusiñol, who was not an exclusive painter of gardens, became a “European reference” in this area, for which he traveled to Granada to shape his gardens, which in 1896 exhibited in Paris under the title ‘Arab Gardens of Pomegranate’.

Three years later, the Catalan modernist painter inaugurated the series ‘Jardines de España’ with an exhibition of 32 works at the Art Nouveau Gallery in Paris, the most important in the french capital, the curator said. When he returned from Granada to paint gardens, he stopped in Madrid, where he also painted landscapes, and also in the town of Aranjuez, which treasured his favorite gardens, which can also be visited in the exhibition.

Rusiñol “always looked for the beauty of the garden”, and did not dedicate himself to literally copying these natural works modified by man, but he sought to capture his soul through the sieve of his emotions, he explained. In his paintings, there were no people, although you can see the “hand of man”, so there is a human component; In fact, the painter said that in his works he could talk about all the issues related to life and death.

The curator has put the ‘Flors blaves’ painting as an example by waiting for ‘symbolic elements’ in a path that starts with illuminated flowers and merges into a hedge and shade tree nature without flower. The exhibition, which has received loans from the National Museum of Art of Catalonia (MNAC), Montserrat, banks and collectors, is celebrated coinciding with the seventh anniversary of the museum, and the presentation of new works of the collection permanent.

The tour includes four copies of different editions of Rusiñol’s ‘Jardins d’Espanya’ album, literary publications by the artist such as ‘Oracions’ and ‘El jardí abandonat’ and the camera Rusiñol used in his travels, and used to frame The landscapes that he painted outdoors to the natural.

It also shows correspondence between the artist and his contemporaries like Joan Alcover and Manuel de Falla; The score of the composer ‘Night in the Gardens of Spain’, accompanied by a portrait that Rusiñol made to his dear friend; Photo cards, post cards and press clippings.

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Les Punxes house Barcelona

The Casa de les Punxes first time opened its doors

Les Punxes house Barcelona

One of the most characteristic buildings of Eixample opens its doors to the public this Friday after over a hundred years without it. The Casa de les Punxes or Terradas house is an emblematic modernist urban palace built in 1905, designed by the architect Josep Puig i Cadafalch and located on Diagonal Avenue with Rossello.

Early last century, its owner Bartomeu Terradas prestigious Barcelona architect commissioned to design a house for each of his three sisters. The result was a single building with three different entrances, with elements of several architectural currents and six towers, aspects reminiscent of old medieval castles.

A century later, first opened its doors to locals and does so with a tune interesting point. The public can get into the bowels of the building and enjoy an immersive audiovisual which tells the legend of Sant Jordi, its undeniable connection with modernism and as a recurring icon in the Casa de les Punxes. And of course, visitors can enjoy the little details that keeps every corner of the property. Without forgetting the terrace, where besides enjoy the panoramic views surrounded by the towers so characteristic, you can visit a space dedicated to discover the author and all historical and architectural details of the house.

In recent months we have worked hard to adapt the building to the accessibility of visitors, “acting on the ground floor, the main deck, which are the areas that have been conditioned to the visit, adapting them to the museum activity” explains Jaume Falguera, responsible for the rehabilitation of this jewel of modernism listed as National Interest architect.

The family owns the real estate group, Texna, bought the entire estate in 2010, in which there are four houses, several offices, a bank and other businesses. But so far could not visit the interior, it has always been of interest for its facade and because it is located at an intermediate point between tourist icons of the city as La Pedrera and Sagrada Familia.

A point of celebrating the 150th anniversary of the birth of architect Josep Puig i Calafalch, the Casa de les Punxes opens in order to adapt history and tradition to new forms of cultural consumption. Thus uniting tradition and innovation, as did its creator with architectural advances developed.

It will be open from 9 to 20 hours all year except Christmas Day and will offer two types of visits: audioguide available in ten languages (12.50 euros) and format guided tour in small groups of a maximum of 20 people (20 euros ). In this second embodiment, throughout 2016 there will be a discount for residents in Barcelona who can purchase tickets at a price of 14 euros. They may be purchased at the box office and online.

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How Antonio Gaudi died?

The Catalan architect, key figure of modernism and one of the pioneers of the avant-garde of the twentieth century, is hit by a tram.Lying on the sidewalk, his unkempt appearance condemns him. He died three days later.

Antonio Gaudi picture

Barcelona, June 7, five past six p.m.. Antoni Gaudí i Cornet is about to cross the Gran Via de les Corts Catalanes at the intersection between the streets Girona and Bailén. Leaning on his cane with rubber pad, delivered to their artistic dreams, cross the street slowly. A tram which runs from line 30 runs over him. The artist receives a terrible impact on the ribs and temple. Critically injured, he is lying on the ground unconscious.

His worn clothes, fastened with safety pins instead of buttons and dusty shoes that cover their wrapped in strips of cloth feet, give a poor appearance.

Most passersby, taking him for a beggar because of his unkempt appearance, denied their help. Only two of them are offered to assist him: Antonio Roig, managing the port, and Antonio Noria. They are trying unsuccessfully to arrest four taxis; the first three refuse to transport the wounded, fearful that the blood staining the upholstery of their vehicles. The fourth not even stop to see the body lying on the sidewalk.

Where he died Gaudí

A policeman approaches the tumult surrounding the artist and imposing his authority, requires a taxi to take him. To ensure that it will be properly cared for, he rises to the vehicle. The officer ordered the old man to move to the nearby dispensary Round San Pedro, 37.

The logbook will record center cursory examination of the wounded: ‘trauma at the height of the right ear and commotion of the patient, who calls himself Antonio Gaudi … It seems that the artist is appreciated regained lucidity for a brief moment, long enough to provide their identity, so far unknown data because the artist was undocumented. In their pockets not wearing more than the book of the Gospels, a rosary, a handkerchief and the little key from his desk.

The doctor on duty, to the serious condition of the injured, ordered his transfer to Hospital after administering a spasmodic.

Finally the fate wants Gaudí is transferred to the Hospital de la Santa Creu, but it’s too late. The next day is recognized by the chaplain of the Sagrada Familia, Mosen Gil Parés, good friend.

Gaudí died three days later, he has 73 years.

The coffin covers much of the city. The funeral procession is multitudinous, the chapel is visited by hundreds of locals. The turmoil generated is such that hardly contain urban agglomerations.

The authorities prohibit sending crowns, but this does not prevent the florists of the Rambla, the Boqueria vendors and neighbors throw flowers as the coffin.

The shops are closed and trams are forced to interrupt their journeys by the crowds that add to duel.

The revered architect is buried in the chapel of Carmen, in the first niche of the crypt of the Sagrada Familia, the only part of the temple which was built next to the Nativity facade.

Funeral ceremonies are officiated by the most prominent members of the clergy: Gil Pares, and the chaplain of the Güell family, Ricardo Persina.

Telegrams of condolence from King Alfonso XIII, the bishops of Mallorca and Avila and the mitred abbot of Montserrat, who granted indulgences to those who perform some act of piety in memory of the deceased are received.

The majestic burial bears witness to the prestige that the architect has acquired among his fellow citizens. Known as the hermit of the Sagrada Familia, Gaudí then is a very popular and much-admired character. A man who despite his haggard appearance has managed to earn the respect and affection of his fellow citizens.

His masterpiece, the Sagrada Familia, called ‘the cathedral of the poor’, their only vital goal remains unfinished. Since 1915 he had given exclusively to erect forty years working feverishly in the atoning temple, begging to finance its construction even to sleep multiple times in a small cubicle on premises.

At his death, its construction is in the hands of architects and artists.

Antoni Gaudí, universal architect, fought for his ideals, died as a poor, was buried like a king and has passed into history as one of the cornerstones of modernism and one of the great masters of contemporary architecture.

His tombstone reads:

Antonio Gaudi i Cornet (A.C.S.)

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Drawing Barcelona

Thirty illustrators give their vision of the city in a heterogeneous exhibition proposals criticism, intimate or fun

Drawing taxi Barcelona

Modernism, streets, people, tourists and taxis, many taxis. These are some of the elements most drawn by illustrators thirty participating in the exhibition Barcelona illustrated that can be seen until 16 January in the area of ​​Gràcia Things Martinez. It is a very heterogeneous sample for discovering the city from the view of some of Barcelona’s most important artists art scene.

“The show is different, diverse and fun,” says Inés García-Albi, curator of the exhibition. “Proposes own styles of thirty artists from different worlds, such as advertising, the press or editorial” added before specifying which also selected illustrators’ work in various techniques, from watercolors, collage, pencil, acrylic, ink, screen or digital “.

Another feature of the exhibition, which further increases its heterogeneity, is the diversity of artists, helping to provide different views of Barcelona, ​​leading both the harshest critics as the most intimate. “It’s a commitment to illustration, mixing languages ​​and points of view,” says Garcia-Albi.

The artists that make up the exhibition “Barcelona illustrated ‘are Xano Armenter, Ignasi Blanch, Mirthe Blussé, Laura Borràs, Roberta Bridda, Brusco, Lluís Cadafalch, David Elósegui Victor Escandell, Arianne Faber, Africa Fanlo, Flor Garcia, Christian Inaraja, Isamat Marcos, Oscar Julve, Katrina Kalnina, Lluïsot, Eva Miquel, Perico Pastor, Elenio Pico, Imapla, Sonia Pulido, Felix Roca, Max Saladrigas, Gemma Sales, Philip Stanton, Martin Tognola, Luisa Vera, Natalia Zaratiegui, Lucas Zarraluki. ‘There is the most famous illustrators, “explains the curator. “We also wanted to go for some emerging” he says.

Barcelona is the second exhibition illustrated that program Things Martinez, a new cultural proposal at Grace wanted to bet in the first year by the Barcelona theme. After the premiere with The hidden beauty, ImmaGPrats photographer, is scheduled for 2016 another group show, in this case of graffiti in the city, and a fourth dedicated to the young promises of the Barcelona illustration.

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Barcelona launches a new luxury hotel in January-2016

Monument revitalize the space of one of the two buildings of the Hotel Condes de Barcelona

It will host a restaurant of Martin Berasategui and some rooms will cost up to 2,500 euros

Monument Hotel Barcelona

Barcelona will have a new five-star luxury from January. The Hotel Monument revitalize the space until recently occupied one of the two buildings of the Hotel Condes de Barcelona on Passeig de Gràcia, the palace known as Casa Batllo Enric, the closest to the Diagonal Avenue.

Setting part with the aim of becoming “the landmark hotel in Barcelona luxury”, as discussed its general director, Miriam Cortijo, who has emerged as one of its great attractions presence restaurant Oria, the “multiestrellado” chef Martin Berasategui. The chef already has a bistro space at the Hotel Condes de Barcelona four star beachfront Hotel Monument future building.

The new hotel will reduce from 109 to 84 rooms with the aim of extending the useful surface of each -of stay between 24 and 85 square-meters and adapt to the offer of a luxury hotel that will employ about 80 people. Prices for the apartments range between 300 and 2,500 euros. Although it has not disclosed the investment made, the owner of the initial plans provided for a payment of 15 million euros.

Reconciling styles

The space aims to combine modern aesthetics with the legacy of the pre-modernist building designed by Josep Vilaseca, as have highlighted Tote Moreno and Carles Basso, the architects responsible for the renovation, with the collaboration of Oscar Tusquets.

Moreno highlighted the collaboration of Patrimoni for “respecting and valuing” the rich architectural heritage of building space totaling nearly 600 square meters to its nearly 8,000 total meters of surface thanks to the creation of two basements for services that customers receive.

The interior of the hotel will try to give continuity to the environment luxury spaces in which it is located, as discussed responsible for interior design project, Mercè Borrell, who has tried to reconcile the great style and timeless luxury and responding to command to “open the hotel to the city” through the bar and the other “cocketelería” integrated into the ‘lobby’ of the hotel spaces.

The Hotel Monument is the final stage of rehabilitation of a building built in 1896, with clear traces of neo-gothic inspiration and inicipiente Modernism. It was commissioned by the industrialist Enric Batllo to Vilaseca, author of the Arc de Triomphe in Barcelona and close associate of Lluis Domenech i Montaner.

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An exhibition at La Pedrera of Gaudí claims the modernist work of artisans

It is the most comprehensive monographic exhibition dedicated to these arts in the last 50 years

Modernism

Barcelona La Pedrera show a “new story” about the applied and decorative arts of Modernism in the exhibition Modernism: Art, tallers, INDUSTRIES from this Thursday until February 7th, announced Wednesday the director of the Foundation Catalunya – La Pedrera, Marta Lacambra.

Along with the director of the Culture of the Fundació Catalunya-La Pedrera, Marga Viza, and curator and professor of art history at the University of Barcelona (UB) Mireia Freixa, it stressed that it is the largest solo exhibition dedicated to these arts in the last 50 years.

The selection draws a tour of the building of the last century and relive a time of momentous changes in the field of architecture and design with the recovery of “unknown aspects of recent history” and updating artistic trades, said Freixa .

The exhibition is the result of research in the university team with a montage Commissioner made an “extraordinary sensitivity,” which has a special lighting for each piece. With this exhibition, “Casa Mila regains its domestic value”, and a large window-usually hidden behind a curtain or ceiling, doors, columns, railings and floors of the building by Antoni Gaudí is recovered, stressed the Commissioner . One of the most spectacular pieces is a large stained glass window from the Museum of Cerdanyola del Valles, and one of the most delicate is a screen made of stained glass from broken glass modernist forms takes on a technique that only remained in Catalunya. It is a “liquid exposure” because the plot is given by the techniques used, stained glass, wrought iron and wood, flooring, textiles and jewelry, among others.
50 public and private collections

The exhibition brings together more than one hundred objects and numerous documents and photographs from the period from 50 public and private collections such as the Museu Nacional d’Art de Catalunya (MNAC), the Museum of Design in Barcelona, ​​the Documentation Centre the Terrassa Textile Museum and the Library of Catalonia.

A new feature of the exhibition is precisely the focus on the creative process of decorative objects, from conception to consumption. Freixa has concluded that each piece is beautiful and unique, and noted that the Catalan Modernism is so aesthetic that hides the “glitz” of a bourgeois class through a style that then came to other layers of society.

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The Music Conservatory of Barcelona premiere spaces

The works have allowed the rehabilitation and improvement of Eduard Toldrà Auditorium and the central space, called Fishbowl

Music Conservatory of Barcelona

The auditorium seats have been changed, which have gone from 324 to 315, wider and comfortable. Have also been improved and sound installations to adapt them to the current regulations, and has modernized the space, which has also been decorated with scores of the composer.

The other space is renovated courtyard, called Fishbowl. In this room, covered with a skylight and finished modernist interventions have helped eliminate those damp cracks and repair them. In addition, tambés’han restored stucco and paintings. The works will allow the building is part of the Route of Modernism in the city. “With these interventions open space in the city,” said David Martin, director of the Conservatory.

During the operation have also renovated the 80 doors of the building, incorporating windows that let in light and vision from the hallways. In total, the works have involved an investment of 794 450 euros. “With these works, the building has been adapted to the needs of students, but also to make a public use,” said Raimundo Viejo, Councillor for Education and Universities.

The building is the headquarters of the Conservatory since 1928, and during this year there will 1,000 students, who are undergraduate professional learning music and other unregulated open courses. The opening of these spaces coincides with the tenth anniversary of the “concert Thursday,” which offers free concerts open to the public.

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The first house built by Antoni Gaudí was the Casa Vicens in Barcelona (1883), ​​which will open to the public soon

An English estate was offering the home in 2007 for 35 million euros | The bank’s investor Hermitage of Barcelona which could be in Gràcia.

Barcelona wins a new Gaudí. Vicens house, across the street from Carolines (Gràcia), will become a house museum open to the public, which will join other iconic buildings like La Pedrera, Casa Batlló and Palau Güell, authentic pilgrimage centers to which each year millions of tourists come.

The building, so far not visited since it is a private home that has been passed from father to son since 1899 when it was acquired by Antonio Jover, grandfather of the current owners, has been bought by MoraBanc with will give a new public use. As confirmed to this newspaper fountains of the great Andorran bank, the operation is virtually closed and already working on the selection of an operator with experience in the management of future house-museum. “We are interested in the Barcelona brand and retrieve a landmark building in the city. We’re thrilled to offer the opportunity to visit Barcelona this building will be a cultural and tourist offer of the first order”, summarized Ivan Comerma La Vanguardia, Amura Capital, the investment company MoraBanc, through which the operation is being performed, the amount of which has not transpired so far.

The house is owned Vicens family Herreros Jover and was for sale at least since 2007, when a British realtor put ads in newspapers like The Wall Street Journal, Daily Telegraph and The Independent in which the property was being offered to groups of investors for 35 million euros. Yesterday you could still find on the internet website that Atadicion property, located in Castell d’Aro, a monograph devoted to the sale of Casa Vicens, “a masterpiece of world renown, a unique opportunity to own a property designed by the great Antoni Gaudí “. you can read in English, Russian, Arabic, Japanese and Chinese. Not a word in Castilian or Catalan.

Vicens, a modernist gem declared a Historic-Artistic Monument of National Interest and a World Heritage Site by Unesco, house still has no opening date. MoraBanc is also the largest investor group that showed interest in joining the project of a franchise Hermitage Museum in Barcelona, which suggests that the house Vicens could be chosen by the emblematic Russian Museum to the announced submission of its funds prior to the opening of its headquarters in the port of Barcelona. From the Andorran bank argue that while it is true that at the moment the possibility of scheduling exhibition is not contemplated, not rule that may be made in the future. That answer, for now, will have to wait.

The Casa Vicens was the first major commission of a young Antoni Gaudí i Cornet (1852-1926 ) . He arrived in 1883 , just five years after the conclusion of his studies at the Provincial School of Architecture of Barcelona (where certainly not stood out in his notes ) . It was projecting a summer villa on the outskirts of the city, in the streets of Gràcia Carolines for a singular client, the tile manufacturer Manuel Vicens i Montaner. That same year, 1883 , he was commissioned to house El Capricho in Comillas and start working in the atoning Sagrada Família, a project that will last for more than forty years. The Carolines Street also took his time. This culminated in 1888 and included a house and garden . In the latter , surrounding the building , was a waterfall and pond , but you lost the sale of a large part of the land. The house is covered with brick and glazed ceramics in which medieval and Arab influences appear . Abound lines and right angles, so scarce in the later work of the architect, but it is a very imaginative and with great concern for building ornamental elements . In 1899 Manuel Vicens widow sold the house to the family Jover , who has hitherto preserved in exquisite pampering .

Gaudí’s name is a magnet for tourism, which flock to Barcelona fascinated by a work around which bloom every day more and more businesses, more and more lucrative. Barcelona is now known worldwide as the city of Gaudi and modernism. Indesmayables, sights such as the Sagrada Família (3,233,526 visitors in 2012), La Pedrera (861,583), Casa Batlló (780,466), the Palau Güell (254,609) or Park Güell (more than eight million a year), icons that are entered in the XXI century exercise their power of attraction for hundreds of thousands of tourists to the point that the legacy Gaudi, reviled for so long, they become a powerful economic engine for the city. Last November eleven architect building owners signed the Declaration of Mataró to protect and promote their work.

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