The Barcelona FC Camp Nou Experience tour ticket gives you access to the ‘behind the scenes’ action at the club as well as access to the FC museum and the multimedia centre. The tour is ‘self-guided’, meaning that there are no tour guides.
The Museu Nacional d’Art de Catalunya recovers with this exhibition the work of the Catalan painter and sculptor Antoni Fabrés (Gràcia, Barcelona, 1854 – Rome, 1938).
The exhibition gathers 147 paintings, sculptures and different documentary material that allows to discover a great
a portraitist and an artist who, beyond Orientalism, presents a critical view of society. Fabrés
he achieved in life a great international success that the inexorable passage of time, and with it the different historiographical generations, have been forgetting.
The research and restoration work that the National Museum has carried out for this exhibition has
allowed to discover interesting unpublished aspects and that we can enjoy his work in all its dimension.
Fabrés developed a large-scale pictorial work that he carried out in the different cities in the
who lived: in Rome, where he arrived in 1875, as a follower of Fortuny in terms of the Orientalist theme, then in his hometown, Barcelona, later in Paris and in Mexico City, where he was the teacher of many
From May 31 to September 29,
Organizes and produces: Museu Nacional d’Art de
Curator: Aitor Quiney, doctor in History of Art
With the sponsorship of
Antoni Fabrés. The crazy one, towards 1910. Donation of the artist, 1925.
Museu Nacional d’Art de Catalunya
of the Mexican painters who revolutionized national art in the twentieth century as Diego Rivera, Saturnino
Herrán or José Clemente Orozco. In 1907 he returned to Rome where he settled until 1838, the year he died.
In 1926 the artist himself made a large donation of his work to the Board of Museums of Catalonia, which is currently preserved in the National Museum, as well as in the former Casa del Comú, in Les Corts.
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Jaume Plensa will install a sculpture in the atrium of Montserrat
The sculptor Jaume Plensa will install next May a sculpture in the atrium of the basilica of Santa Maria de Montserrat and, at the same time, will inaugurate an exhibition in the Pere Pruna art space of the Montserrat Museum.
The director of the center, Father Josep de C. Laplana, explained to Efe that the sculpture, which represents the face of the daughter of a friend of his, will be placed when the pavement of the atrium is finished and will remain in that place six months. Subsequently, it will be decided if the work remains or changes its location.
The installation of this piece on the outside of the basilica will culminate the restoration of the atrium, where in recent months sculptured, sgraffito materials have been cleaned and the marble pavement has been repaired. Father Laplana has indicated: “Whether or not the work remains depends, first, on Jaume Plensa, and then on the community. It is a decision that should not be taken hastily. ”
The relationship between the Benedictine community and the sculptor arose as a result of the organization of some conferences, to which, finally, the artist could not attend because he was traveling, and then “there was talk that he could plant one of his sculptures for six months in Montserrat “. Regarding the exhibition, which can be visited until November, he said that he will have a selection of drawings and graphic work.
Born in Barcelona in 1955, Jaume Plensa is today one of the creators of monumental works more recognized in the world, although “before anything” is considered a sculptor. His references include literature, poetry, music or thought and his works have to do with the “physical and spiritual essence, conscience, moral codes or the relationship of being with nature.”
He exhibits regularly in galleries and museums in Europe, the United States and Asia, and a significant part of his work is exhibited in public spaces, with pieces permanently installed in cities in Spain, France, Japan, England, Korea, Germany, Canada, United States United or China.
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Auto Storica Barcelona. Classic & Collector Automobiles
A team of 40 professionals in 10.000m2 of workshops, vehicle exhibition and spare parts store with more than 20 years of experience in the sector.
“Most amazing, museum quality restorations I’ve ever seen! Be sure to stop by if you’re in Barcelona.
We know the owners.
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The MNAC claims the artistic role of Gala beyond Dalí’s muse
The Museu Nacional d’Art de Catalunya (MNAC) places the focus on the character of Gala, Salvador Dalí’s partner, as the “key” character of the avant-garde of the 20th century, and gives her an artistic role beyond her muse facet of artists in the first major international exhibition dedicated to his figure.
It has been explained by the curator of the show Gala Salvador Dalí. An own room in Púbol, Estrella de Diego, together with the director of the MNAC, Pepe Serra, and the director of the Dalí Museums, Montse Aguer, in the presentation on Thursday of the tour of the different facets of the creator.
Just as with Dalí, Gala was part of a “collaborative project” that led the artist to sign with a ‘Gala Salvador Dalí’, the sample arises from an institutional alliance that wants to demonstrate the thesis that both characters were mutually constructed and gave birth to a third artistic character.
The exhibition, which brings together 315 paintings, drawings, photographs and documents related to Gala, part of Púbol as a “great surrealist object”, which Gala used as the room that Virginia Woolf claimed.
The exhibition discovers a very cultured Gala with many facets in which the route is divided and between which the curator has cited the surrealist, the dandy, the creator and the writer, as well as the muse as she builds her own path as an artist : write, make surreal objects and decide how you want to represent yourself.
Bad and manipulative?
“If Gala was so bad, so manipulative and she was so interested in money, why in 1929 did she leave the famous Paul Éluard, poet spoiled with surrealism, to go with an unknown Salvador Dalí?” Asks the curator and biographer. gala.
Knowing that many things have been said about Gala – Helena Dmitrievna Diakonova (Kazan, 1894-Portlligat, 1982) – the curator has said that this is “much more bad than it was said because it is more complex than it is Believe. ”
The exhibition reveals the changes in the image of Gala through its different ‘performances’, reflected by Dalí’s brushes, and allows to follow the evolution of the painter thanks to an important set of oil paintings and drawings: “To review Gala is to review Dalí, and this was a performer. ”
In addition, Dalí’s oil paintings and drawings on Gala can also be seen in the exhibition works of other artists who gravitated in the surrealist universe, especially around Gala, such as Max Ernst, Pablo Picasso, Man Ray, Cecil Beaton and Brassaï, among others .
Max Ernst and Man Ray
The exhibition tries to shed light on who Gala really was, and to understand who was this woman who does not go unnoticed, who awoke the hatred of André Breton and Luis Buñuel, the unconditional love of Éluard and Dalí and the passion of Max Ernst, in addition to be a model for Man Ray.
The task of the curator has been to “fill gaps” in the history that had not been addressed until now, and notes a facet of outstanding literary creation that can be seen with letters -especially to Éluard- and manuscripts -such as diaries- present in the exhibition, as well as surrealist objects and ‘performances’.
For the curator of the exhibition -defrayed by Abertis in collaboration with the Damm Foundation-, Gala “is the key character missing from the surrealist board” and the exhibition tries to give this character the role that corresponds to it.
The exhibition also brings together a collection of Russian Gala books, and brings together a collection of dresses and objects, which have had to be restored to be displayed. Claims the facet of ‘dandy’ of Gala: “The dandys were always men, because they were the ones who looked, and here it happens the other way around, because it is Gala that looks”.
The Museum of Modernism gathers the “Gardens of Spain” painted by Santiago Rusiñol
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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Unique occasion in Barcelona, until February 5, to contemplate 63 masterpieces of the painting, from the Thyssen-Bornemisza Museum, exposed with an innovative criterion that makes them even more impressive.
There are two months left to enjoy at CaixaForum Barcelona the Un Thyssen unseen exhibition. A new collaboration of the “la Caixa” Obra Social and the Thyssen-Bornemisza Museum in Madrid, which has made it possible to travel to Barcelona the largest selection of works that have never left their rooms.
Eight reasons not to miss it
1. By unrepeatable, since it is 63 fundamental works of pictorial art that will never return together to Barcelona. And because of these works, 42 have never been exposed in the city or have not been seen in the last twenty-five years. And because it is the first time that the Madrid art gallery authorizes such a large loan of his best works.
2. Because this “little Thyssen” is different. The works are presented in an unprecedented order that allows another perspective. Fra Angelico lives with El Greco and Marc Chagall; Hans Memling with Titian and Lucian Freud; Jan Brueghel with Gustave Courbet and Emil Nolde; And Canaletto with Camille Pissarro and Wassily Kandinsky.
3. Because it is not an anthology of the exposed painters, but a “new reading” of a fundamental part of the Thyssen collection based on five genres: “religious painting, portraiture, still life, landscape and urban landscape”. Chronological order and schools are broken, schemas are broken and authors are mixed, works are sought to dialogue with each other.
The curator of the exhibition and director of the Thyssen Museum, Guillermo Solana explains it this way: “It is a criterion that offers the advantage of being transversal and that allows to compare masterpieces that has never been seen in this way.” This “dialogue” allows, for example, exceptional comparisons. “The Annunciation” of Veronés exposed to the side “The Annunciation” of El Greco. The containment of the first along with the expressive overflow of the second.
4. Because it can be enjoyed with ironic coincidences. The portrait painted by Adriaen Thomasz Key of “William I, prince of Orange”, has by neighbor the “Portrait of a young lady with rosary”, work of Rubens. Well, William’s wife was found in flagrant adultery with Rubens’s father!
5. Because all the works of the show are of great figures, of artists of maximum level. Among them, four of the most outstanding pieces of Thyssen: “Harlequin with Mirror”, by Picasso; “Hotel Room” by Hopper; “Clouds of Summer” by Nolde and “The brook Brème”, by Gustave Courbet that, according to Commissioner Solana is: “The best painting of the nineteenth century in the museum.”
6. Because pictures, like books, are an inexhaustible source of experiences. As many times as you look, so many discoveries of new facets, impressions, feelings.
7. Because CaixaForum Barcelona offers its visitors the possibility of commented visits to the temporary exhibitions and the modernist building with the accompaniment and guide of an educator of the center.
8. And because, in addition to family visits and coinciding with the Christmas holidays, there are family shows, such as “For Christmas, Tales of the World”, “Concerto a tempo d’umore” and “The Trojan War”. A cultural visit in a day for the whole family.