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You can discover the history of Tortosa in one of the most significant buildings of the city. This is the old abattoir, a modernista work by the architect Pau Monguió, built on land reclaimed from the River Ebro. In 2012, on the centenary of the Museum of Tortosa it was moved and advantage was taken of the pavilions to display a completely renovated Museum project.

The museum has a collection of more than 4,000 pieces among which include prehistoric flint tools, Roman funerary stones, Andalusian pottery, Gothic capitals, signs of flooding, the tools of one of the last potters of Tortosa, and paintings and sculpture by artists from Tortosa, among others.

The tour of the permanent exhibition provides information on the history of Tortosa and its surrounding regions, from the prehistoric times to the present day. Remains from Ilercavonia, Dertosa or Turtuxa are displayed. You can see the most representative pieces from each historical period from the museum’s own collection and from other museums that have made loans to the collection, such as the Prado Museum, the MNAC (National Art Museum of Catalonia), the National Archaeolgical Museum of Tarragona and the Museu de les Terres de l’Ebre. The contemporary work of the artist Leonardo Escoda interacts obliquely with the space and the content of the museum.

The idea of creating a museum in Valls goes back to 1909. From that time onwards, it has received donations and loans from patrons such that it now holds a collection of over a thousand works of Catalan art from the last 120 years, considered one of the best in Catalonia.

Located in the Casa de Cultura since 1970, its premises were completely refurbished in 1993. Taking a chronological journey through the collection, there are examples of Realism (F. Galofré Oller, Josep Marqués, Baldomer Galofré) and Modernism and Impressionism (Isidre Nonell, Eliseu Meifrén, Enric Galwey, Joan Llimona, Francesc Vayreda) and Noucentisme (Joaquim Sunyer, Enric Casanovas). One of the jewels of the museum is the collection of paintings, sculptures and jewellery by Manolo Hugué, linked to the early avant-garde.

The museum also has a good representation of the post-war artists (Josep M. Mallol Suazo, Josep Amat, Joan Miró, Antoni Tàpies, Joan Brossa, Apel·les Fenosa, Modest Cuixart).

Notable is its photography collection, thanks to the loan made in 1998 by the photographer Francesc Català-Roca. It is completed with works by Pere Català Pic, Pere Català Roca, Colita, Xavier Miserachs, Leopoldo Pomés and Oriol Maspons.

In addition to the art collection, the Museum of Valls also holds an important archaeological collection focused on the Iberian world, available to researchers, and an ethnographic collection of the castellera (human towers) which will become part of the future Museu Casteller de Catalunya (Human Tower Museum of Catalonia).

To understand what the twentieth century meant at an artistic level for the western regions of Catalonia, you should visit the Museu d'Art Jaume Morera, dedicated to modern and contemporary art in Lleida. Various artistic disciplines are represented here: painting, sculpture, architecture, drawing, print-making, graphic design, photography, video and even comics, with a clear predominance of local artists.

Opened in 1917 in the former Sant Lluís market, it is currently located in the Casino Principal building in Lleida pending the construction of its new headquarters. The painter Jaume Morera i Galícia, who donated his art collection and acted as patron, played a very prominent role in the initial tasks of putting together the museum's art collection. In gratitude for his collaboration, the Museum was named after him.

The collection ranges from the turn of the nineteenth century up to the present day: from Baldomer Gili, Xavier Gosé and Santiago Rusiñol to Joan Brossa and Albert Bayona. One of the most important parts of the collection, however, concerns the Avant-garde of the 1930s, in which pride of place is given to 190 works by the sculptor Leande Cristòfol such as De l’aire a l’aire (From Air to the Air, 1933) or Nit de lluna (Night of the Moon, 1935).

In 1927, the exiled Tsarist Colonel, Nicolai Woevodsky and his wife Dorothy Webster, an English Aristocrat fond of decorating, were looking for a Mediterranean paradise in which to settle down. Close to Calella de Palafrugell, on a cliff above Cap Roig, they built a castle which would connect them to this spot for the rest of their lives (they even asked to be buried there). The building was surrounded by an idyllic botanical garden, considered one of the most important in the Mediterranean.

Nicolai himself designed the mansion in the neo-medieval style (imitating the Monastery of Poblet), construction of which began in 1931 and was completed in 1975. It was popularly known as "Cal Rus" (the Russian House) after the origins of its owner. However, the couple always lived at the property which gives access to the botanical gardens. This is the main legacy of Dorothy Webster. She and a team of gardeners from the region took charge of preparing the seven hectares of land in order to plant various species. In 1935 there were more than 500 species of Mediterranean, tropical and subtropical flora.

When the couple died, the estate passed to the Fundació Caixa Girona and then to the "la Caixa" Foundation, which turned the land into a sculpture park for contemporary artists with works by Jorge Oteiza, Jaume Plensa and Xavier Corberó. Every summer the gardens are home to a prestigious concert series: the Cap Roig Festival.

The landscapes of Garrotxa have been a source of inspiration for several generations of artists, as a visit to this museum makes clear. Located on the third floor of the eighteenth century hospital building, the Museum of Garrotxa (Olot) displays the artistic activity of the region between the late eighteenth and mid-twentieth centuries, placing the main emphasis on the Olot landscape school of painting. This movement from the second half of the nineteenth century, led by the siblings Joaquim and Marià Vayreda and Josep Berga i Boix, introduced the model of the Barbizon school of landscape painting to Catalan art.

Works by local artists such as Miquel Blay, Josep Clarà, Ramon Amadeu, Josep Berga i Boada, Melcior Domenge, Iu Pasqual, Francesc Vayreda, Xavier Nogués, Leonci Quera, Josep Pujol, Xavier Gosé and Laureà Barrau, among others, form part of the museum's collection.

The collection is completed with the presence of artists from outside the region, mainly from the turn of the 19th century, such as Enric Galwey, Joan Llimona, Joan Brull, Joaquim Mir and Ramon Casas, who is given pride of a place in the museum and whose painting La càrrega (The Charge), a large canvas which, at the time, was very controversial, has been in the museum’s collection since 1919. Also noteworthy is the collection of Modernista posters.

In 2016, the permanent exhibition was expanded with the donation of 13 works from the MNAC (Museu Nacional d'Art de Catalunya) by artists who were influenced by the Olot landscape painting school, such as Rafel Benet, Ramon Martí Alsina and Modest Urgell, which allows a more comprehensive reading of the museum collection to be made.

Designed by the artist and engineer Miquel Utrillo between 1910 and 1918, the Maricel Palace became, from its very opening, a classic of the Noucentista style. Currently, the complex maintains its great artistic and architectural value intact and has become one of the most emblematic buildings in Sitges.

This monumental complex, inspired by the beauty of the ancient and modern folk art, was commissioned by the American magnate, collector and philanthropist Charles Deering (1852-1927), who wanted a residential building in which to house his magnificent collection of Hispanic art. With the reform of the old Hospital de Sant Joan and the subsequent annexation of several fishermen's houses on Carrer Fonollar, Utrillo built an exceptional ensemble which received the praise of artists and intellectuals of the time. For Joaquim Folch i Torres, the Maricel Palace was "the fruit of the culmination of modern Catalan civilisation".

With austere lines and respecting the characteristic white colour of the area, the exterior of the Palace has several terraces decorated with local ceramics and projecting above is the tower of Sant Miquel. It is crowned by a series of battlements and the façade has a Gothic sculpture of the Saint which came from the bridge in Balaguer. Throughout the building there is the characteristic emblem of the sun in red rising over the blue of the sea, the symbol of the palace designed by Utrillo himself.

Inside, the Palace is arranged around the Gold Room, the Blue Room, the Chapel Room, the Ship’s Room and the cloister – which offers a wonderful panoramic view of the Mediterranean. Of the decoration, notable items include the sculptural elements by Pere Jou and the murals in the entrance hall by Josep M. Sert, inspired by the Great War. The complex is completed with various artistic elements that combine aesthetics and functionality, the work of numerous local artisans.

Disagreements between Deering and Utrillo meant the end of the initial Maricel Palace project. However, with the recent restoration of the architectural and conceptual whole and the reorganisation of the museum collection by the Maricel Museum, this extraordinary complex has had its vocation restored as a place dedicated to the arts, heritage and culture.

Jacint Verdaguer, author of L'Atlàntida and Canigó, and one of the great architects of the revival of Catalan as a literary language, lived part of his childhood in the current Verdaguer House-Museum in Folgueroles. Opened in 1967, it is one of the oldest literary museums in Catalonia.

The house is from the 17th century and is divided into ground floor (originally intended for the agricultural tools), first floor, attic and a courtyard at the rear. It is located at 7, Carrer Major in Folgueroles, next to Cal Doctor (no. 9). When the young Verdaguer lived there, the two houses formed a single building.

The project dates back to the early 20th century, when the idea arose of creating a museum in Folgueroles dedicated to the memory of Verdaguer. The collection - brought together by the Association Amics de Verdaguer (Friends of Verdaguer Association) with the advice of Eduard Junyent and Josep M. Garrut (curators of the MEV - Epsicopal Museum of Vic, and the MHCB - Barcelona City History Museum, respectively) - is arranged into three sections: biographical, with items that belonged to the poet; ethnographical, with various objects of everyday life (on the first floor, the domestic rooms of a mid-19th century house have been preserved); and the artistic, with pieces by artists such as Duran fields, Pahissa and Perejaume. Preserved in the library, are some 800 items among which are books, periodicals, graphical, sound and audiovisual materials.

Joan Maragall was one of the leading figures of modernista poetry, though he also wrote prose. He produced more than 450 texts, including articles, essays, speeches, biographical sketches and prologues. The whole of his documentary legacy is in the Joan Maragall Archive, a documentation centre located in his final residence, in the district of Sant Gervasi in Barcelona.  Currently this building also serves as a House-Museum, allowing one to see the most intimate sides of one of the great names of the Catalan Renaixença.

The Joan Maragall Archive brings together a significant documentary collection about the figure and work of the poet and about Modernisme as a whole. It was founded in 1911, after the death of Maragall, at the behest of his widow. In 1993, the centre was given over to the Biblioteca de Catalunya (National Library of Catalonia).

Students of the work of Maragall will find a complete collection of manuscript works, among which there is extensive correspondence. The archive also maintains the personal library of the poet with a thousand volumes and has all of the editions of his works. In addition to the documentary collection itself, there is the library of criticism of the work of the writer, original scores of his poems, the iconographic collection and some 10,000 press clippings.

Although the building underwent modifications after its refurbishment in 1957, various objects of the poet and his family are preserved here. Visitors can tour the entrance hall, the great hall, the dining room, the study and two bedrooms, in which you will find the original furnishings, as well as photographs and works of art by modernista artists such as Rusiñol and Casas.

Stroll around the Artigas gardens of La Pobla de Lillet and invariably you will be reminded of Park Güell in Barcelona. This is because they are the work of the same mind: Antoni Gaudí.

In 1905, the modernista architect who, having stayed for a few days at the home of the textile industrial Joan Artigas i Alart, wanted to thank him for his hospitality by designing a naturalistic garden for an area (known as the Font de la Magnèsia) which was next to his factory, on the banks of the river Llobregat. Thus, it is as though it copied – on a small scale – the fundamentals of Park Güell, where he was working at that time. In this case, however, it is not an urban garden. Gone, therefore, are the great open spaces and colourful ceramic tile shards or trencadis. Everything is made largely with rocky stone and mortar, taking advantage of the vegetation of the area. It is as though the park had pushed its way between nature.

Along the route the visitor will find a waterfall; an artificial cave with catenary arches from where the Font de la Magnèsia gushes forth; fountains; two stone bridges; a square; and, at the highest point, the Glorieta or gazebo, which acts as a lookout point.

Gaudí's universe is present in every detail of the complex. Jardinières, handrails, benches ... Everything imitates the forms of a fanciful nature. Nor does it lack Christian references: thus there are the sculptures of the eagle, the lion and the bull, distributed around the complex, together with an angel that has now gone, which are the symbols of the four evangelists and are arranged in the shape of a cross on the plan of the garden.

While the Casa Batlló shows the excessive imagination of Gaudí and the Casa Amatller is a brilliant reinterpretation of the Gothic style by Puig i Cadafalch, the third element of Barcelona’s Mansana de la Discordia (Block of Discord), Casa Lleó i Morera, represents the elegance of details. Working on the building were the forty best craftsmen of the period, following the orders of Lluís Domènech i Montaner.

In 1902, Francesca Morera commissioned the modernist architect to remodel the property she had inherited on the Eixample. When the owner died, the work was continued by her son Albert Lleó i Morera, who gave his name to the building. In fact, allusions to the family surname are repeated in the images that decorate the building throughout.

Domènech i Montaner added a floor and a tempietto on the roof. This tower, in line with the main floor balcony, simulates a non-existent symmetry in the building. Especially notable in the richly decorated façade, are the female figures by Eusebi Arnau. The most significant example are those on the first floor balconies where there are four women who carry allegorical instruments of modernity in their hands - photography, electricity, the phonograph and telephone.
Once inside the building, both the lobby and the entrance hall of the main floor are designed to impress the visitor. In the latter, the arches and doorways have spectacular carved reliefs. One of them is the story of the lullaby, La dida de l’infant rei (the Nurse of the Infant King), a tribute to the son of the owners who died as a newborn.

Much of the work of Domènech i Montaner’s team of artisans is concentrated in the two large living rooms. Notable are the stained glass windows: eight panels of mosaic and porcelain reliefs depict rural scenes with characters from the family. The furniture and dado panels that were in these rooms are preserved in the MNAC (National Art Museum of Catalonia).

The Casa Lleó i Morera, like other bourgeois properties, was a "house for rent" (the family of the owners lived on the main floor and the remaining floors were rented out). Even so, the desire was that the same exacting building standards and aesthetic quality should be maintained over all the floors.