The participation of the main artists, musicians and writers of the 19th century in the activities that the artist Santiago Rusiñol organised at his home-studio in Sitges from 1893 has been turned into a veritable temple of Modernisme.
It was so named Cau (hideout), because they wanted it to be a haven for lovers of poetry, and Ferrat (Iron), because he had a collection of wrought iron that he had collected on his travels around Catalonia. The building is now the Cau Ferrat Museum, one of the main museums of the region of Garraf.
It brings together the collections of ancient and modern art put together by the Catalan artist and writer. Painting, drawing, sculpture, wrought iron, ceramics, glass and furniture form a unique artistic collection, which includes some of the sculptural work of Rusiñol, as well as artists such as Casas, Picasso, El Greco, R. Pichot, Mas i Fondevila, Zuloaga, Regoyos i Degouwe de Nucques, Enric Clarasó, Manolo Hugué and Pau Gargallo, among others.
The Cau Ferrat Museum building was refurbished between 2010 and 2014 in order to strengthen the structure and restore the original historic elements.
Located in the Sierra de Godall of Ulldecona, the Abrics de l'Ermita (the hermitage rock shelters) are the most important set of Levantine cave paintings in Catalonia and have been on the Unesco World Heritage list since 1998 and form part of the Route of Rock Art.
In this exceptional complex, the Neolithic man drew a world of beliefs or mythical stories related to the hunt. The steep cliffs of Godall were a place conducive to capturing animals and so you can see in the paintings through the various species of animals in the area, of the archers and, even, of divinities and specialists in charge of carrying out rituals. Experts say that the Neolithic society used the cave painting as a means of communication with the aim to point out places of meeting and celebration of certain rites.
The first paintings of the Sierra de Godall were discovered in 1975 in a cave in the ravine. Currently we have located up to fourteen shelters decorated by man 8,000 years ago. Just next to the shelters, the Abrics de l’Ermita Interpretation Centre for Rock Art, created by the Museum of Archaeology of Catalonia, allows the visitor to discover the artistic and historical heritage of Ulldecona through graphical, photographic, audiovisual resources and replicas of the paintings.
Man has always needed to express his concerns and thoughts. When writing did not exist, artistic expression was the perfect resource to convey these ideas. The set of Rock Art of the Mediterranean basin on the Iberian peninsula consists of 757 sites with paintings, and was declared a World Heritage Site in 1998. This is the largest set of rock art sites in Europe. In Catalonia there are the hermitage shelters of the Serra de la Pietat (Ulldecona), Roca dels Moros (Montsià) and the Cave of Vilasos or Els Vilars (Os de Balaguer), among others.
The humans who inhabited the coastal and interior mountains of Aragon, Catalonia, Valencia, Castile-La Mancha, Murcia and Andalusia chose shallow caves and shelters in which to paint and engrave symbols and scenes from their daily life. In every way, the decorated walls also raise many questions about their beliefs, organisation and other aspects which are difficult to understand.
The paintings of the Mediterranean basin were made from the late Palaeolithic period up to the bronze or the iron age. Classified as Levantine art, they express ideas that until that point had been non-existent: man showing his relationship to his environment, the links with nature, beliefs and, at the same time, expressing his power and intervention in the environment in which he lives.
The creators of the cave paintings used different techniques and colours, creating various styles that scholars have classified as naturalist, schematic and macro-schematic. These last two were imposed in the final phase, and tend towards an increasingly accentuated stylisation of the expressions and by an increasing prominence of signs and symbols. The most widely used colour is red, in all its varied tones.
In 1900, the businessman Eusebio Guell commissioned Antonio Gaudi with a building consisting of 60 single-family homes for affluent families on the outskirts of Barcelona. Despite the project's modernity, it was a commercial failure that forced its promoters to close it in 1914. It is currently one of the most important public parks in Barcelona.
Gaudí experimented with architectural forms closely resembling the landscape and nature . The chosen site, with almost no vegetation, was stony and with significant ground irregularities. Gaudí took advantage of these characteristics by creating winding paths and using materials from the area, such as stones, to build covered spaces and porches supported with sloping columns.
Perhaps the most spectacular part of the park is a double set of steps with a central fountain in the shape of a dragon , all of which is covered in colourful "trencadís" mosaic (by the architect Josep Maria Jujol). The double set of steps leads to a large covered area that projects outwards like a large market, and is supported by 86 majestic Doric columns. The ceiling is adorned with colourful medallions. Above this area there is a large square, bordered by a long bench that defines an original meandering path.
The house that was built as a model of the dwellings of the future housing estate, and that was called Torre Rosa in reference to the Virgin of the Rosary, was inhabited by Antoni Gaudí himself from 1906 to 1925.
The Torre Glòries (The Glòries Tower), a modern office building located at the entrance of the 22@ (the technological district of Barcelona), has altered the city’s skyline since 2005. It is the work of French architect Jean Nouvel, who is inspired by the images of a geyser, the architecture of Gaudí and the mountain of Montserrat. A contemporary lighthouse that attracts the interest of locals and tourists in equal measure.
Rising from two elliptical, concrete cylinders, one inside the other, the Torre Agbar measures 142 metres high and is covered by two "skins". The innermost is an aluminium plate painted with earth tones, blues, greens and greys. The outermost is a transparent and translucent wall made up of nearly 60,000 sheets of glass. Thanks to this double façade an air chamber is created that allows the heating of the building to be delivered and provide ventilation. The glass used are pieces of a brie-soleil, a system that controls the sun's rays depending on the outside temperature.
These characteristics make the Torre Agbar an original, intelligent and sustainable building, the three principles on which Nouvel’s project is based. It is especially notable on weekend nights, when 4,500 points of LED light (the most efficient and least polluting system) illuminate the façade with colour.
With more than 300 works, the Fundació Antoni Tàpies (Barcelona) has the most comprehensive collection of the Catalan artist, which reflects all the creative periods of the artist. Driven by Antoni Tàpies, the Foundation is a Museum and cultural centre that also works for the study and promotion of contemporary art.
Including paintings, sculptures, drawings, prints and books, it displays all aspects of Tàpies’ artistic activity. The collection includes a selection of drawings and portraits from the 1940s (Creu de paper de diari - Newsprint Cross), an important example of the matter works of the 1950s and 1960s (Forma negra sobre quadrat gris - Black form on grey square) and a significant representation of the object works of the late sixties and early seventies (Palla i fusta - Straw and wood).
The visitor will discover the different typologies, techniques and materials used by Tàpies: works made of rubber-foam and spray, varnishes and sculptures in refractory clay and objects and sculptures made with metallic plates or bronze.
The Fundació Antoni Tàpies is located in a modernista building designed by the architect Lluís Domènech i Montaner. This construction is unique as it was the first in the Eixample district to combine the use of exposed brick and iron within the urban setting. Currently the building is crowned by the Núvol i cadira (Cloud and chair) sculpture by Tàpies himself, a work which has become a symbol of the Foundation.
The home of the industrialist chocolatier Antoni Amatller is one of the greatest examples of the Catalan modernist architecture and one of the few that still have the ornamental richness of this style promoted by the bourgeoisie. Located on Passeig de Gràcia in Barcelona, it is the work of the architect Josep Puig i Cadafalch who was commissioned to remodel the building, acquired by the industrialist, from head to foot.
The Casa Amatller stands out for the composition of the façade and for the restructuring and redecoration of the ground floor and the main floor, a reflection of the originality of the modernista architecture and decorative arts. The façade is a colourful composition that incorporates sgraffito on a white base, ochre and red ochre, glazed tiles, green woodwork, black wrought iron and grey stone from Montjuïc. In addition, there is unique sculptural decoration, notable for the relief of St. George and the Dragon, designed by Eusebi Arnau. The tiered gable at the top of the façade is reminiscent of the classic shape of a tablet of chocolate and is one of the most characteristic features of the building. Inside, one must admire the antique furniture, the columns, the floor, the ceilings and the lamps, original decoration of the residence.
Currently, the Casa Amatller is home to the Amatller Institute of Hispanic Art. It has about 400 objects of Roman, Medieval, Baroque and Modernista periods. But above all it is noted for its documentary resources. It maintains a large photo library specialising in Hispanic art, with about 350,000 items illustrating and cataloguing the works of art. Its consultation is essential for any researcher in the history of the art.
In this small valley in the Pyrenees there are a group of exceptional churches and chapels which stand as both the cradle and the ultimate expression of Catalan Romanesque art. Declared a World Heritage Site by Unesco in 2000, the Vall de Boí group comprise Sant Climent and Santa Maria in Taüll, Sant Joan in Boí, Santa Eulàlia in Erill la Vall, Sant Feliu in Barruera, Sant Quirc and Church of the Nativity in Durro, Santa Maria in Cardet and the Church of the Assumption in Coll. All the churches can be visited except for Sant Quirc in Durro, and the Church of the Assumption in Coll.
In the Lombard Romanesque style, the churches of the Vall de Boí are functional, simple temples with one or three naves, built with small granite ashlars. The roofs are wooden-beamed or barrel-vaulted. And these churches are the artistic reflection of an austere society, tied to the natural environment and strongly hierarchical.
The interiors of the churches were decorated with mural paintings and carvings. The hieratic figures (with images of the Virgin and the Saints and the dominant figure of the Pantocrator) and the play of colours characterise symbolic paintings of great creativity which represent one of the highest achievements of Romanesque art at an international level.
Since the late 19th century and into the early 20th century, this Romanesque group fascinated the intellectuals of the Catalan Renaixença. Josep Puig i Cadafalch, among others, and institutions such as the Institute of Catalan Studies contributed to the appreciation and preservation of the art of the Pyrenees.
Today, a good many of the paintings, carvings and furniture are kept in different museums, particularly in the Museu Nacional d’Art de Catalunya (MNAC). Even so, many of the churches have important fragments of mural paintings and original Romanesque sculptures, as well as reproductions of those which are preserved in museums. In the case of Sant Climent de Taüll, a modern mapping recreates the original frescoes of the apse and offers an immersive experience of what it was like at the time of its creation. At the same time, a visit to this group of churches can be complemented with a visit to the Romanesque Centre of the Vall de Boí.
The Palau de la Música Catalana and the Hospital de la Santa Creu i de Sant Pau, works of the architect Lluís Domènech i Montaner, are two emblematic buildings of Catalan modernista architecture. Located in the city of Barcelona, they were built in the early years of the 20th century and have been on the Unesco World Heritage list since 1997.
The two buildings are good examples of modernista architecture, an artistic movement that arose in Europe in the late 19th century and which, in Catalonia, and especially in Barcelona, became widespread.
Both the Palau de la Música Catalana and the Hospital de la Santa Creu i de Sant Pau are public buildings in which tradition and modernity are fused together. They show a significant renewal of traditional techniques and the incorporation of new architectural solutions. To their architectural value is added beauty and decorative exuberance, becoming works of universal artistic and historical significance.
These constructions masterfully display the essence of modernisme and the period in which they were built: beyond the artistic side, he represented an ideological movement, based on the modernisation of the country and the search for an identity in a historical context in which civil society, especially the bourgeoisie, became the most loyal sponsor.
The work of Antoni Gaudí is the most important example of modernista architecture, the artistic movement that extended from the end of the 19th century to the beginning of the 20th century. Gaudí, the brilliant architect and artist, made a very personal interpretation of Modernisme, with architectural, decorative and spatial techniques full of creative freedom and innovation.
Park Güell, the Palau Güell and the Casa Milà were declared a World Heritage Site in 1984. Sixteen years later, five more works were included which make up a collection that is representative of the essence and the evolution of the work of Antoni Gaudí. Thus, the works declared a World Heritage Site are: the Park and the Palau Güell, Casa Milà, Casa Vicenç, the Façade of the Nativity and the Crypt of the Sagrada Familia, Casa Batlló and the crypt of the Colònia Güell.
Gaudí was a complete artist, who conceived architecture as a complete work of art, in which it is not just buildings that are important but also all the interior details. Heir to a certain way of thinking from figures such as Ruskin, Morris or Viollet-le-Duc, Gaudí in turn became an inspiration for future artists such as Le Corbusier and Dalí.
The work of Antoni Gaudí is concentrated fundamentally in Catalonia, although he worked also in other places such as Comillas (Cantabria), Astorga and León (Castilla y León) and Palma de Mallorca.
His creations are framed within the context of Modernisme and the Renaixença, cultural movements that took place within the modernity and progress of the period, but which also included strong feelings towards tradition and identity.
