Catalan modernism
Catalan modernism (modernisme català in Catalan) is the historiographic denomination of a mainly architectural style, although it is also developed in other plastic arts (painting and sculpture)., and especially in design and decorative arts, which receive special attention. Although it is part of a general current that arises throughout Europe (known in each country as modernism, art nouveau, Jugendstil, sezession, etc.), in Catalonia it acquires its own distinct personality. Its geographical name is due to its particular relationship with Catalonia and mainly with the city of Barcelona, which were intensifying its differential characteristics within Spanish culture for ideological and socioeconomic reasons, after the resurgence of Catalan culture called "Renaixença" and in the context of spectacular urban and industrial development. From the hands of Catalan architects, this style has nevertheless notable achievements in cities such as Cartagena, Carcagente, Comillas, Novelda, Astorga, Melilla or León and is located chronologically at the end of the century XIX and early XX century; having as significant milestones the Universal Exhibition of Barcelona (1888) and the International Exhibition of Barcelona (1929).
Catalan modernist painters (Ramón Casas, Santiago Rusiñol, Aleix Clapés, Joaquim Sunyer, Hermenegildo Anglada Camarasa, Juan Brull, Ricard Canals, Javier Gosé, Josep Maria Sert, Miguel Utrillo, etc.), closely connected with the avant-garde in Paris, had their meeting place in the Els Quatre Gats tavern. Pablo Picasso came out of the group.
Catalan modernist architects (Elías Rogent, Lluís Domènech i Montaner, Josep Puig i Cadafalch, Enric Sagnier, Juan Rubió, Josep Maria Jujol) developed their own language, from which Antoni Gaudí started to develop his particular artistic universe, very personal Currently, many of these modernist works are exhibited in Catalan museums such as the Museum of Catalan Modernism or the National Art Museum of Catalonia (MNAC).
History
At the end of the XIX century, architectural trends emerged in Europe that broke with traditional criteria and sought new ways of building with you look at the XX century, which gives great importance to aesthetics. This movement is a consequence of the Industrial Revolution, which has taken root in various countries, and of the advances derived from it, such as electricity, the railway and the steam engine, which have completely changed the way of life of the population. and they have originated a growth of the cities, in which they have been establishing industries that run a growing number of bourgeois. Modernism is, therefore, an urban and bourgeois style.
Features
Modernism rejects the unattractive style of industrial architecture of the first half of the XIX century, and develops new concepts architecture based on nature, which consists of the construction materials used, the shapes of the buildings and the figures on their facades. Architects and their sculptors place birds, butterflies, leaves and flowers on the outside of buildings as decorative elements, either as attached figures or as stone or ceramic ornaments. Larger figures, fabulous animals or people are also placed, and colored ceramic elements on the cornices. The windows and balconies have wrought iron bars, which are artistically carved and contain motifs inspired by nature.
The development of modernism is fostered in Catalonia by the bourgeoisie, which feels Catalan and is cultured and sensitive to art. This bourgeoisie sees in this new architecture the way to satisfy their desire for modernization, to express their Catalan identity, and to discreetly reveal their wealth and distinction.
There were more than 100 architects who created buildings in the Catalan modernist style, among which three stand out above all: Antoni Gaudí, Lluís Domènech i Montaner and Josep Puig i Cadafalch.
Some of the works of Catalan Modernism have been listed by Unesco as Cultural Heritage of Humanity:
- of Lluís Domènech i Montaner:
- Palacio de la Música Catalana in Barcelona;
- Hospital de San Pablo in Barcelona;
- by Antoni Gaudí:
- Güell Park in Barcelona;
- Güell Palace in Barcelona;
- Facade of the Nativity and crypt of the Basilica of the Sagrada Familia in Barcelona;
- Casa Batlló in Barcelona;
- Casa Milà in Barcelona;
- Casa Vicens in Barcelona;
- Cripta de la Colonia Güell en Santa Coloma de Cervelló.
- of Lluís Domènech i Montaner:
Catalan modernism expanded its influence in other areas of Spain, which, like Catalonia, experienced great economic development at the beginning of the XX century. In this sense, modernism in Cartagena stands out, mainly by the work of the Catalan architect Víctor Beltrí.
Industry, material use and structural innovations
To explain the reason for the dynamic and disruptive forms used in the various branches of Catalan art, it is important to associate it with the advances in industrialization and with the change in mentality that people were going through at the end of the century 19th and early 20th century span>. Those differences in thinking and acting were being materialized through architecture, painting, writing and other branches of art. Gaudí, a great referent of Catalan modernism, began to innovate in terms of the morphology and structure of his architecture. In this way, he began to observe and inhabit new architectural forms and interior spatialities. It was known that the optimal geometry for an arch supporting only its own weight is that of an inverted catenary (discovered by Hooke in the 17th century) but the semicircular arch was still used. Gaudí was one of the first Westerners to use catenaries in his works, in addition, this form required less material and was used for building finishes.
Industrialization played an important role in the development of modernism in various countries (Jugendstil, Art Nouveau, etc.). Greater importance began to be given to the design of the products that surround us on a daily basis. And with this, it was sought that these objects are within the reach of anyone, which was difficult due to the fact that it was limited to the use of available technology. Novelties derived from the industrial revolution were added, still in the process of expansion, the world was advancing at a speed never seen before. The context was marked by great events that revolutionized the world: the phonograph, the automobile, the gramophone, the cinematograph, the airplane and all kinds of machinery. Artists and designers appreciated the techniques available at the time, such as mechanical reproduction, lithography, and poster art.
The architects took advantage of the new materials and reconverted the use of the already known ones. Some common in modernism were iron (very present in various works, leaving the blacksmithing exposed), ceramics, glass, crystals, wood, plaster, stone, bricks and paint among others, they were also he reintegrated sculpture into architecture as one of its main qualities. You begin to work with the materials in a more profitable way, distributing them in a more practical way. The progress of science allows us to use all these materials in the most convenient way and to measure their resistance. The diffusion of the scientific spirit and the aspiration of architects to verify the limits of use of materials and traditional construction systems stimulate various experimental investigations. The scientific search works, on the other hand, in the construction technique, modifying the instruments that have to be used to project. The two main innovations originated in France: the invention of descriptive geometry and the introduction of the metric system.
Influences
Throughout Europe, the availability of technology and materials in the 19th century opened new paths for Catalan architecture. Among them, the research of builders and architects was deepened, to achieve the stability of thin structural metal components using the construction resources of traditional masonry.
In addition to giving stability to the entire structure against horizontal forces, the masonry walls will support another important load: character, which is the basis of the architecture of the century XIX, linking its function and urban context.
Among the European architects of the late XIX century, there would be many reflections aimed at understanding the Gothic structures, advocated by Viollet- le-Duc as an example of metallic structural design incorporating masonry elements. In this way, new proposals began to emerge on the ways in which to use iron in architecture.
Thus, for example, appears the final project of Josep Puig i Cadafalch that casts the shadow of Viollet. This consists of an arch suspended from the catenary, where the weight is evenly distributed. Among other structural details, there is a search for iron as a plastic form. The character of the project is determined by the shape and materials of the structure, such as the Castle of the Three Dragons for the Barcelona Exposition of 1888, the work of Lluís Doménech i Montaner.
Viollet-le-duc highlights that iron is ideal for achieving a combination of stability and space, and that it is possible to make use of traditional materials by exploiting their properties. This resonated with numerous architects seeking to implement traditional local techniques in search of their own architecture.
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