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Public art in Barcelona

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Poema visual Bàrcino (1994), de Joan Brossa, Plaça Nova de Barcelona.

Public art in Barcelona consists of a designated group of monuments and outdoor sculptures that adorn the city, which in conjunction with other elements such as the architecture, and network of museums, parks and gardens, provides an artistic stamp on the Catalan capital.[1]

The heritage of public art in the city is extensive, as the majority of monuments and statues situated in public places date from the 19th century onwards. The first monument situated on the public road from a municipal commission that survives to this day is the Monument to Saint Eulàlia, to Pedró Square from 1673; other works of public art are situated to the interior of niches, on the façades of public buildings, as well in many cases private commissions that have become public later. It is necessary to remark that until the 19th century the city was enclosed by walls of medieval origin, in having the city the consideration of defense, which limited growth, and the little available space used preferably for the daily activities of the population.[2]

The situation changed with the demolition of the walls and the donation to the city of the Fortress of the Citadel, events that favored the urban expansion, and that it reflected in the Eixample project, elaborated by Ildefons Cerdà. Another significant increase of the surface of the Catalan capital was the annexation of several municipalities in the early 20th century. All this supposed the adequació of the new urban spaces and an increase of the artistic municipal commissions to the public roads, that were favored equally for several events celebrated to the city, how the Universal Exhibition of the 1888 and the International of the 1929 or, more recently, for the Olympic Games of the 1992 and the Universal Forum of the Cultures of the 2004.

General aspects

Columbus Monument, Barcelona (1888), Pla del Portal de la Pau, one of the most emblematic monuments of Barcelona.

The public art in Barcelona is under the charge of the Area of Urbanism, Infra-Structures, Medium Ambient, Systems of Information and Telecommunications of the City council of Barcelona. With the city architectural heritage it enjoys a special protection in virtue of the Law 9/1993 of the Catalan Cultural Heritage, which guarantees the protection, conservation, research and diffusion of the cultural heritage, with several degrees of coverage: level A (Cultural Work of National Interest), level B (Cultural Work of Local Interest), level C (Work of Urban Interest) and level D (Work of Documentary Interest).[3]

The monumental public sculpture has a relevance to the fabric of a city of big dimensions, since the main urban guidelines are logically the spaces of public use, the infrastructure, the transport, the housing, the measures of public health and public security, the management of the ambiance, and other necessary factors for the convenience of the citizens to their natural and social surroundings. Yet, the natural sensitivity of the human being for art and beauty has motivated the habilitation of some spaces of aesthetic character to his daily surroundings, to configure a favorable vital space and pleasant for the convenience and the social relations. Another factor at the time of conceiving monuments and public spaces of artistic nature is the commemoration of characters and historical episodes that for their relevance merit a special record by the population that the tribute, and that through the public institutions, or for private initiatives or associations, promote the creation of several typologies of monuments and statues in the urban field.

Urban planning includes several disciplines, how architecture, engineering, gardening, industrial arts and, in some measure, sculpture. The urbanism relates closely with several fields and disciplines like the political, the economy, the history, the geography and the sociology, for what any one planning of urban character requires the conjunction of multiple disciplines, institutions for the maintenance of the urban public space.[4] In the field of urban planning, several factors are taken into account, how the physiological, the sociological and the psychological. In these last it would be necessary englobar the aesthetic needs of the individual, the existence in some surroundings that procuri a dimension of retreat and rest, of evasió of the problems quotidians, of a true component of beauty that esmorteeixi the hardness of some hostile surroundings how is sometimes the urban field.[5]

In the planning of the urban monuments, it is necessary to have in consideration several aspects, how the placement of a work of public art has to be located in some surroundings of some relevance, that enhance the plasticity of the work, and has to facilitate a good prospect, for the correct vision of the group from several angles. Generally, the most used spaces for works of public art are parks and gardens, the squares and crossings of streets —especially if they are walks or avenues—, or in the field of public buildings, their entrances, in playgrounds or in niches in walls.[6]

The monuments and public works of art can be classified in several types: until the 19th century the most used were the column, the arch of triumph and the equestrian statue, three types of memorial monuments inherited from Roman art. Later they would be arising several modes, since the sculpture placed or the situated in niches, going through busts, medallions, sources, steles and pedestals, friezes, reliefs, plates, gravestones and other elements, until varieties more modern like installations, integrated works to the nature (land art), works realised with new technologies (video, laser) or any mode conceived with multidisciplinary elements.[7]

Another aspect to take into account is the material, of which depend several factors how the appearance, the durability or the conservation, in addition to being an essential point to take into account at the time of conceiving the work, especially for what refers to his economic cost and to the execution time. Most often used are: wood, plaster, terracotta, ceramic, stone, marble, bronze, iron, steel, concrete and aluminium.[8]

Finally, it is necessary to have in consideration the thematic and the iconografphy of works of public art, with special attention to the two main elements constituting a homage or dedication: a character or an event. In this category are: saint or religious, gods or mythological characters, symbols and allegories of abstract concepts (Fame, Glòria, Industry, Justice, Freedom, Republic), kings and historical characters, political, military, employers, doctors, scientific, writers, artists, musicians, etc. Public artworks are used to commemorate the most highlighted episodes of the history of the city, since battles, wars and revolutions and tragic facts, epidemics and natural disasters, or in contrary sense, several episodes of special significance for the city. All this was treated in a realistic.[9]

History

Middle Ages

The first vestiges preserved of public works of art proceed from the Middle Ages, in which the city formed part of the Crown of Aragon and was an important maritime axis and commercial of the Mediterranean. In the 13th century, the Council of One hundred arose, one of the first public institutions of Barcelona. The center of the city was increasing since the primitive urban core —what nowadays is the Gothic Quarter—, and in the 14th century arose the El Ravalneighbourhood. Barcelona had then some 25,000 inhabitants.[10]

From this time there are no public monuments themselves, but some fountains and sculptures placed in niches in public buildings in the city. We should mention in this regard the sculptures placed in front of the Gothic Town House -now on a side street primarily with respect to the facade, made around 1400. Bargués entrusted to Arnau, the façade typical Gothic ornamentation, and above the front door stood a pedestal covered with a canopy of San Rafael figure by Pere Sanglada, made in stone with bronze wings. However, both sides were pedestals with figures of St. Severus, bishop of Barcelona, and Santa Eulalia, employer of the city; the first known artist, was original in 1550, but the 1888 collection placed a copy made by Joan Flotats; second, equally anonymous, is from the same date and still retains its original site. Another figure was placed in a public building of the Palau Sant Jordi of the Generalitat, made 1418 by Pere Johan, an equestrian figure in high relief located in a medallion surrounded by a railing crowned pinnacles and surrounded by gargoyles.[11]

Renaissance

Monument to Santa Eulalia (1673), stone square, the oldest preserved in the city.

During this period, Barcelona became part of the new kingdom of Spain emerged from the union of the crowns of Castile and Aragon. Overall, it was a time of some economic and cultural decline, marked by social conflicts and war as the Reapers' War and the War of Succession. The city still corseted in their walls -the only expansion was to the beach, the district of Barceloneta, despite the end of the period had almost 100,000 inhabitants. Artistically was the Renaissance and Baroque styles which were built numerous palaces and churches.[12]

As in the previous period artwork of public consideration fell initially fountains and statues placed in public buildings, until the end of the seventeenth century arose the first public monument isolated in nature, the Santa Eulalia. Also noteworthy in this period the crosses, two of which are preserved: the St. Andrew's Road Ribes original 1565; and Santa Ana, the square Ramon Amadeu, designed in 1608 by Joan Molist.[13] Regarding sources only be preserved in Portaferrissa Street eponymous original 1680 and decorated with ceramics in 1959, made Guivernau by John the Baptist.

As in the previous period artwork of public consideration fell initially fountains and statues placed in public buildings, until the end of the seventeenth century arose the first public monument isolated in nature, the Santa Eulalia. Also noteworthy in this period the crosses, two of which are preserved: the St. Andrew's Road Ribes original 1565; and Santa Ana, the square Ramon Amadeu, designed in 1608 by Joan Molist.[14] Regarding sources only be preserved in Portaferrissa Street eponymous original 1680 and decorated with ceramics in 1959, made Guivernau by John the Baptist.[15]

With regard to statues in public buildings, it should be noted all of the Hospital of the Holy Cross, the courtyard of which there appears a cross placed on a Solomonic column, by Bernat Vilar -destruïda 1691 during the Civil War, the present is 1939; in the same courtyard are the figures of San Roque and Caridad, datable about 1638, artist unknown; moreover, the courtyard of the hospital's Convalescent Home is a statue of St. Paul, the work of Louis Bonifaç Old 1679; lastly, in a niche on the corner of Calle del Carmen is home Egipcíaques with another St. Paul, the work of Dominic Young Rovira 1668.[16]

Other works of public buildings at the time were made for various guilds, all located in niches: St. John the Baptist located in the Square of Assaonadors Marcús, promoted by the union of tanners, the work of unknown artist 1628 rebuilt in 1958 by Josep Miret; sponsored by the Saint Michael the Archangel Guild resellers (shopkeepers) located in the Plaza del Pi, the work of Salvador in 1685 and rebuilt by Jaume Escala Martrús 1957; and the figure of Our Lady of the Angels placed on Via Laietana, by Joan Enrich built in 1763 by the union of sailing (veils of silk weavers).[17] Fountain of Neptune (1784), by Joan Enrich. Chapuy lithography, etching section of the Library of Catalonia.

The oldest public monument preserved in its original location in the city, despite the work itself has been restored several times and can no longer be considered as originally monument is Santa Eulalia, employer of the city, erected in the square stone 1673. it was made by master builder Pares Benedict with a wooden statue of the saint by Josep Darder, who in 1685 was replaced by another marble Tramulles Lazarus and Louis Bonifaç. In 1826, the base of the monument was turned into a fountain, by Josep Mas i Vila. The monument was demolished in 1936 due to conflicts arising at the start of the Civil War, but was rebuilt in 1951 with a new look, designed by Frederic Marès -the head of the previous image survived and is preserved in the Museum of History de Barcelona. The base of the monument is a fountain square on which stands an obelisk topped by the statue of Santa Eulalia, which has the attributes of his martyrdom: Palm and believes in vane.[18]

It should be noted that previously had been made a monument in Santa Eulalia, drawn up in 1618 and located in the Plaza del Blat -now Àngel-. It was designed by Rafael Plansó and consisted of an obelisk on which stood the figure of an angel, pointing to the place where an angel had appeared to the delegation that transferred the remains of the saint in the Cathedral Barcelona. The figure of the angel was made by silversmith Felip Ros. In 1821 the obelisk was removed because the movement difficult, and the Angel was placed in a niche. In 1966 it was replaced by a copy and moved to Barcelona City History Museum.[19]

In 1784 he built the Fountain of Neptune, by Joan Enrich promoted by the count of Assault, next to the Customs, the location of the current station in France. Represented Neptune standing on a pedestal with dolphins and bas-reliefs, amid a cup of water. The statue was destroyed in the popular uprising of Camància (1843) and replaced by a copy made by a stonemason, until 1877 the fountain was dismantled; even retained bas-relief of the pedestal, which is in the Museum of History of Barcelona.[20]

In the late eighteenth century was founded on the estate of the Marquis de Llupià located in the municipality of Horta de Sant Joan -today a district of the city-garden that despite being passed from private to public property later. Now known as Horta Labyrinth Park, this garden has profuse sculptural decoration, despite being unknown artist is an interesting example of neoclassical art. Garden highlights the labyrinth that gives the park its name, the center of which is a statue of Eros, while in the entrance there is a relief of Ariadne and Theseus, and the output is the Grotto Echo and Narcissus; at a higher level is the Belvedere Viewpoint or, where there are two temples Italian style with statues of Artemis and Danae; Finally, a third terrace stands the pavilion of Charles IV, crowned by a sculpture depicting Apollo and the muses, while the rear is a large lake fed by the source of the nymph Egeria, inspired by the Stowe cave.

Nineteenth century

Source of Hercules (1802) and Josep Moret Salvador Gurri, Barcelona's oldest original statue.

In this period there was a great economic revival, especially related to the Industrial Revolution textile- industry, which also involved a cultural renaissance. Between 1854 and 1859 there was the demolition of the walls, so the city could expand, especially through the Eixample project drawn up by Ildefons Cerda in 1859. However, thanks to the revolution of 1868 achieved the demolition of the Citadel, the grounds of which were transformed into a public park. The population was growing, especially thanks to immigration from the rest of the state, reaching 400,000 at the end of the century.[21] Artistically, the century saw the succession of different political styles as Neoclassicism, the romanticism and realism.[22]

As in previous periods, the artistic achievements of governmental buildings were confined mainly to official sources. Examples of public monuments, such as those dedicated to Ferdinand VII (1831) and King Ferdinand (1850), have not reached our days. However, the preparation was profuse sources at this time, so you could almost speak of a trend. The oldest was the source of Hercules, located at the crossroads of Passeig de Sant Joan Street Corsica, the work done in 1802 by Josep Moret on a draft Salvador Gurri. Initially located in Paseo Nuevo, or the Esplanada-, against the military fortress of the Citadel, is in its present location since 1928, and is considered the original public statue clothing oldest Barcelona.[23]

Other sources of this period are: the Old Source or Chato (1816) by Damien Campeny, initially located in the Theater Square, next to the Rambla, and was later transferred to the Parc de la Ciutadella (1877) and, lastly, the Plaça de Sants (1975); Fountain of Ceres (1825-1830), Celdoni of plaster, located in Paseo de Gracia Provence street corner, and in 1874 moved to the Plaza Blasco de Garay in the Poble Sec, and in 1918 in the Plaza de Sant Jordi in Montjuïc; Neptune's Fountain (1826), Ferran Adrià, placed at the Moll de la Riba, Barceloneta, and later transferred to the Gardens Laribal and 1983, in the Plaza de la Merced, in front of the basilica namesake ; Monument to Galceran Marquet (1851) by Damien Campeny and Joseph Anicet Santigosa in the Plaza del Duque de Medina -first work performed on iron-Town; Source of the Catalan Genius (1856), Faust and Joseph Baratta Anicet Santigosa at Pla de Palau; and the Fountain of the Three Graces (1876), in the Plaça Reial, designed by the architect Antoni Rovira i Trias. It should be mentioned lastly Sources Wallace, made in 1872 by Charles-Auguste Lebourg commissioned by the English philanthropist Sir Richard Wallace, and scattered many European cities act of brotherhood; Barcelona remain in a dozen initial two: the Rambla Santa Monica and the Gran Via with Passeig de Gràcia. All of them have four figures of caryatids supporting a hemispherical dome, including a jet of water falls.[24]

As for public buildings, the most important were the two statues placed in niches on both sides of the front door of the new facade of the Hotel de Ville, representing James I the Conqueror and Joan Fiveller, made by Josep Bover 1844. Just the opposite, in front of the Palace of the Generalitat, in 1871 was placed a statue of St. George also -located in a fornícula-, designed by Andreu Aleu. This facade was also new, since the opening of the Sant Jaume square in 1823 left both institutional buildings facing front. Note that then the Palau de la Generalitat did not harbor this institution was abolished from the Decree of New Plant, but the Royal Court, the Provincial Council and the General Archive of the Crown of Aragon.[25]

We should also mention regarding public buildings, statues located in the lobby of the University of Barcelona, a monumental architectural complex built between 1863 and 1882. Rogent Elijah was the same architect who proposed the preparation of the statues, by brothers Agapito and Venanci Vallmitjana, which were made in 1865 and 1876. They placed five figures representing science and knowledge throughout the history of Spain: San Isidoro de Sevilla, the Visigoth kingdom; Averroes, the time for Spanish-Muslim; Alfonso X the medieval period in Castile; Ramon Llull, for the same period in the Crown of Aragon; and Joan Lluís Vives, to the Renaissance period. Finally, we should mention the group of Charity, the work of Joan Serra 1880, located at the House of Charity; and allegories of Commerce and Industry located in front of the Casino building formerly Mercantile Exchange by Rossend Novas and Joan Roig i Solé, 1888.

Expo 1888

Main article: 1888 Barcelona Universal Exposition
Cascade Parc de la Ciutadella (1875-1888).

At the end of the century, an event that was a huge impact on both economic and social planning, art and culture for the city, was the Universal Exhibition of 1888. Held between 20 May and 9 December 1888, and was carried out in Ciutadella Park, formerly belonging to the army and won for the city in 1868. The incentive acts exhibition led to the improvement of infrastructure throughout the city, which made a huge leap in modernization and development. [26] Furthermore, the exhibition marked the testing of a new artistic style, the modernism, which until the beginning of century XX was what prevailed in the field of architecture and art in the city and became modernist Barcelona, the Gothic, defining the style of the city. [27] the statues made for the exhibition was the most important contribution to public art in the city's history and coincided with a generation of sculptors carving that caused one of the brightest moments of the Catalan art history.[28]

The remodeling project Ciutadella Park was commissioned Josep Fontserè in 1872, who designed some gardens for the recreation of the citizens, and along with a green screened central square and a stroll ring and a fountain and various decorative elements, two lakes and woodland, plus several ancillary buildings and infrastructure, such as Born Market.[29]

Photo of the historic Arc de Triumph.

Admission to the exhibition takes place through the Arc de Triumph, a monument created for the occasion that still remains in its original place, designed by Josep Vilaseca. Inspired by Neomudejar, it has a height of 30 meters and is decorated with rich sculptural ornamentation, the work of several authors: Joseph Reynes carved in friso superior Barcelona receives nations ; Jose Limon carried on the back of the top Cast rewards to the participants of the exhibition; on the right side Antonio Vilanova was made the allegories of the Industry Agriculture and Trade; left, Torquat Tasso elaborated allegories to the Science and Art; Finally, Manuel Fuxà and Pere Carbonell created four sculptures female, the Fame.[30]

Then came the Hall of San Juan now Paseo Lluís Companys - a long avenue 50 meters wide where the honored balustrades wrought iron, mosaics and a large pavement lanterns, all designed by Peter Falqués. Throughout this tour were placed eight large bronze statues depicting famous people of the history of Catalonia: Wilfred the Hairy (by Venanci Vallmitjana) Roger de Lauria (from Joseph Reynes) Bernard Desclot (Manuel Fuxà) Rafael Casanova (Rossend Novas) Ramon Berenguer I (Jose Limon) Peter Albert (Antonio Vilanova ) Antoni Viladomat (Torquat Tasso) and James Fabre (Pere Carbonell). In 1914 the Casanova statue was transferred to the Ronda de Sant Pere -cantonada Ali Bey- and replaced by another dedicated to Pau Claris by Rafael Atché. During the Spanish Civil War six statues were removed, and only remained in place of the original Roger de Lauria and Antoni Viladomat; Five were cast in 1950 to make the image of the Virgin of Mercy of Basilica of the Merced, while the Pau Claris municipal was stored in a warehouse, it was restored in 1977.[31] Also, the end of the tour were placed two sculptures representing trade and industry work of Agapito Vallmitjana; Two more dedicated to the Agriculture and Navy were placed in another entrance to (Avenida Marques de Argentera), by Venanci Vallmitjana.[32]

Monument to Rafael Casanova (1888) by Rossend Novas. Considered a Catalan icon, his monument usually stage tributes and wreaths held in Day of Catalonia.

At the Expo site, in addition to buildings and pavilions built for the event, highlighting the Monumental Cascade, designed by Fontserè in collaboration with Gaudí, which made the project hydraulic and designed an artificial cave under the waterfall. The architectural complex has a central structure in the form of triumphal arch with its two pavilions and two side wings with steps, hosting a pool divided into two levels. The monument stands out for its profusion sculpture, which involved several of the best sculptors of the moment: it emphasizes the group The Quadriga Aurora of Rossend Novas and The Birth of Venus of Venanci Vallmitjana; the fronton is the work of Francesc Pagès and Serratos. Other sculptures are set: Amphitrite of Joseph Gamot; Neptune and Leda of Manuel Fuxà; and Danae by John Flotats. However, Rafael Atché realized four Gryphon that remove water from the mouth to the bottom of the monument.[33]

Other statues were placed for the Exhibition: the Lady umbrella (1884) by Joan Roig i Solé, located on the present site of Zoo, and that over time has become an emblematic building of the city; Homage to Aribau (1884) by Josep Vilaseca and Manuel Fuxà, the Avenue of the Linden trees -the original stone of 934 was replaced by a bronze copy of Henry Monk; Figures to scientists Jaume Salvador (1884) and Félix de Azara (1886), Edward B. Alentorn at the Geology Museum; the Hunter lions (1884), of Agapito and Vallmitjana Abarca, one of the rides in the park; and Equestrian statue of General Prim (1887), by Louis Puiggener, located in front of the Palace of Industry is currently where the Zoo - although the original was destroyed in 1936 and later restored by Frederic Marès.[34]

Rius i Taulet Monument (1897-1901) of Peter Falqués and Manuel Fuxà Paseo Lluís Companys.

Later, between 1897 and 1901, was built at the entrance to the Parc de la Ciutadella Rius i Taulet Monument, who was mayor during the Exhibition and one of the main promoters of the project designed by the architect Peter Falqués and the sculptor Manuel Fuxà; also participated Eusebio Arnau, author of the figure of Barcelona. The monument consists of a pedestal, which includes both sides of bronze shields representing the four major projects promoted by the mayor: Parc de la Ciutadella, Universal Exhibition, Columbus Monument and Gran Via the Catalan Parliament. The base figure out an obelisk where the bust of the mayor, surrounded by two figures, one Labour and one allegory of Barcelona, offered a branch of palm. On the back is a winged Fame, and there are also three small geniuses symbolizing Industry, Science and Art.[35]

Columbus Monument, Barcelona.

Outside the grounds of the exhibition were also constructed several monuments and works of statuary, notably the Columbus Monument, located in Portal de la Pau, between junction Las Ramblas and the Passeig de Colom, opposite the Barcelona's old port. Built in honor of the discoverer Christopher Columbus, was opened on June 1, 1888. The monument was designed by Cayetano Buigas and has a height of 60 meters. The statue of Columbus is located on an iron column, and it is a work in bronze by the sculptor Rafael Atché of 7 meters. The monument is divided into three sections: a circular base, with four flights of stairs to 6 meters wide, with eight statues of Leon and eight reliefs with the shields of the Spanish provinces and Top acts performed by Columbus; an estate eight sides, four of them arranged as buttress s in the form of Cross with allegorical statues of Catalonia, Aragon, Castile and Leon, as well as figures Bernardo Buil, Pedro Margarit Jaume Ferrer de Blanes and Luis de Santángel; the column Corinthian with a base figures caravels, Gryphon and winged Fames, the capital representations of Europe, Africa, Asia and America, a crown prince, a hemisphere-for the recent discovery of Terrestrial globe and the Columbus statue. The sculpture was awarded through public tender workshops and sculptors Jose Limon (bas) Antonio Vilanova (bas) Rossend Novas (spurs), Francisco Pastor (capital) Pere Carbonell ( Catalonia), Joseph casing (Aragon lions heraldic) Joseph Gamot (Castile, Luis de Santángel), Rafael Atché ( Lion statue Columbus'), Manuel Fuxà ( Father Boil ) Francesc Pagès and Serratos ( Jaume Ferrer de Blanes) and Edward B. Alentorn (Pere Margarit). With time, Columbus has become one of the most emblematic monuments of the city.[36]

Other works in the context of the exhibition but located outside the precincts were: A López and López (1884), in the Plaza Antonio López, designed by architect Josep Oriol Mestres and the sculptor Venanci Vallmitjana relief Puiggener Louis, Joan Roig i Solé, Rossend Novas and Francesc Pagès and Serratos -destruït 1936, was restored in 1944 by Frederic mud-flats; Joan Güell i Ferrer (1888), in the Gran Via de les Corts Catalanes with Boulevard of Catalonia, designed by the architect Martorell Joan and sculptors Rossend Novas, Torquat Tasso, Edward B. Alentorn Maximí Hall and Francesc Pagès and Serratos -igualment destroyed in 1936 and rebuilt in 1945 by Frederic Marès; and Josep Anselm Clave monument (1888), initially located in the Rambla Catalonia, Valencia and transferred in 1956 to the Passeig de Sant Joan, Josep Vilaseca by architect and sculptor Manuel Fuxà.[37]

Finally, note that in 1892 stood at Rambla Square of Catalonia Canaletes Fountain by Pere Falqués, which eventually became an emblem of the city and usually place meeting the fans of Barcelona Football Club in the celebrations of the team.[38]

Twentienth Century

folk song (1909) by Miquel Blay, Palace of Catalan Music.

During the century XX continued placement of memorials in public spaces of Barcelona, following the custom started with the celebration of the Universal Exhibition. This was the century that saw the largest number of works placed on the public roads of the city. It is noteworthy that during the turn of the century the perimeter of the city grew significantly due to the aggregation of several municipalities bordering who become new neighborhoods of Barcelona: Santa Maria Saints, Les Corts Sarria, Sant Gervasi de Casseroles, Grace, St. Andrew's Palomar and Sant Martí de Provençals in 1897, Horta 1904 and Sarria in 1921. [39] the political situation in the twentieth century was tumultuous, with the end of the monarchy in 1931 and the arrival of the Second Republic, finalized the War civil and replaced by dictatorship, to the restoration of the monarchy and the arrival of democracy. Socially, this century saw the influx of immigrants to the city, with a consequent increase in the population: if in 1900 there were 530 000 in 1930 had almost been doubled (1 009 000 rooms. ) to reach between 1970 and 1980 the maximum quota (1 754 900) and at the end of the century 1 500 000. [40]

The artistic style prevailing in the first decades of the century was the twentieth century, in contrast to modernism promoted the return to classical Greco-Roman culture, the Mediterranean world. [41] during the 1920s and 1930s were going introducing flows avant-garde international, although in the early years of the Franco dictatorship saw a return to styles academicism. Later bet again for innovation, especially with the advent of democracy, the artistic atmosphere was introduced fully in successive fashion styles internationally, that have been happening ever more quickly. They then added the public patrimony works of international artists, which has awarded the most prestigious and important public collection in the city. [42]

Monument to Pitarra (1906), d Agustín Querol Theater Square.

One of the first century works was the statue of Santiago located in a niche of the square of the same name with the street -cantonada Town in 1903, the work of Manuel Fuxà.[43] in 1906 he moved to the Theater Square monument to the writer Seraph Pitarra -pseudònim Frederic Soler-, by Peter Falqués and Agustín Querol, which presents the "founder of Catalan theater" according to the inscripcion- says sitting on the masks of comedy and tragèdia.[44] That same year realized Falqués lamps Passeig de Gràcia and Plaça del Cinc d'Oros -now Plaza Juan Carlos I, although the lights are currently at Avenida Gaudí, made of iron and limestone, the first inverted L-shaped benches to sit, and the latter in the form of vertical root Gothic pinnacle. The following year he settled in a niche of the street Montsió a figure of Saint Joseph the Patriarch, the work of Jose Limon destroyed in 1936 and rebuilt in 2000 by Louis Cera.[45] The same year he was placed in the Parc de la Ciutadella Mammoth a replica of this extinct animal sculptures made of concrete -first use of this material in the city- work of Michael Dalmau.[46] In 1908 they placed two busts dedicated to Manuel Milà i Fontanals ( work of Manuel Fuxà) and Emili Vilanova (from Pere Carbonell) in the Parc de la Ciutadella, which opened a custom that would be repeating coming years of dedication busts of various characters, mostly literate thanks to the sponsorship of the association of Floral Games - the park that hosted the Universal Exhibition; so were going happening busts dedicated to Marian Aguilo (Eusebio Arnau, 1909), Victor Balaguer (Manuel Fuxà, 1910), Leon Fontova (Pau Gargallo, 1910), Teodor Llorente (Eusebio Arnau, 1912), Joan Maragall (Eusebi Arnau, 1913), Joaquim Vayreda (Manuel Fuxà, 1915), Pepita Weaver (Manuel Fuxà, 1917) -the first monument dedicated to a woman- and Ramon Batlle (Henry Clarasó, 1918 now disappeared).[47]

In Palace of Catalan Music, an exceptional Modernist building Lluis Domenech i Montaner, was placed the sculpture in 1909 folk song corner San Pedro between higher and Amadeu Vives. Work Miquel Blay, has a female figure who personifies the song, surrounded by various characters representing the Catalan people, while above stands the imposing figure of St. George, with a sword and a banner.[48]

Monument to Doctor Robert (1910) by Jose Limon, Plaza de Tetuan.

In 1910 was inaugurated Monument to Doctor Robert , dedicated to the doctor and politician Catalan Bartholomew Robert, Mayor between March and October 1899. he commissioned the sculptor Jose Limon, and its design was also involved architect Lluis Domenech i Montaner. The site chosen was the University Square, where he laid the foundation stone in 1904. In 1940 the new authorities Franco decided to remove the monument, which was dismantled and stored in a municipal warehouse, until was restored in 1977, although elsewhere the Plaza de Tetuan. The monument is slightly pyramidal, and is located on a base of stone blocks forms organicists architecture similar to that practiced in time for Gaudí as the Casa Mila. The sculpture is made of bronze front and presents a series of figures from various social classes, as well as allegories of music and poetry and references to drugs; There appears above the bust of Dr. Robert, an allegory of Glory. At the back there is another group with various figures around a central representing medicine.[49]

During 1910, the Eixample Commission organized various competitions to place in this district several ornamental fountains. In 1911 the winner was Joseph Campeny, who were placed three sources: the Trinxa Ronda Universitat / Pelayo; of the frog Corsica / Diagonal; and The boy pitchers, in the Plaza Urquinaona. 1913 was Edward B. Alentorn chosen, the author of three other sources: the source Farmers in the Plaza Letamendi; the Fountain of the Turtle in the Plaza de Goya; and Palangana Fountain (or Negrito '), in Bruc / Diagonal. In 1920 it is approved only one, Sardana source of Frederic Marès, in the Plaza de Tetuan. In 1921 he settled the source Riding Hood by Joseph Tenas, the Paseo San Juan / Roussillon; In 1924 the Source Efebo of Angel Tarrach Diagonal / Bailen; and, lastly, in 1925 two of Frederic Marès: the cock in the square of the same name; and the duck, in València/Enamorats.[50] Another source was the time of the Diana (1919) by Venanci Vallmitjana, located in the Gran Via Roger de Lauria; the author had made the figure of the goddess of hunting in 1898, originally naked, but when he commissioned the fountain commanded him to cover it with a robe.[51]

Desolation (1903) by Jose Limon, Parc de la Ciutadella.

In 1917 he moved to the Parc de la Ciutadella -in what had been ancient sculpture courtyard armes- Grief of Jose Limon, the center of an elliptical pond located in front of the old military arsenal today hosts the Parliament of Catalonia. The work, originally made in 1903, has become an emblem of the city. It is a figure lying half-naked woman, his head between his arms, in an attitude of despair, as its title indicates. In 1984 he moved to the original Museu Nacional d'Art de Catalunya (MNAC), and instead they placed a copy.[52]

In the following years were opened several other monuments dedicated to characters: 1918 erected the Monument to the actor Iscle Soler, the work of Pau Gargallo, in the Plaza de San Agustin. The following year stood at Clot the Monument Canonge Rodo in memory of the man who was rector of St. Martin, the first public work of Frederic Marès a prolific sculptor subsequent years; the work was destroyed in 1936 and replaced by another from the same author in 1954.[53] opened in 1924 Monument Father Verdaguer, in the square of the same name, dedicated to the priest and writer, one of the main writers Catalan language nineteenth century. The idea of erecting a monument to the famous poet arose after his death in 1902, but did not crystallize until 1913, when he won a competition sculptor Joan Borrell Nicholas, in conjunction with the architect Josep Maria Pericas. Borrell charge of the figure of the poet and the balustrade -three allegorical figures, alluding to the mystical poetry, popular and epic - while the brothers Michael and Lucian Oslé finalists, is in charge of the relief of the base, with scenes of the poem Atlantis author Catalan.[54]

Monument Jacint Verdaguer (1924), in the homonymous square of Joan Borrell i Nicolau.

Other monuments made the 1920 were: In Doctor Andreu (1927), in honor of chemist Salvador Andreu, promoting the development of the Tibidabo who was made a first monument with effigy of the honoree, the work of Enrique Sagnier and Eusebio Arnau, which was destroyed during the Civil War, in 1952 and replaced by a statue of woman wearing robes and carrying traditional hand a laurel branch, developed by Maria Llimona;[55] A Pearson (1928), a monument in the form of allegory Victory dedicated to the American engineer Fred Stark Pearson, promoter of the electrical industry in Catalonia, by Josep Viladomat located in the Plaza de Pedralbes,[56] Durán the aviator (1928), the sculptor Jaime Duran in memory of the ship lieutenant Juan Manuel Durán pilot of Plus Ultra, the first plane made a transatlantic flight without scales, died in plane crash in Montjuïc, where he placed his monument, shaped Victory alada;[57] and Source Aurora (1929), by Joan Borrell initially located at Passeig de Gracia and subsequently disintegrated into several pieces scattered around different parts: the chariot of Helios in the Hill Park Selene Vallcarca Avenue, Minerva on Montjuïc, a Nymph combing her hair on the Plaza Joaquim Folguera, and the eagles Zoo.[58]

This time there are several private gardens initially then incorporated in the municipal property, such as Park Guell, located on the southern slope of the Carmel Hill, the Gracia district. Designed as urbanization, was designed by the architect Gaudí commissioned by the employer Eusebio Guell and built between 1900 and 1914. He spent 1926 on public property. highlights from the park entrance staircase, arranged symmetrically around a sculpture of salamander, or dragon - which has become the emblem of the park and one of recognizable in the city, and is part of a group of three fountains with sculptures representing the Catalan Countries (Catalonia north, French and southern Catalonia, Spanish).[59] above the staircase stands a square or Hypostyle Hall and the Greek Theatre, which highlights a bench decorated with ceramics' brittle , by Josep Maria Jujol. In 1984 the UNESCO included in the Guell Park Place Heritage "Works of Antoni Gaudí».[60]

In District of Sarria-Sant Gervasi are the Gardens Tamarita made by Tudurí Nicolau Maria Rubio i in 1918, where in front of the main building are located four sculptures dedicated to -all less Oceania- continents, by Virginio Arias.[61] Moreover, in 1924 the city of Barcelona gave the king Alfonso XIII the Pedralbes Royal Palace, which had belonged to the family Güell. He had a Caribbean-style mansion made by Joan Martorell, while the closure of the gardens and the farm he had commissioned Antoni Gaudí, which remains in a fountain dedicated to Hercules and the pavilions goal, including an entrance gate with a wrought iron dragon, representing side, the dragon guardian of the Golden Apple, won by Hercules in his eleventh work. Between 1919 and 1924 there was a renovation to convert it to the Royal Palace, by the architects Eusebius good and Francesc Nebot. They then placed several sculptures to decorate the grounds, among which was' Elizabeth II presents her son, the future King Alfonso XII in Barcelona, work of Agapito Vallmitjana 1860; or female nude kneeling by Joan Borrell in 1916. 1930 also placed a Naked of Enric Casanovas.[62]

1929 Barcelona International Exposition

Main article: 1929 Barcelona International Exposition

In the 1920s, a new exhibition was planned like 1888, whose success left a pleasant memory in the city. This time the site chosen was the mountain of Montjuïc, which thus was urbanized and won as a public space for the city. The International Exhibition took place from May 20, 1929 to January 15, 1930, and left numerous buildings and facilities some of which have become emblems of the city, including the National Palace, Magic Fountain, the Teatre Grec, the Spanish Village and Olímpico. In the 1920s a new exhibition was planned as 1888, whose success left a pleasant memory in the city. This time the site chosen was the mountain of Montjuïc, which thus was urbanized and won as a public space for the city. The International Exhibition took place from May 20, 1929 to January 15, 1930, and left numerous buildings and facilities some of which have become emblems of the city, including the National Palace, Magic Fountain, the Teatre Grec, the Spanish Village and Olímpico.[63] Stadium the venue of the exhibition was built as a general project of Josep Puig i Cadafalch, and began at the Plaza of Spain, through the avenue of America -current avenue Maria Cristina de la Reina, where large exhibition buildings were located, to the foot of the mountain, where the Magic Fountain, flanked by the palaces of Alfonso XIII and Victoria Eugenia stood; From here a staircase leading to the National Palace, the most monumental work of Exposición.[64]

One of the most important monuments was the monumental Spain Fountain Square, designed by Josep Maria Jujol, with ornate decoration sculptural work and Miquel Miguel Blay and Llucià Oslé brothers. Classically inspired, the iconographic meaning of the work is a poetic allegory to Spain: on a pond triangular plants an edículo stands with three niches with sculptures symbolizing the rivers flowing into the three seas that surround the Iberian Peninsula, Ebro (Mediterranean), the Guadalquivir and Tajo (Atlantic) and some figures of teenagers for the rivers of the Cantabrian Sea, Blay work; at the corners of the pond three groups that represent the fruits and gifts of the waters they lie: Abundance, Public Health and Fisheries and Navigation Oslé work of the brothers; around the central body three columns are placed with various figures and emblems symbolizing religion (a cross with Ramon Llull, Saint Teresa of Avila and Ignatius of Loyola), Heroism (a sword with Don Pelayo, Jaime I of Aragon and Isabella Catholic), and the Arts (a book with Ausiàs March and Miguel de Cervantes); He tops the work a cauldron of fire with three Victorias.[65]

Between Spain Square and the National Palace of Montjuic Magic Fountain, designed by Carles Buigas, who wowed audiences for its fantastic play of light and water spouts stood. It is still an emblematic work of the Catalan capital, where they often held musical fireworks shows in the celebrations of the Merced. It is ellipsoidal in shape, formed by three concentric ponds at different levels, with 65 m in diameter at its widest part. It has thirty different water games, with their gradual colorations, based on five colors: yellow, blue, green, red and blanco.[66] In principle there were built four Ionic columns symbolizing the Catalan flag, designed by Puig i Cadafalch, but the dictator Primo de Rivera sent them topple. With the restoration of democracy was thought to replace them, project carried out between 2010 and 2011 by the team of architects Rosselló-Sangenís, slightly higher than its location original.[67]

Other works placed on the grounds of the exhibition were: San Jorge (1924), by Josep Llimona, in the homonymous square; Beauty (1924), by Josep Llimona, in Piazza Dante; Tomorrow (1925), the German expressionist sculptor Georg Kolbe, located in the Pavilion of Germany a rationalist style building built by Ludwig Mies van der Rohe; Flowers and sedente (1927), by Josep Llimona in the Marques de Foronda; Water and Earth (1929), Frederic Marès on the stairs to the National Palace; Serenity (1928), Josep Clara in Miramar Gardens; Young Braid (1928) by Josep Viladomat, and Estival (1929), by Jaume Otero, in Laribal Gardens; The Good Shepherd (1929), Joan Rebull, and Venus (1929), Joan Borrell, in the Gardens of Joan Maragall.69 then also carried the Olympic charioteers, a chariot pulled by horses and riders making the Olympic salute two equestrian sculptures in bronze, both of Pablo Gargallo, situated at the Olympic Stadium Lluís Companys of charioteers there is a copy in the park Can Dragó-.[68]

In addition to the achievements at the fair, as in the foregoing various performances throughout the city they were made. The most important was in Plaza Catalunya, currently one of the nerve centers of the city, but that was formerly an esplanade outside the old town, which began to urbanize until 1902. On the occasion precisely the exhibition was out a redevelopment of the entire space of the square, with a project of Francesc Nebot, and was inaugurated by Alfonso XIII in 1927, to decorate the square a public tender was organized in 1927, in which the installation of a sculpture it was decided 28 works: Motherhood, of Vincente Navarro; Young, Josep Dunyach; The smith, Josep Llimona; Woman with child and piccolo, Josep Viladomat; female figure, of Enric Casanovas; Youth, Josep Clarà; Shepherd Flute, Pablo Gargallo; Navigation, Eusebi Arnau; Barcelona, Frederic Marès; Montserrat, Eusebi Arnau; female figure, Josep Llimona; Hercules, Antoni Parera; Woman with angel, Vincente Navarro; Tarragona, Jaume Otero; Source of six putti, Jaume Otero; Lleida, Joan Borrell; Woman with image of the Virgin, of Enric Monjo; The popular spirit, Jaume Otero; Pastor eagle, Pablo Gargallo; Pomona, Enric Monjo; Wisdom, Miquel Oslé; The Goddess of Josep Clara, currently a copy, the original is in the lobby of the House of the city; Work, Llucià Oslé; Emporion, Frederic Marès; Fisherman, Josep Tenas; Woman, Joan Borrell; Montseny, Jaume Duran; and Gerona, Antoni Parera. which was originally also in the square Children group riding fish (1928) by Frederic Marès, a fountain with water jets and four figures indicating the title, which was transferred in 1961 the junction of Gran Via and Rambla de Catalunya.

With regard to the whole Plaça Catalunya, some changes on the fly in the original project led to the replacement of several parts and transfer to other areas of the city. One of the main reasons was the cancellation of the project of Francesc Nebot placed in the square a pavilion with decorated colonnade with sixteen female figures, which finally took place by decision of the consistory, prompting the resignation of Nebot in front of the works . Thus, some of the sculptures made for this shrine were relocated in different places: four of them executed by Eusebi Arnau, Josep Llimona, Enric Casanovas and Àngel Tarrach, they were placed on the entrance wall of the Royal Palace of Pedralbes; two from Josep Dunyach (Goddess) and Vincente Navarro (night), others were installed in the park of the Citadel; and two more (Fertility, by Josep clear, and the vendimiadora, Pablo Gargallo), in the gardens of Miramar, in Montjuïc. Another reason the surplus works was the decision that all the sculptures of the square were made in bronze except those of the upper terrace, which are stone-, with the result that some works that had already been executed in stone had to be repeated, and the remaining were relocated: it is Lerida, Manuel Fuxà, and Tarragona, Jaume Otero, that were installed on Diagonal avenue, opposite the Royal Palace of Pedralbes. Finally, the work entitled Marinade or Danzarina, by Antoni Alsina was located in the Jardines del Umbráculo on Paseo de Santa Madrona of Montjuïc, in this case because it concerns a female nude that was not viewed favorably by the moral prevailing at the time.[69]

After the exhibition, in 1930 the monument was opened to Pau Gil, in honor of the banker who introduced the gas industry in Barcelona and with his testament favored the construction of the Hospital de Sant Pau, a jewel of modernism made by Lluis Domenech i Montaner, whose entrance is the monument. The work of Eusebi Arnau was held in 1916 but was not settled until 1930, and has a bust banker with an allegory of Charity at his feet.[70] Also that year was placed on the Gran Via the monument to set designer Francesc Soler i Rovirosa, the work of Frederic Marès shaped reclining female nude with a flower in her hand; and the Monument to Eduardo Dato, on Calle San Antonio Maria Claret by Jaume Duran, composed of an allegory of Fame and a monolith with a medallion of the honoree.[71]

1992 Olympics

Change (Utsurohi) (1990), for Aiko Miyawaki, Paseo de Minici Natal.

The XXV Olympic Games were held in Barcelona, from July 25 to August 9, 1992. In the event the city undertook an intensive program of reforms and urban improvements, which were mainly focused on Montjuïc, where the Olympic Stadium was remodeled and built the Palau Sant Jordi, but also Olympic villages Poblenou and Vall d'Hebron, as well as several areas of the city were carried out works as important as the construction of ring roads of the city, the beaches and the recovery of the entire seafront zone (Maremagnum), the installation of new telecommunications tower Collserola and the renovation and expansion of the airport Barcelona.[72] he also boost Barcelona Yourself beautiful campaign for the renovation of facades and party walls of buildings in the city, and they design new parks and gardens, as in previous times were scenes ideal for the placement of monuments and works of art.[73]

Montjuïc actions focused on sports, but urbanization around the Olympic Stadium left artistic elements such as installation titled Change (Utsurohi) of Aiko Miyawaki, a collection of 36 stone columns artificial stainless steel cables that form a forest that shines at dusk;[74] or torso Olympic Rosa Serra, a slim torso athlete took bronze. Also placed in front of the National Palace's headquarters, MNAC- sculpture Torso summer, Aristide Maillol, original work from 1911 donated by entrepreneurs Association to commemorate 1992 Barcelona Olympic Games with the restorative effect of the fact that the city had no work of this artist Roussillon, whatever had appreciated significantly influenced by the nineteenth-century style of the early twentieth century.[75]

One of the main areas of activity was the Olympic Village of Poblenou, where past Games have been several parks and monuments adorned with several works: Park Falls settled sculptures David and Goliath, by Antoni Llena, and the Power of the Word of Auke de Vries, both large and abstract style;[76] Carlos Park and placed ass (a Santiago Roldan), Eduardo Úrculo, a play 6.5 meter high bronze shaped legs and buttocks;[77] the Olympic Park is located in Port works Marc Robert Llimós, commemorating the opening of the Olympic Village and a pond sculpture of Cobi, the mascot of the Olympic Games, designed by Javier Mariscal;[78] and Nova Icaria Park lies the Plaza of Champions with a pavement where are registered the names of several of the athletes and Olympic champions history, as well as a podium used the Games.[79] There were also placed several individual works in different parts of the Olympic Village, such as fish, Frank Gehry; Aquarius-Pisces-Taurus Antoni Rosell Column Olympic Andreu Alfaro; The plan of nostalgia, Luis Ulloa; Cylinder, Tom Carr; Brush and Wind by Francesc Fornells-Pla.[80]

There were also several sculptures placed in the Vall d'Hebron, site of the Olympic Village press: Form and Space, Eudald Serra, an abstract figure of six meters made of iron; Dime, dime, querido, Susana Solano, also abstract, consisting of four steel plates eight meters; and Mistos by Claes Oldenburg, 20 meters high, looks like a matchbox arranged in various positions, some on the ground as if it had already been used.[81]

In other areas of the city were also major renovations, such as the Plaza de las Glories, one of the main roads of the city, where they placed twelve big marble slabs dedicated to several highlights of the history of Catalonia, in reference to the Glories that give name to the place; as well as a monument to the Metro, François Scali and Alain Domingo, a piece of steel that reproduces the topographic profile of the meridian connecting Barcelona to Dunkirk, which served to establish the extent -the metric system in 2014 was transferred to the Meridiana Avenue between Independence and Consell de Cent -.[82]

In parallel with the Olympic Games organized a Cultural Olympiad, which promoted the installation of several works all situated on the coast, under the common name of urban settings and curated by Gloria Moure. They go like this: Compass Rose, Lothar Baumgarten, in the Plaza Pau Vila; The wounded star, Rebecca Horn, the Promenade de la Barceloneta; Roman balance of Jannis Kounellis, Andrea Doria Street; Crescendo appare, Mario Merz, the Moll de la Barceloneta; A room where it always rains, Juan Muñoz, in the Plaza del Mar; Born Jaume Plensa, the Passeig del Born, Four wedges Ulrich Rückriem at Pla de Palau; and Deuce Coop, James Turrell, the street trade.[83]

In connection with the Games should be noted lastly installation in different parts of the city in a series of commemorative Olympic sources, made by the sculptor Juan Bordes in collaboration with the architects Oscar Tusquets and Carlos Diaz . They were eight, all with an artificial stone pedestal and a bronze figure of a boy playing with water: Ball, Parallel Avenue; Launch the viewpoint of the National Palace; Diving, Avenue de Chile; Chip-splash in the Plaça Alfonso Comin; Pirouette, Isadora Duncan Street; Ream, Coastal Avenue; Deepening to- at the Poblenou breakwater; and Rough estimate, in the Plaza de las Glories.

Notes

  1. ^ Fabre; Huertas; Bohigas, 1984, p. 10-11.
  2. ^ Subirachs i Burgaya, 1986, p. 10.
  3. ^ «Patrimoni arquitectònic».
  4. ^ Subirachs i Burgaya, 1986, p. 45-46.
  5. ^ Subirachs i Burgaya, 1986, p. 47.
  6. ^ Subirachs i Burgaya, 1986, p. 55-57.
  7. ^ Subirachs i Burgaya, 1986, p. 64-68.
  8. ^ Subirachs i Burgaya, 1986, p. 81-82.
  9. ^ Subirachs i Burgaya, 1986, p. 89-99.
  10. ^ Lecea et al., 2009, p. 19.
  11. ^ Lecea et al., 2009, p. 20-23.
  12. ^ Lecea et al., 2009, p. 29.
  13. ^ Lecea et al., 2009, p. 30.
  14. ^ Lecea et al., 2009, p. 30.
  15. ^ Lecea et al., 2009, p. 34.
  16. ^ Lecea et al., 2009, p. 34.
  17. ^ Lecea et al., 2009, p. 37-38.
  18. ^ Fabre; Huertas; Bohigas, 1984, p. 20-23.
  19. ^ Jaume Fabre, Josep M. Huertas i Victòria Mora. «Àngel». [Consulta: 15 març 2014].
  20. ^ Fabre; Huertas; Bohigas, 1984, p. 32.
  21. ^ Lecea et al., 2009, p. 73.
  22. ^ DD.AA., 1997, p. 114-149.
  23. ^ Fabre; Huertas; Bohigas, 1984, p. 24-26.
  24. ^ Fabre; Huertas; Bohigas, 1984, p. 26-37.
  25. ^ Lecea et al., 2009, p. 42-44.
  26. ^ Red 1995, pp. 130–131.
  27. ^ DD.AA. 1997, pp. 150–171.
  28. ^ Fabre, Huertas, Bohigas, 1984, p 24
  29. ^ Garrut, 1976, p 10
  30. ^ Lecea et al. 2009, p 87
  31. ^ James Fabre, Josep M. Huertas and Juan Ramon Triadó. "Characters Hall of Sant Joan". Retrieved 15 March 2014.
  32. ^ Garrut, 1976, p 27
  33. ^ James Fabre, Josep M. Huertas, José Antonio Pitarch Bonet and Lorenzo. "Cascade Parc de la Ciutadella". Retrieved 15 March 2014.{{cite web}}: CS1 maint: multiple names: authors list (link)
  34. ^ Fabre, Huertas, Bohigas, 1984, pp 53-56
  35. ^ James Fabre, Josep M. Huertas and Juan Ramon Triadó. "Francesc Rius i Taulet". Retrieved 15 March 2014.
  36. ^ Jaume Fabre, Josep M. Huertas and Judit Subirachs Burgaya. "Christopher Columbus Monument". Retrieved 15 March 2014.
  37. ^ Fabre, Huertas, Bohigas, 1984, pp 38-48
  38. ^ Lecea et al. 2009, p 190
  39. ^ Red 1995, p. 188.
  40. ^ Lecea et al. 2009, p. 127.
  41. ^ DD.AA . 1997, pp. 178–190.
  42. ^ DD.AA. 1997, pp. 192–223.
  43. ^ Lecea et al. 2009, p 215
  44. ^ James Fabre, Josep M. Huertas and J.P. Lorente. "A Frederic Soler. Monument to Pitarra". Retrieved 15 March 2014.
  45. ^ James Fabre, Josep M. Huertas, Santiago Alcolea Gil and Josep Bracons. "Sant Patriarch Joseph". Retrieved June 30, 2015.{{cite web}}: CS1 maint: multiple names: authors list (link)
  46. ^ Jaume Fabre, Jordi; Josep M. Huertas Gratacòs-Roig. "Mammoth". Retrieved 15 March 2014. {{cite web}}: Unknown parameter |lastauthoramp= ignored (|name-list-style= suggested) (help)
  47. ^ Fabre, Huertas, Bohigas, 1984, pp 80-86
  48. ^ Lecea et al. 2009, p 219
  49. ^ James Fabre, Josep M. Huertas Santiago Alcolea Gil. "Monument to Doctor Robert". Retrieved 15 March 2014.
  50. ^ James Fabre, Josep M. Huertas and Montserrat Blanch. "The Commission sources Eixample". Retrieved 15 March 2014.
  51. ^ Lecea et al. 2009, p 192
  52. ^ James Fabre, Josep M. Huertas Santiago Alcolea Gil. "Grief". Retrieved 15 March 2014.
  53. ^ Fabre, Huertas, Bohigas, 1984, pp 66-69
  54. ^ James Fabre; Josep M. Huertas Perejaume. "A Father Verdaguer". Retrieved 15 March 2014.
  55. ^ James Fabre, Josep M. Huertas and Mireia Freixa. "Dr. Andreu". Retrieved 15 March 2014.
  56. ^ Lecea et al. 2009, p 183
  57. ^ James Fabre, Josep M. Huertas and Teresa Fields. "The aviator Durán". Retrieved 15 March 2014.
  58. ^ Fabre, Huertas, Bohigas, 1984, p 76
  59. ^ Giordano, Palmisano, 2007, p 18
  60. ^ Jaume Fabre, Josep M. Huertas Pedro Brandão. "Park Guell". Retrieved 15 March 2014.
  61. ^ Lecea et al. 2009, pp 205-206
  62. ^ Fabre, Huertas, Bohigas, 1984, p 98
  63. ^ Roig, 1995, pp. 190-199.
  64. ^ Lecea et al., 2009, p. 140.
  65. ^ Grandas, 1988, pp. 73-74.
  66. ^ Grandas, 1988, pp. 99-101.
  67. ^ Jaume Fabre y Llorenç Bonet. «Las cuatro columnas». Fabre, Huertas y Bohigas, 1984, pp. 107-109.
  68. ^ Jaume Fabre, Josep M. Huertas y Oriol Gual. «Los Aurigas olímpicos».
  69. ^ Jaume Fabre, Josep M. Huertas y Lídia Català. «Esculturas de la diáspora de la Plaza Catalunya» .
  70. ^ Jaume Fabre, Josep M. Huertas y M. Isabel Marín. «A Pau Gil».
  71. ^ Fabre, Huertas y Bohigas, 1984, pp. 76-78.
  72. ^ Roig, 1995, p. 270-275.
  73. ^ Roig, 1995, p. 259.
  74. ^ Capó; Catasús, 2003, p. 102.
  75. ^ Capó; Catasús, 2003, p. 96.
  76. ^ Capó; Catasús, 2003, p. 40-42.
  77. ^ Lecea et al., 2009, p. 430.
  78. ^ Gabancho, 2000, p. 99.
  79. ^ Lecea et al., 2009, p. 399-401.
  80. ^ Lecea et al., 2009, p. 396-398.
  81. ^ Capó; Catasús, 2003, p. 124-126.
  82. ^ Gabancho, 2000, p. 92.
  83. ^ Lecea et al., 2009, p. 392-395.

References

  • DD.AA.. The book of gold of the Catalan art. Barcelona: Editions First Plain, 1997. ISBN 9788440685308.
  • Añón Feliú, Carmen; Luengo, Mónica. Jardines Of España. Madrid: Lunwerg, 2003. ISBN 84-9785-006-8.
  • Capó, Jaume; Catasús, Aleix. Guide of sculptures of Barcelona. Barcelona: Polígrafa, 2003. ISBN 84-343-1019-8.
  • Fabre, Jaume; Huertas, Josep M.; Bohigas, Pere. Monuments of Barcelona. Barcelona: The Advance, 1984. ISBN 84-85905-21-0.
  • Gabancho, Patrícia. Guía. Parques y jardines Of Barcelona. Barcelona: City council of Barcelona, Image and Publishing Production, 2000. ISBN 84-7609-935-5.
  • Garrut, Josep Maria. The Universal Exhibition of Barcelona of 1888. Barcelona: City council of Barcelona, Delegation of Culture, 1976. ISBN 84-500-1498-0.
  • Giordano, Carlos; Palmisano, Nicolás. Park Güell. Barcelona: Two of Arte Ediciones, 2007. ISBN 978-84-934493-6-0.
  • Grandas, M. Carmen. The International Exhibition of Barcelona of 1929. Saint Cugat of the Vallès: The books of the border, 1988. ISBN 84-85709-68-3.
  • Lecea, Ignasi of; Fabre, Jaume; Grandas, Carme; Huertas, Josep M.; Remesar, Antoni public Art in Barcelona. Barcelona: City council of Barcelona and Field Publishing Services, 2009. ISBN 978-84-96645-08-0.
  • Red, Josep L. Historia Of Barcelona. Barcelona: First Flat S.A., 1995. ISBN 84-8130-039-X.
  • Subirachs And Burgaya, Judit. The memorial sculpture in Barcelona until the 1936. Barcelona: The Books of the Border, 1986. ISBN 84-85709-49-7.
  • Subirachs And Burgaya, Judit. The memorial sculpture in Barcelona (1936-1986). Barcelona: The Books of the Border, 1989. ISBN 84-85709-79-9.

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