The Art of Catalonia has had a parallel evolution in the rest of the European art, following the many different trends have been occurring in the context of art throughout Western history. Art has always been a major means of expression of the human being, through which one expresses their ideas, feelings and their relation to the world. Its role may differ from the more practical to the more ornamental, it can have a religious content or be simply aesthetic, it can be lasting or ephemeral.
Throughout its history, Catalonia has hosted different cultures and civilizations that have contributed their concept of art and left their legacies. Each historical period has had concrete and definable characteristics common to other regions and cultures, or unique and separate, that have evolved over time. From here artistic styles emerge, which may have a geographic origin or temporary, or even reduced to the work of a particular artist, as long as they occur within clearly defining artistic forms.
Catalan art is the result of a diverse social and cultural amalgamation provided by various peoples who have inhabited its territory: The priginal inhabitants of the area are the prehistoric Celtic and Iberian settlers who arrived in the Metal Age, who dweeled with colonists from other civilizations from across the Mediterranean Sea - first the Greeks, and then the Romans who turned in a Catalonia province into a part of its empire. After the fall of this empire, Catalonia was part of the Visigoth kingdom, and later suffered an Islamic invasion. The Middle Ages was the start of the Catalan culture when it defined itself as an entity with its own language, heir to the Latin and the formation of the first Catalan state. This was a glorious period for Catalan art, and the Romanesque and Gothic periods very fruitful for the artistic development of the Principality. During the Modern Age, with links to Spain and the succession of economic crises and cultural, art has declined, and the Renaissance and Baroque styles not considered to be particularly remarkable in the history of Catalan art. Finally, since the nineteenth century, the economic and cultural revitalization, floral art again, being the modernist one of the most splendid periods of Catalan art. However, the twentieth century is the updating of various styles produced by Catalan artists, connecting with international trends, offering even leading figures worldwide as Salvador Dalí, Joan Miró and Antoni Tàpies.
Prehistory
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The first manifestations occur in Catalonia around 30,000 B.C.E, time of occurrence of the named man Cromanyó. The first inhabitants of the territory were small groups of hunter-gatherers, who usually lived in caves and shelters of the land. These settlers developed the so-called rock art, paintings on rocks and walls of the caves, which represent the first medium of expression used by humans before the invention of writing. These paintings are usually linked to religious rites, and represent the expression in a symbolic language of thought amongst the first humans.[1]
Paleolithic Art
editIn 1964 a cave was discovered in a shop in Cartagena Moleta (now Sant Carles de la Rapita). It depicted the image of a bull rampant, siluetejat executed by a stroke, black, attributed to the period Upper Paleolithic. A few years this cave was plundered and even today continues to constitute the only example of this art that has appeared in that territory. [2]
Levantine Art
editDuring the Epipaleolithic periods (10,000 to 6500 years B.C.E), hunter-gatherers groups expressed their world of beliefs through a purely pictorial art, the Levantine art, of which Catalonia has excellent examples, particularly in Lleida and Tarragona, and an unobtrusive presence in the province of Barcelona. Catalonia has the honor of being the first region to find a station, the Rock of the Moors of the Cogul (Lleida), in 1908 - appearing on painted the human figure, as was not known in western prehistory.[3]
These events are always in the open air cavities are figurative, in meticulous detail, flat and monochrome images. Use as a tool to Pictorial feather, getting called "Levantine pen stroke. His iconographic elements essential in animal and human figures, receive differential treatment: first are the most mimetic of reality, very expressive with details (for example, the hooves and horns), the human figure reflects an aesthetic concept very unique: individuals elongated body and narrow waist with triangular chest, coming to create images designed for a single line, equipped with a dynamic characteristic that shows action and movement. The pictorial compositions of archers and animals are extremely attractive to those approaching human groups, there is always taken as paradigmatic examples of the prehistoric world.[4]
The stations of Catalonia best known are: the aforementioned shelter Cogul of the Cave of Vilasos (Os de Balaguer), the Balma Points (Albi), Lleida, and Feixet Cabra (El Perello), Cave Cingle, the herd (Tivissa), the Mas y Mas by Ramon Llort (Montblanc), Cave of the Escoda, Corner Perdigó and Charles Cave (Vandellòs), Cave of Caparrella (Rasquera) and the core of the Sierra of Mercy (Ulldecona) in Tarragona.
The values so singular and unique art Levantine determined to UNESCO in its declaration as a World Heritage Site in 1998 , and with him all the manifestations that are prehistoric in its territory, both as Paleolithic art schematic under the conventional administrative designation of rock art in the Mediterranean Basin on the Iberian Peninsula.[5]
Schematic art
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The other major prehistoric artistic style is called schematic art, the expression of groups of producers creencial Neolithic (6500-1000 years before present), the first beginning to dominate the agriculture and live in villages. It is an art that is based on the abstract , monochrome (red, black, rarely white) and has three main groups of reasons: the geometric (points, lines, triangles, ringing, etc..), the peculiar, Finally, those who are remote references to the figurative (anthropomorphic and zoomorphic). His technique is based on the physical act, a bill currently maintaining a surprising, however, presents us with incredibly enigmatic. [6] The most significant deposits are located in Lleida Cogul, Valley and Eat Balma Points (Albi), shelters the French and Barranco de Vila-seca (Os de Balaguer) and Tarragona Cueva del Pi (Tivissa), and the Grand Mas Portell Letters (Montblanc), and the station near of Cueva Pintada (Alfara Charles).
During the Neolithic begin to occur early architectural manifestations dedicated to funeral rites or religious, generally related to the so-called megalithic culture . The main monuments include: the menhir , such as Palaces (Agullana, Alt Empordà) and Murtra (San Clemente Sescebes), the dolmen , like the Cross in Cobertella (Roses) and Mas Bousarenys (Santa Cristina Aro), or covered galleries, like the Moors Cemetery (Torrent, Baix Empordà ), and Cova d'en Daina (Selva). Later, in about 1000 BC , come the first burial , in which the deceased was cremated and placed in urns pottery , found several of these cemeteries Can Missert (Terrace), Can Low-Peak (Agullana) and La Pedrera (Vallfogona Balaguer).[6]
However, the so-called Bronze Age (1500 BC-1000 BC) began the manufacture of various utensils and objects crafted by hand, especially ceramics and the silver , emphasizing the production of so-called bell-glasses . In the bronze happens the Iron Age , which coincides with the arrival of people in Catalan lands Celts from central Europe, of which we have received various objects found in burial grounds (weapons, clothes ornaments, pottery), who buried the deceased.[7]
External Influences on Catalonian Art
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Iberian Art
editDespite the settlement of peoples Iberian Catalan territory around the seventh century BC , in Catalonia there are few relevant examples of Iberian art, but some everyday objects or a small piece rudimentàriament decorated as a small bronze representing a pair of oxen , of Castellet de Banyoles of Tivissa , a glass ceramic with a small gray landscape, hill Bosch ( Badalona ), or a sculptural remains of a tomb of Saint Martin Sarroca (Alt Penedès) the third century BC, with the figure of a possible Iberian king sitting on a throne.[8]
The Iberian settlements were the first stable settlements on our land, with villages drawn with mapping urban , surrounded by walls for defense, usually located in high places. They emphasize the remains found in the Puig de Castellet ( Lloret de Mar ), Puig de Sant Andreu ( balloon ), Dark Castle (Palamos) and Mas Castellar (Pontos).[9]
Greek Art
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The Greeks were the first great civilization in the Mediterranean to settle in Catalonia: the sixth century BC was founded the city of Empuries (Empòrion), one of the first cities built on land the Iberian Peninsula , which became an important trade center and gateway to the Greek culture. The so-called Greek Neapolis Empúries built around the port, with a highly developed urban mapping, which highlights the major public buildings, mainly the temple dedicated to the god of medicine , Asclepius.[10]
In Empúries developed considerably Greek ceramics, highlighting the vessels penthouses painted with scenes of different types, with a style naturalist high quality: we mention, for example, a cup found in the Neapolis Empúries, dated about the sixth century BC with a representation of the Greek goddess Athena Mitigating the . Greek art can be seen also in the Iberian Indian villages , thanks to trade relations between Greek and indigenous peoples in Catalonia: A good example is the treasure [11] found in the Iberian settlement of Castellet de Banyoles of Tivissa , which are some hooks of silver gilt with representations mythological.[12]
Empúries are also the first examples of sculpture found in the Catalan region, including the famous statue of the god Asclepius , found sanctuary in the south of Neapolis in 1909 , works great naturalism and superb execution,[13] or bust the goddess Aphrodite , of the fourth century BC , period Hellenistic , which accuses a major influence praxiteliana.[14]
Roman Art
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In the third century BC , through the Second Punic War between Rome and Carthage , the Romans arrived in the Iberian Peninsula, beginning a colonizing process which will culminate with the incorporation of all Hispania to the Roman Empire . In 218 BC the general Scipio founded Tarraco ( Tarragona ), which is the first important Roman city in Catalonia. The first artwork found in a Roman relief of a tower on the wall of Tarraco, representing the goddess Minerva with spear and shield, two meters high.[15]
The Romans were great experts in architecture and civil engineering, and contributed to our country roads, bridges, aqueducts and cities with a rational layout and basic services such as sewers, in addition to temples, baths, circuses, theaters, etc.. In a slow process of colonization are founded several cities in Catalonia with a population mostly from Roman legionaries graduates: Baetulo (Badalona), Iluro (Mataro) Iesso (Stern) Aeso ( Isona, etc.). However, the Roman city of Empuries becomes the creation of a new facility next to the Greek Neapolis.[16] So began a process of assimilation of Roman culture and language, of which we are heirs as the Latin left the Catalan language to the Middle Ages.
As the first major examples of Roman art in Catalonia have in the field of architecture, the temple and the forum Empúries Baetulo and terms, while in sculpture there are several findings in the cities of Tarraco and Baetulo statues of male or female figures, probably works for funerary monuments of wealthy families. These early works show traces common to Hellenistic art prevailing at the time along the Mediterranean, with particular influence of models from Narbo Martius ( Narbonne ).[17]
In the first century BC was founded Barcino ( Barcelona ), a small walled city already planned to air entry monuments, emphasizing the area of the forum with the Temple of Augustus.[18] The creation of the Empire and the pacification of peninsula achieved by August generated a long period of prosperity that promotes art and public works. Two examples are the Arc de Bera and the aqueduct of Ferreres to Tarraco. The Vic is the 1882 perfectly preserved remains of a temple, where façade with six columns of Corinthian order topped by a tympanum.[19]
In the first century of our era, the city of Tarraco, which has become the new capital of the province Tarraconensis has a period of great development, with the remodeling of the forum and the legal construction of the church and the theater. These buildings stand out for its monumental architecture as the meticulous sculptural decoration with numerous marble statues representing members of the imperial family. The remodeling of Tarraco culminates in the second half-century with the creation of provincial forum , with a large temple dedicated to the worship of the emperor and a circus horse racing.[20]
The sculpture of the imperial era gains in realism, particularly in portraiture, with a large domain of physiognomy by artists of this period, we have numerous examples found in the walls of Barcino. From the second century stand of the sarcophagi decorated like that of Hippolytus found at sea off the coast of Tarragona, possibly of Greek origin, representing scenes from the myth of Hippolytus and Phaedra.[21] Also noteworthy in the decoration of houses Cities and the mosaic , which has a large development at this time, as found in the ruins of Empuries, with a scene with Agamemnon and Iphigenia , the Roman Villa of Bell-place ( fourth century ), with a race quadrigues; in the village of Lots (Altafulla) with a representation of the muses, or the village of Almond in Tossa de Mar (siglos IV-V). [23]
Paleochristian Art
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With the establishment of Christianity as the official religion in the fourth century, artistic production is developed around religious themes, which have been defined as Paleochristian art . This art is based on Roman forms and types, but with a new content based on Christian iconography. The architecture is the church, heir to the Roman basilica, incorporating new forms as the plant in the form of a Latin cross, symbol of Jesus , and types as the baptistery . We thus set Paleochristian and high-medieval Santa Maria de Terrassa (V-VII centuries), the church of Sant Feliu in Girona , Tarragona and Santa Jerusalem and the Holy Cross in Barcelona.[22]
Another significant work of art is Paleochristian Centcelles mausoleum in Constantine , the fourth century, sepulchral building with a large room covered with dome and decorated with a polychrome mosaic with scenes from the Bible as well as hunting and four stations. [25] In art charge Paleochristian relevance sarcophagi, usually marble, decorated with Christian themes, often imported from Roman workshops or northern Africa . A good example are the church of Sant Feliu de Girona and the "prayer of the sarcophagus, found in early Christian necropolis of Tarragona.[23]
Middle Ages
editPre-Romanesque
editThe first style produced in the field of medieval art is called Pre-Romanesque (or "First Romanesque" according to the classification of Joseph Puig), located between the fall of the Roman Empire and the creation of the Hispanic March. In Catalonia, as in the rest of the peninsula, the Pre is marked by the Visigothic art and influences Mozarabic and Carolingian. Stand the whole Terrace (San Pedro, Santa Maria and San Miguel), Visigothic influence, the churches of Sant Julià de Boada and San Quirze Pedret, Mozarabic influence on the use of the horseshoe arch, and St. Peter of Puelles (Barcelona), Carolingian influence. [27]
The sculpture is developed mainly in the architectural field, usually limestone, with survival of classical art from Paleochristian that will gradually evolve into a more original and indigenous. It is apparent in the sculptural decoration of the churches of San Miguel de Terrassa, Sant Julià de Boada, Saint Benedict, etc.. [28]
The mural painting is generally pre-Romanesque and as sculpture, decorative serving the architectural work. During this time live two distinct stylistic lines: the first heir of classical forms, especially Paleochristian art, and other streams in contact with outsiders, such as the Carolingian represented by sets of San Miguel and Santa Maria Terrace, the second represents the local artisans, away from classical forms and no contact with other styles, reflected in the decorations of St. Peter's Terrace, St Quirze Pedret and Campdevànol. [29]
Romanesque
editThe Romanesque Catalan is the first fully developed in the area above the Pyrenees, from around 1000 C.E up until the thirteenth century. Is tied to the creation of the Catalan counties, which were gradually gaining independence with regard to the Carolingian Empire, while gaining ground in the Islamic kingdoms, assuming the creation of the first state Catalan culminating with the Crown of Aragon. However, developing the Romance languages, among which figure Catalan. [30]
The Romanesque is a European movement, developed from Spain, Italy or England to all central Europe and Scandinavia. Typologically is heir to the Roman ways, while reaching new influences such as Byzantine. [31] It is a religious art, developed mainly in churches in the Christian-themed architecture and the arts. In Catalonia, the main influences come from the Lombardy and schools Provence and Toulouse, although new types are created in the use of stone and cover large areas at valts that allow one to speak authentically Catalan Romanesque. [32] The Romanesque architecture emphasizes the use of barrel vaults and arches.
The first Romanesque Lombard influence include the churches of San Vicente de Cardona , Sant Pere de Casserres, St Pons de Corbera and St James Frontanya and the monasteries of Ripoll, Breda, San Miguel de Cuxa and Cathedral Vic works promoted by the Abbot Oliva. [33]
The technical Lombard noted for the use of small proportions of chipped stone, large areas covered with round, with pilasters and arches for decoration, and transverse arches and formers to enhance laps and walls. [34] The Lombard influence reaches the twelfth century in places like Taüll or Vall de Boi. There are also examples of Lombard influence far as Sant Pere de Rodes and the Holy Serni Tavèrnoles (Alt Urgell).
In a second Romanesque, named "International Romance", generated from the late eleventh century, changes are generated by the religious reforms as cluniacenca and Cistercian. It is characterized by the use of stone more accurately planimetries more complicated, with some pointing to the vaults, and greater use of sculpture to decorate architectural spaces. [35] This is emphasised in the Abadesas St. John, St. Peter Besalú, Santa Eugenia de Berga, San Nicolás de Girona, Sant Pau del Camp ( Barcelona), the cathedral of La Seu d'Urgell and the monasteries of Poblet and Santes Creus. [36]
In sculpture workshops highlighted the influence of Toulouse and Roussillon, while workshops will be important as local Ripoll, Vic, Solsona and Sant Cugat. The most important works are the portals of the Vic, Ripoll and Sant Pere de Rodes and the cloisters of Ripoll Lluçà, Girona, San Miguel de Cuxa and Saint Peter Galligants. [37] In the sculpture stands free image Lady of the Cloister of the cathedral of Solsona, notable for its virtuosity and precision of detail. Also of note are works such as the image of the Virgin of Montserrat in the Montserrat Monastery, or Batlló Majesty (MN AC), image of Jesus crucified in polychrome wood. [38]
Start to develop the painting, especially wall as decorations made in Santa Maria Wall and San Quirze Pedret, Italian-influenced, possible work of a teacher abroad. [39] Further examples are the magnificent Taüll and Vall de Boi, highlighting the famous Pantocrator from Sant Climent de Taull currently the MNAC, the work of a master of Italian origin as possible. [40] Apart from these centers develops Episcopal nuclei, such as Barcelona, Girona and Vic , a painting related miniature and illumination of manuscripts, as the sets of Sant Pere de La Seu d'Urgell and Santa Eulalia Estaon. [41]
In the thirteenth century Romanesque was evolving into forms that point to the new style Gothic. It is an art more urban, with expansion of civil architecture, although the achievements are even religious: Chapel of St. Lucia and the Episcopal Palace in Barcelona, Tarragona Cathedral, churches of San Martín and San Lorenzo and La Seu Vella de Lleida, Church of Sant Cugat and Vallbona. [42] The sculpture called the force receives College of Lleida influence Toulouse, where the covers are works such as the Annunciation and Fillols Office Vella de Lleida, of Agramunt, Santa Maria Castle Bins, Guimerá, Verdú, Waldo and Santa Coloma de Queralt. [43]
The painting is developed around the so-called "style 1200", central European origin , where the Byzantine influence is particularly important, from the mural done on the table, especially in front of the altar , stands the whole of St. Stephen of Andorra la Vella. [44]
It should be noted however the quality of the great Romanesque applied arts, with splendid work in tapestry, embroidery, reliquaries, silver, wrought iron, etc.. A magnificent example we have Tapestry of the Creation of the Cathedral of Girona, or the banner of St. Ot (MNAC), the twelfth century. [34]
Gothic
editDeveloped between the thirteenth and sixteenth centuries, is a time of economic development, geographic expansion - conquest of the Kingdom of Valencia and the Balearic Islands, any expansion in the Mediterranean- and consolidation of the Catalan-Aragon Crown. [45] It is a period of great splendor for Catalan art. Again we received foreign influences, especially France and Italy, as well as the Mudejar style, but here are transformed and adapted to a style. In a more international exchanges are frequent stylistic artists travel from one country to another, incorporating techniques and styles that are spread everywhere. [46] The architecture undergoes a profound transformation, shaped lighter, more dynamic, with improved structural analysis that allows most stylish buildings, with more openings and, therefore, better illumination. New types appear as the pointed arch and vault, and the use of spurs and buttresses to sustain the structure of the building, enabling wider interiors and decorated with stained glass and rose windows. The mural painting is no longer to pass altar placed on the altars of churches. [47]
It built great cathedrals such as Barcelona, Tarragona, Girona, Manresa, Solsona, Tortosa, etc..; large churches like Santa Maria del Mar and Santa Maria del Pi in Barcelona, Vilafranca Santa Maria, San Juan de Perpignan, the the monastery of Santa Maria de Pedralbes, etc.. [48] also developed remarkably civil architecture, especially the palaces and public buildings such as the Palau Reial Major, the Palace of the Generalitat, the Hospital of the Holy Cross, the Shipyards, the Market and the Town House in Barcelona. [36]
The sculpture is still framed within the architectural and Gothic forms together achieved a more realistic and detailed than the Romanesque sculpture, as well as portals, sculpture develops tombs, altars, choir and altars. French influence is evident, especially in the early years of the Gothic and the Italian and Flemish, though they develop a number of local schools that will be reaching its own style. [49] The first notable examples have to altarpieces Anglesola and St. John the Abadesas, and the tombs of the Cathedral of Santa Eulalia de Barcelona, of Elisenda de Montcada in Pedralbes and Joan of Aragon in its Tarragona. [50] The first known names are those of the Norman artist Aloi of Montbrai , author of the tombs of Peter the ceremonious and Teresa de Entenza Poblet; Cascalls James, who also worked at the Royal Pantheon of Poblet, as well as the Girona Cathedral (San Charlemagne) and the altarpiece from Conflent Cornella, and George of God, also present in Poblet, author of the altarpieces of Vallfogona Riucorband Santa Coloma de Queralt, and works in the cathedral and the Casa City Barcelona. [51]
The International Gothic figure we Ça Peter Anglada, author of Heart of Barcelona Cathedral, Pere Oller, author of the tomb of Ferdinand I in Poblet and altarpiece in the cathedral of Vic, Peter John, figure prominently, author of façade of the Palau Sant Jordi of the Generalitat and the altarpiece in the cathedral of Tarragona, and Guillem Sagrera, who worked in Majorca, Gerona, La Seu d'Urgell, Perpignan and Naples. [52]
References
edit- ^ Ramon Viñas i Vallverdú i Josep Castells i Camp: Art prehistòric . A Art de Catalunya. Pintura antiga i medieval , p. 12-13.
- ^ Ramon Viñas i Vallverdú i Josep Castells i Camp: Art prehistòric . A Art de Catalunya. Pintura antiga i medieval , p. 14.
- ^ Ramon Viñas i Vallverdú i Josep Castells i Camp: Art prehistòric . A Art de Catalunya. Pintura antiga i medieval , p. 17.
- ^ Ramon Viñas i Vallverdú i Josep Castells i Camp: Art prehistòric . A Art de Catalunya. Pintura antiga i medieval , p. 15.
- ^ http://translate.googleusercontent.com/translate_c?hl=en&rurl=translate.google.com&sl=auto&tl=en&u=http://whc.unesco.org/en/list/874/multiple%3D1%26unique_number%3D1026&usg=ALkJrhieJcrpntr266BcwU9vqOU08s7eSg%7CRock Art of the Mediterranean Basin on the Iberian Peninsula
- ^ Narcís Soler: L'Arquitectura religiosa a la Prehistòria . A Art de Catalunya. Arquitectura religiosa antiga i medieval , p. 16-23.
- ^ Jordi Galofré: Historia de Catalunya , p. XII-XIII.
- ^ Josep Guitart i Duran: De l'art rupestre a la romanitat . A El llibre d'or de l'art català , p. 10-11.
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- ^ Josep Guitart i Duran: L'Arquitectura religiosa d'època romana . A Art de Catalunya. Arquitectura religiosa antiga i medieval , p. 37-38.
- ^ Gracià , Oriol. «En el país dels ilercavons». Sàpiens [Barcelona], núm. 86 data = desembre 2009, p. 68-69. ISSN 1695-2014.
- ^ Josep Guitart i Duran: De l'art rupestre a la romanitat . A El llibre d'or de l'art català , p. 9.
- ^ Ripoll, Xavier. [Josep Guitart i Duran: De l'art rupestre a la romanitat . A El llibre d'or de l'art català , p. 9. "Prehistory and Antiquity"]. Retrieved April 14, 2011.
{{cite web}}: Check|url=value (help) - ^ Isabel Rodà de Llanza: L'Antiguitat . A Art de Catalunya. Escultura antiga i medieval , p. 15.
- ^ Josep Guitart i Duran: De l'art rupestre a la romanitat . A El llibre d'or de l'art català , p. 11.
- ^ Josep Guitart i Duran: Arquitectura civil i urbanisme a Catalunya a l'època romana . A Art de Catalunya. Urbanisme, arquitectura civil i industrial , p. 34.
- ^ Isabel Rodà de Llanza: L'Antiguitat . A Art de Catalunya. Escultura antiga i medieval , p. 23.
- ^ Josep Guitart i Duran: Arquitectura civil i urbanisme a Catalunya a l'època romana . A Art de Catalunya. Urbanisme, arquitectura civil i industrial , p. 46.
- ^ Josep Guitart i Duran: L'Arquitectura religiosa d'època romana . A Art de Catalunya. Arquitectura religiosa antiga i medieval , p. 44-46.
- ^ Josep Guitart i Duran: De l'art rupestre a la romanitat . A El llibre d'or de l'art català , p. 16-17.
- ^ Isabel Rodà de Llanza: L'Antiguitat . A Art de Catalunya. Escultura antiga i medieval , p. 75.
- ^ Xavier Barral i Altet: L'Arquitectura religiosa d'època preromànica i romànica . A Art de Catalunya. Arquitectura religiosa antiga i medieval , p. 63-64.
- ^ Xavier Barral i Altet: Preromànic i Romànic . A Art de Catalunya. Escultura antiga i medieval , p. 100-105.