Revista Modernista Cdf-25

25
2015
The Return of Mackintoshs Glasgow School of Art

El retorn de la Glasgow School of Art de Mackintosh
Aubrey Beardsley, the Rage of Artistic London
Aubrey Beardsley, el furor artstic de Londres
Preserving Alphonse Muchas Heritage
La preservaci del llegat dAlphonse Mucha
coupdefouet 25 | 2015 | www.artnouveau.eu
Salsomaggiore Terme
A Liberty Spa
Maurizia Bonatti Bacchini

Art Historian, Salsomaggiore
mauriziabonatti@alice.it
by the Giuseppe Magnaghi limited company, which had its head

offices in Milan. The firm managed to draw great names from
the international cuisine and hospitality sector into the business,
figures such as Alfons Pfyffer and Csar Ritz.
The hotel, boasting a royal suite on its first floor, was
designed by the Milan architect Luigi Broggi, who introduced a
floral language into the ornamentation. This is apparent, above
By the end of the nineteenth all, in Alessandro
Mazzucotellis ironwork.
century, it was one of
He was a Lombard
artist who masterfully
the best-equipped spa
interpreted Art Nouveau
resorts and had achieved
plant and animal
international renown
motifs in an Italian
style with refined fantasy and great creativity. Specifically, the
entrance canopy featured in 1898 in the magazine Arte Italiana
Decorativa e Industriale as a prototype for the new taste towards
which Art Nouveau language leaned in its European dimension is
nowadays the departure point for a route of discovery into the
vestiges of Italian Art Nouveau, or Liberty style, in Salsomaggiore.
Paolo Barbaro
n 1839, Salsomaggiores vocation as a spa town was

forged as a result of early experimentation with the
therapeutic use of its bromo-iodine salt water. From then
on, Salsomaggiores history took a fresh turn, leading the
town to develop mid-century along the lines of Europes
foremost spa towns. By the end of the nineteenth century,
it housed three operating spa establishments, was one of
the best-equipped spa resorts and had achieved international renown.
Its business proposal gathered steam after the unification
of the Kingdom of Italy in 1861. In the final decades of the
nineteenth century, the locality invested in significant hospitality
establishments which prompted urban expansion towards the
surrounding foothills. New road and rail connections were
established with the Padan Plain. The private venture, which
enjoyed the support of medical research and the evolution of
hydrothermal techniques, encountered favourable conditions for
investing vast financial resources into developing the burgeoning
tourist industry.
Construction of the Grand Hotel des Thermes in 1898 proved
decisive. This was a complex of international prestige, financed
View of the well Pozzo Scotti, designed by the architect Giuseppe Boni in 1912, with the Berzieri Bath in the background
The Grand Hotel des Thermes (now the Convention Centre) was designed by Luigi Broggi in 1898. The wrought-iron canopy was created by Alessandro Mazzucotelli
Vista del pou Pozzo Scotti, dissenyat per larquitecte Giuseppe Boni el 1912, amb les Termes Berzieri al fons de la imatge
El Grand Hotel des Thermes, avui convertit en Palau de Congressos, va ser dissenyat el 1898 per Luigi Broggi. La marquesina de ferro forjat s obra dAlessandro Mazzucotelli
Paolo Barbaro
THE ROUTE
The route
Maurizia Bonatti Bacchini

Historiadora de l'Art, Salsomaggiore
mauriziabonatti@alice.it
'any 1839 es va prefigurar la vocaci termal de Salsomaggiore a

travs de les primeres experimentacions amb l's teraputic de les
aiges idiques. A partir d'aleshores la histria de Salsomaggiore
va prendre un curs nou que la va dur a desenvolupar-se a mitjan
segle seguint el model de les viles termals ms importants
d'Europa. A final del segle XIX, comptava amb tres establiments
termals en funcionament, era una de les estacions de banys ms
ben dotades i havia assolit renom internacional.
Up until 1913, Salsomaggiores urban layout had been

expanding to no formal design, and the large hotel complexes also
appeared isolated and out of scale with regard to the Old Town.
A clear urban layout was missing, one which would provide the
villes deaux with definition. This is how the landscape architect
Giuseppe Roda, director of the Turin royal gardens, came to be
commissioned with the project to provide Salsomaggiore with
a new urban plan and its identity as a Liberty-styled spa town.
So the town displays an urban structure where the landscape
architecture does not merely offer a context for the buildings, but
is organised into a homogeneous assembly, one in which roads
trace a circular route and the curved line becomes a distinctive
trait. So the park financed by income from a tourist tax that
was applied from 1910 onwards became the inspiration for the
shape and dimensions of the town plan that encompassed the
buildings, formalising the coexistence of nature and architecture
in a perfectly integrated way. Even nowadays, the urban context
denotes an impressive symbiosis between the greenery that found
its way into the buildings and its decorative apparatus, which
becomes a perfect mimesis of the essence of nature reproduced
in the ironwork, stained glass, paintings and sculpted friezes. The
town park was inaugurated in 1917.
Paolo Barbaro
Salsomaggiore Terme
Liberty termal
La proposta empresarial va prendre impuls desprs de la unificaci del

Regne d'Itlia el 1861, i en els darrers decennis del segle XIX la localitat es
va dotar d'importants estructures hoteleres que van comportar una expansi
urbana vers els primers vessants dels turons, i es van obrir nous enllaos viaris
i ferroviaris amb la plana Padana. L'emprenedoria privada, que comptava
amb el suport de la recerca en el camp mdic i de l'evoluci de la tcnica
hidrotermal, va trobar unes condicions favorables per invertir ingents recursos
econmics en el desenvolupament de la florent indstria turstica.
Lorenzo Davighi
Detail of the decorative ironwork applied to the Pozzo Scotti

(1912) created by Antonio Veronesi
Detall del revestiment en ferro aplicat al Pozzo Scotti (1912) realitzat al
taller dAntonio Veronesi
The floral motif of the carnation in fact inaugurated a

decorative syntax inspired by plant life which would later be
adopted by the Grand Hotel Centrale Bagni in 1902 and the Grand
Hotel Regina in 1911. Both are monumental buildings, which
constitute imposing architectural bastions at the intersection of the
leafy avenue of spas, Viale Romagnosi. They display signs of the
Liberty style in a Lombard hue, above all in their ironwork and
use of materials such as stone and cement. The architect Giuseppe
Boni, who was also responsible for the Hotel Regina project,
furthermore designed the decorative ironwork applied to the Pozzo
Scotti in 1912. This was an elegant Liberty structure that imbued
one of the many wells in the town with the atmosphere of a shrine
and sacred fount. The decorative frieze on a theme of flowers and
foliage is expressed with sculptural force and a naturalistic energy
that seems as if it were inspired by Alessandro Mazzucotellis
most mature style. Yet the seal confirms it is from the studio of his
student, Antonio Veronesi, who was also responsible for the railing
of the Grand Hotel Regina, enveloped in vine leaves and bunches
of grapes in fleshy, plastic shapes.
The Salone Moresco (Moorish Hall) was designed by Ugo Giusti and decorated by Galileo Chini for the enlargement of the Grand Hotel des Thermes in 1925
El Sal Moresco, obra de larquitecte Ugo Giusti i decorat per Galileo Chini, va ser dissenyat el 1925 per a l'ampliaci del Grand Hotel des Thermes
Tower of the Villa Gilda built ca 1910. Architect unknown

Torre de la Villa Gilda, construda cap al 1910. Arquitecte desconegut
5
La ruta
Paolo Candelari
Entrance hall of the Grand Hotel Centrale Bagni designed by Giuseppe Boni in 1902. Period photograph
Detall de pintura mural dissenyada per Galileo Chini el 1925 en el Sal Moresco, antic
Grand Hotel des Thermes
Period photograph of the Grand Hotel Regina, designed by architect Giuseppe Boni in
1911, one of the two monumental buildings of Viale Romagnosi in Lombard Liberty style
Foto d'poca del Grand Hotel Regina, obra de larquitecte Giuseppe Boni (1911), un dels dos
edificis monumentals del Viale Romagnosi dissenyat en estil Liberty llombard
de flors i fulles s'expressa amb un mpetu escultric i una energia naturalista

que sembla inspirada en l'estil ms madur d'Alessandro Mazzucotelli, per el
segell ens remet al taller del deixeble Antonio Veronesi, que va fer tamb el
reixat del Grand Hotel Regina, embolcallat de fulles de cep i gotims de ram
de formes carnoses i plstiques.
Fins al 1913, l'estructura urbana de Salsomaggiore s'havia ampliat
sense un disseny previ, i tamb els grans complexos hotelers apareixien
allats i certament sobredimensionats respecte del casc antic. Mancava
una trama urbana capa de donar a les villes d'eaux una forma definida.
I aix s que es va encarregar a l'arquitecte paisatgista Giuseppe Roda,
director dels jardins reials de Tor, un projecte per dotar Salsomaggiore
duna nova trama urbana i la identitat d'una ciutat termal Liberty. s a dir,
d'una estructura urbana on l'arquitectura del paisatge no noms ofers
un marc als edificis, sin que els organitzs en un conjunt homogeni on
les vies assumissin un recorregut circular i on la lnia sinuosa fos el tret
distintiu. Aix, el parc finanat amb els ingressos obtinguts per la taxa
de sojorn aplicada a partir de 1910 esdevenia generador de la forma i la
dimensi de l'urbs que englobava els edificis, determinant una coexistncia
de la natura i l'arquitectura perfectament integrades. Encara avui el context
urb denota una impressionant simbiosi entre el verd que s'insinua en els
edificis i el seu aparell decoratiu, que esdev una mimesi perfecta de
l'essncia vegetal reproduda en les forges, en els vitralls, en les pintures i
en els frisos esculpits. El parc urb es va inaugurar el 1917.
Vestbul del Grand Hotel Centrale Bagni, dissenyat per Giuseppe Boni el 1902. Foto dpoca
It was precisely this year that the most versatile and

multifaceted Art Nouveau practitioner in Italy, Galileo Chini
(Florence, 18731956), began to transform the artistic image
of this spa town, introducing the stamp of Orientalism and the
Viennese Secession. The Toscan artist, a pioneer in the Liberty
style, had returned from a long stay in Bangkok, where he had
received a commission from the king of Siam to paint the interior
of the Ananta Samakhom Throne Hall in Dusit Palace. Arriving
in Salsomaggiore, he began to work alongside the Florentine
architect Ugo Giusti (Florence, 18801928) to construct the
majestic complex dedicated to Doctor Lorenzo Berzieri. For this
spa establishment, commissioned by the Italian state, Galileo
Chini created a decorative project that involved combining diverse
artistic techniques and integrating pictorial materials, ceramics
and glass. In fact, in this salt-water temple, the artist developed
his experience as a painter and ceramicist, melding enhancement
of the applied arts with aesthetic theories predicting the renewal
of artistic action. In the spa building, Galileo Chini and Ugo
Giusti had the opportunity to create a total artwork, a synthesis
of architecture and the decorative arts, where each detail in the
structure, each facet of the ceramic cladding, each object in the
furnishings contributed to the overall effect. While the buildings
general atmosphere anticipated the Dco style, Galileo Chini
projected his experience and contacts with the Viennese Secession
into its pictorial facet. And he did so with reference to Klimt in
Lorenzo Davighi
Detail of a mural painting designed by Galileo Chini in 1925 in the Moresco Hall
of the former Grand Hotel des Thermes
Iron and glass canopy of the former Albergo Terminus built in 1905. Architect unknown
Marquesina en ferro i vidre de lantic Albergo Terminus, construt el 1905. Arquitecte desconegut
Paolo Candelari
Va ser decisiva la realitzaci del Grand Hotel des Thermes el 1898,

un complex d'atractiu internacional finanat per la Societat Annima
Giuseppe Magnaghi, que tenia seu a Mil i que va aconseguir implicar en
el negoci grans noms de l'hoteleria i la cuina internacionals com Alfons
Pfyffer i Csar Ritz. L'hotel, dotat d'una suite reial a la primera planta, va
ser projectat per l'arquitecte milans Luigi
A final del segle
Broggi, que va introduir en l'ornamentaci
XIX era una de les
el llenguatge floral, sobretot a travs de la
forja d'Alessandro Mazzucotelli, l'artista
estacions de banys
ms ben dotades, amb llombard que va saber interpretar els
motius vegetals i animals de l'Art Nouveau
renom internacional a Itlia amb una fantasia refinada i una
gran creativitat. En concret, la marquesina d'entrada que va aparixer el
1898 a la revista Arte Italiana Decorativa e Industriale com a prototip del nou
gust que declinava el llenguatge modernista en la seva dimensi europea s
encara avui el punt de partida d'un itinerari de descoberta de les traces del
Modernisme itali, o Liberty, a Salsomaggiore.
El motiu floral del clavell inaugurava de fet la sintaxi decorativa
inspirada en la vida vegetal que ms tard adoptarien el Grand Hotel Centrale
Bagni, el 1902, i el Grand Hotel Regina, el 1911: els dos edificis monumentals,
que formen uns bastidors arquitectnics imponents a l'encreuament del
passeig arbrat de les termes, anomenat Viale Romagnosi, exhibeixen els
senyals del gust Liberty de matriu llombarda sobretot en les forges i l's de
materials com el ciment i la pedra. A l'arquitecte Giuseppe Boni, que firma
tamb el projecte de l'Hotel Regina, devem a ms el disseny per al revestiment
en ferro aplicat el 1912 al Pozzo Scotti, una elegant estructura Liberty que
confereix el significat de templet i de font sacra a un de tants pous d'extracci
d'aigua disseminats pel context urb. El tema ornamental de la trama vegetal
archivio Lorenzo Davighi
La ruta
archivio Nello Bocelli
Detall de la marquesina de ferro forjat realitzada per Alessandro Mazzucotelli el

1898 per al Grand Hotel des Thermes
Va ser precisament aquest mateix any quan l'intrpret ms verstil i

polidric del Modernisme a Itlia, Galileo Chini (Florncia, 1873-1956), va
comenar a transformar la imatge artstica de la ciutat termal desenvolupant
el segell de l'orientalisme i de la Secession vienesa. L'artista tosc, pioner del
Liberty, en tornar d'una llarga estada a Bangkok on havia rebut l'encrrec
www.portalesalsomaggiore.it
Archivio Lorenzo Davighi
The route
Period photograph showing the Pozzo Scotti in the foreground designed by Giuseppe Boni in 1912, and the Teatro Centrale (1914) by Guido Tirelli in the background
Fotografia dpoca que mostra en primer pla el Pozzo Scotti, dissenyat per Giuseppe Boni el 1912, i el Teatre Centrale, obra de Guido Tirelli de 1914, al fons de la imatge
Lorenzo Davighi
two beautiful paintings on a golden ground. Here, female figures

move through the air and waves, beneath cascades of flowers,
representing an allegory of the regenerative force of water and the
eternal renewal of life. Dated 1922, these paintings, hanging on
the walls of the central staircase, demonstrate the vitality of the
Viennese Secessions aesthetic and philosophical messages, which
also inspire the series painted on the buildings counterfaade. This triptych, dedicated to the bathing
ritual of the divine Hygieia, the work
of Giuseppe Moroni (Cremona,
1888 Rome, 1959), an artist
formed in the Roman school
of Giulio Bargellini, seems
to communicate the
continuity of the Liberty
style in Salsomaggiore.
Yet it was Galileo Chini who concluded the Liberty period,

intervening where he had begun, on the building of the Grand
Hotel des Thermes (nowadays the towns Congress Centre). In
1925, the architect Giusti involved his friend Chini in the hotels
expansion with the construction of a new architectural volume
aimed at housing the Salone Moresco (Moorish Hall) and the
Taverna Rossa (Red Tavern) below. In this scenario,
above all through pictorial intervention,
the Orientalism that inspired the
architectural project was melded
with Liberty references of
exuberant and exotic
vegetation reinterpreted by
Galileo Chini with creative
freedom and breathtaking
chromatic refinement.
Images from the triptych dedicated to the bathing ritual of the divine Hygieia, designed by Giuseppe Moroni in 1922, situated
on the counter-faade of the Terme Berzieri building
Galileo Chini, 1925. Detail of mural painting on the ceiling of the Salone
Cariatidi in the Grand Hotel des Thermes, nowadays the Convention Centre
Imatges del trptic dedicat al ritual del bany de la divina Higea, dissenyat per Giuseppe Moroni el 1922. Aquest trptic forma part de les
pintures de la contrafaana de les Termes Berzieri
Galileo Chini, 1925. Detall de la pintura mural del sostre de la Sala Cariatidi del
Grand Hotel des Thermes, avui Palau de Congressos
Detail of the wrought-iron canopy created by Alessandro Mazzucotelli for

the Grand Hotel des Thermes in 1898
del rei del Siam de pintar l'interior de la Sala del Tro Ananta Samakhom del
Palau de Dusit va arribar a Salsomaggiore per treballar junt amb l'arquitecte
florent Ugo Giusti (Florncia, 1880-1928) en la construcci del majestus
complex dedicat al metge Lorenzo Berzieri. Per a aquest establiment balneari,
encarregat per l'Estat itali, Galileo Chini va elaborar un projecte decoratiu
que preveia la combinaci de diverses tcniques artstiques i la integraci
de materials pictrics, cermics i de vidre. De fet, en aquest temple d'aigua
salada, l'artista va desenvolupar-hi la seva experincia com a pintor i
ceramista, conjugant la posada en valor de les arts aplicades amb les teories
esttiques que predicaven la renovaci de l'acci artstica. En l'edifici termal,
Galileo Chini i Ugo Giusti van tenir l'oportunitat de realitzar una obra total,
sntesi d'arquitectura i arts decoratives, on cada detall de l'estructura, cada
tret del revestiment cermic, cada objecte del mobiliari contribua al resultat
global. I mentre que l'aire general de l'edifici anticipa l'estil Dco, en el cicle
pictric Galileo Chini hi plasma la seva experincia i els seus contactes amb
la Secession vienesa. I ho fa amb una referncia a Klimt en dues pintures
precioses de fons daurat, on unes figures femenines que es mouen per l'aire i
entre les ones, sota cascades de flors, s'imposen com una allegoria de la fora
regeneradora de l'aigua i de l'eterna renovaci de la vida. Datades del 1922, les
pintures, sobre les parets de l'escala central, palesen la vitalitat dels missatges
esttics i filosfics de la Secession vienesa, que d'altra banda inspiren tamb
el cicle pintat a la contrafaana de l'edifici. Aquest trptic, dedicat al ritual
del bany de la divina Higea, obra de Giuseppe Moroni (Cremona, 1888-Roma,
1959), artista format a l'escola romana de Giulio Bargellini, sembla plasmar la
continutat del gust Liberty a Salsomaggiore.
Per fou Galileo Chini qui va concloure l'poca Liberty, intervenint all
on havia comenat, a l'edifici del Grand Hotel des Thermes (avui Palau de
Congressos). De fet, el 1925 l'arquitecte Giusti implica el seu amic Chini en
l'ampliaci de l'hotel amb la construcci d'un nou cos arquitectnic destinat
a albergar el Sal Moresco i la Taverna Rossa al dessota. I en aquest escenari,
sobretot en virtut de les intervencions pictriques, l'orientalisme que inspira
el projecte arquitectnic es fon amb referncies Liberty d'una vegetaci
exuberant i extica reinterpretada per Galileo Chini amb una llibertat creativa
i un refinament cromtic sorprenents.
Paolo Candelari
Paolo Barbaro
La ruta
Paolo Candelari
Paolo Candelari
City Council delegate Conseller delegat

Antoni Sorolla i Edo
Manager Gerent
Xavier Olivella Echevarne
coup De fouet
The Art Nouveau European
Route magazine
La revista de la Ruta Europea
del Modernisme
Nm. 25. 2015
ISSN 2013-1712
Dipsit legal: B-3982-2003
www.artnouveau.eu
coupDefouet@coupDefouet.eu
Tel. +34 932 562 509
Fax. +34 933 178 750
Editor Director
Llus Bosch
Staff Senior Redactora en cap
Inma Pascual
Editorial Staff Equip editorial
Jordi Pars
Snia Turon
Pep Ferr
Contributing to this issue

Han collaborat en aquest nmero
F. Balell
Maurizia Bonatti
Paolo Barbaro
Jordi Calveras
Paolo Candelari
Joan Capdevila
Lorenzo Davighi
Katie Durand
Jordi Falgs
Sergio Fuentes Mil
M. Isabel Gascn Uceda
Thomas Goldschmidt
Paul Greenhalgh
David A. Hill
Miran Kambic
Bedford Lemere
John Linton
Ramon Manent
Hattie Miles
Jeff J. Mitchell
Alessandro Morelli
Nastassia Nicolaij
Marija Reek Kambic
Andrea Speziali
Gregor Schuster
Peter Trowles
Eric Thorburn
Pol Viladoms
Violes & Ventalles
Paolo Zanzi
THE ROUTE LA RUTA
Salsomaggiore Terme: A Liberty Spa

Salsomaggiore Terme, Liberty termal...................................................................................................
Design and preprints

Disseny i maquetaci
Play [creatividad]
Printed by Impressi
AGPOGRAF SA
2-9
FEATURING DESTAQUEM
Glasgow School of Art: A Phoenix Rising from the Ashes

La Glasgow School of Art: un fnix que reneix de les cendres.................................................
14-21
THE CENTRE EL CENTRE
The Mucha Foundation: Preserving Alphonse Muchas Artistic Heritage

La Fundaci Mucha: preservaci del llegat artstic d'Alphonse Mucha ...............................
22-29
WORLDWIDE ARREU
Julin Garca Nez and Art Nouveau in Buenos Aires

Julin Garca Nez i el Modernisme a Buenos Aires ...............................................................
30-33
MEMORY MEMRIA
Villa Lampo, Japonism on the Shores of the Adriatic

Villa Lampo, japonisme a la costa adritica .................................................................................
34-39
IN DEPTH A FONS
Pride of Place: The Peacocks of Budapest

Orgull local: els paons de Budapest ..............................................................................................
40-49
HERSTORY FEMINAL
Pepita Texidor: On the Fringes of Modernisme

Pepita Texidor, als lmits del Modernisme ....................................................................................
50-55
SINGULAR
The Urbanc Department Store, Back in Business in Ljubljana

Els Grans Magatzems Urbanc tornen a la feina a Ljubljana ....................................................
56-61
LIMELIGHT PROTAGONISTES
Aubrey Beardsley, the Rage of Artistic London

Aubrey Beardsley, el furor del panorama artstic londinenc ....................................................
62-71
ENDEAVOURS INICIATIVES .................................................................................................................
72-81
AGENDA .....................................................................................................................................................
82-83
Glasgow
Hamburg
London
Bruxelles - Brussel
Editorial
L
O
Grcies per
la vostra bellesa
Thank You
for Your Beauty
a nostra redacci s en una planta 21, enclavada en un rac

ur office is on a twenty-first floor, smack on a corner of
de la Barcelona medieval a tocar del seu port vell, dalt duna
the Barcelona Medieval City near its old port. It is a huge
torre angular, enorme i lletja dels anys 1970. Va ser erigida
and ugly, angular 1970s edifice, erected in contravention
fins i tot en contra de les normatives molt laxes dels temps
of even the very lax regulations of the dark times of
foscos del feixisme espanyol, que mostrava ben poc inters
fascist Spain, with little concern for heritage preservation.
per la preservaci del patrimoni. Cal agrair el fet que avui en
Thankfully times have changed, and today such an urban
dia aix ja no es permetria fer a la ciutat de Barcelona.
landscape crime could not be committed in Barcelona.
Tanmateix, s cert que la nostra oficina t unes vistes espectaculars
Nevertheless, it is true that our office does have wonderful views
i tant s aix que tots els que ens visiten, tard o dhora deixen anar el
so much so, that anybody who stops by sooner or later blurts out the
previsible Ostres, jo fins i tot pagaria per treballar aqu!. Sincerament,
expected Oh wow, I would even pay to work here! To be honest, we
nosaltres no arribarem tan
would not go that far,
lluny, per molt boniques que
beautiful though the views
siguin les vistes que ho sn.
may be.
Reconeixem que ens
Inasmuch as we
sentim veritablement eufrics
are truly ecstatic to be
destar publicant el nostre
publishing our issue number
nmero 25 la qual cosa vol
25 and such a round
dir que coupDefouet fa ms
number actually means
de 12 anys que belluga la
coupDefouet has been out
cua per Europa per tamb
and about in Europe for
tenem seriosos dubtes de
twelve and a half years we
si calia fer massa festes al
were also rather unsure
voltant daquest fet.
whether we should make too
Ara que, ben mirat, s
much of a fuss about it.
cert que hem organitzat el
Granted, we have
Segon Congrs Internacional
organised the Second
Barcelona on a warm spring day
coupDefouet per al juny de
coupDefouet International
2015 a Barcelona, amb una
Congress of June 2015 in
Barcelona en un clid dia de primavera
formidable bateria de ponents
Barcelona, with such a
i contribucions cientfiques; aix sol ja s una gran celebraci!
formidable roster of speakers and scientific contributions that we do feel
I b, s, tamb s cert que hi ha hagut una resposta entusiasta a
that this, in itself, is a wonderful celebration.
lArt Nouveau Club, el primer club internacional noms per a veritables
And yes, we also have the enthusiastic response to the Art Nouveau
amants del Modernisme, que vam crear lany passat, i que ja compta amb
Club of which to boast, the first international club just for true Art
ms de 200 subscriptors. Inesperadament, de passada, el Club tamb t la
Nouveau lovers. After being set up last year, it already has more than 200
pgina sobre Art Nouveau que ms creix a Facebook.
subscribing members and quite unexpectedly the fastest-growing Art
Per tot i aix, s tal vegada el privilegi diari de treballar amb
Nouveau fan page on Facebook.
aquestes meravelloses vistes el que ha fet que haguem optat per celebrarBut inspired perhaps by the daily privilege of such wonderful
ho deixant que sigui la imbatible bellesa del patrimoni modernista la que
views from our office, we preferred to celebrate by simply allowing the
llueixi per mrits propis a les nostres pgines.
unbeatable beauty of Art Nouveau heritage itself to rise and shine from
Aquest s, al capdavall, lestil coupDefouet.
the pages of our magazine.
I tot aix, com sempre, noms ha estat possible grcies a la
This is, after all, the coupDefouet style.
generositat i la qualitat de les collaboracions que ens arriben de les
And as always, this has only been possible thanks to the generosity
ciutats i institucions, dels collegues i amics de la Ruta Europea del
and quality contributions from the cities and institutions, friends and
Modernisme darreu del mn. Grcies!
colleagues of the Art Nouveau European Route worldwide. Thank you!
Darmstadt
Torino
Canet de Mar
Translation and proofreading

Traducci i correcci
Kevin Booth
Maria Lucchetti
Sumari
Madrid
Barcelona
Reus
Wien
Ljubljana
Salsomaggiore Terme
Riccione
Budapest
Agraments especials
Marta Antuano
Attila Brunner
Luca Bruschi
Elisabeth Butikofer
Philipp Gutbrod
Helen Kendrick
Angelika Kreuzer
Botoa Lef
Carolina Martnez
Dominique Ruiz
Nora von Sulecki
Lilla Zamb
cDf n. 25
Special thanks to
Archivio Nello Bocelli

Arxiu Histric del Collegi dArquitectes de Catalunya
Belvedere, Vienna
Institut Mathildenhhe, Darmstadt
Jugendstilsenteret lesund
Museum fr Kunst und Gewerbe Hamburg
Munch Museum / Munch-Ellingsen Group
Museo Thyssen-Bornemisza, Madrid
President
Antoni Vives i Toms
Contents
11
IMPUiQV
Published by Edita
Art Nouveau European Route
Secretariat
Institut del Paisatge Urb i
la Qualitat de Vida
Ajuntament de Barcelona
Av. Drassanes, 6-8. planta 21
08001 Barcelona
Concurs de coberta
Cover Contest
Presents
Detail of the Birra Poretti brewery

faade. The building was created
in several phases. Designed by Bihl
& Wolf between 1902 and 1905,
construction was continued and
finally completed by the brothers
Alfred and Richard Bihl, in 1920
The innocent hand charged with
drawing out the contests winning
entries was our colleague Jordi Pars
Detall de la faana de la Birreria Poretti.

Ledifici es va construir en diferents
fases: Bihl & Wolf el van projectar
entre 1902 i 1905, i els germans
Alfred i Richard Bihl van continuar la
construcci fins a completar-la el 1920 Foto Studio Paolo Zanzi
La "m innocent encarregada dextreure

les butlletes guanyadores del concurs ha
estat la del nostre company Jordi Pars
Organised by:
Des de coupDefouet volem agrair als nostres lectors la gran participaci al

nostre concurs. Totes les respostes rebudes han estat encertades, en part
grcies al fet que aquesta fotografia es va publicar al coupDefouet nm. 2
(pg. 15), de lany 2003, en un article dedicat ntegrament a la fbrica de
cervesa A. Poretti & C.
At coupDefouet we would like to thank you, our readers, for your

overwhelming participation in our competition. All the answers received
were correct, maybe partly because this photo appeared in coupDefouet
issue 2 (page 15) in 2003, in an article devoted entirely to the brewery A.
Poretti & C.
El guanyadors del sorteig han estat: Estel Cervantes Martnez, de Barcelona

(1r premi, dues nits en un hotel de Barcelona); Antoni Cervantes i Corominas,
de Barcelona (2n premi, una subscripci gratuta dun any a lArt Nouveau
Club i un lot de llibres dart modernista), i Frank Welele, de Bivres (3r premi,
lot de llibres dart modernista).
The winners of the draw were Estel Cervantes Martnez from Barcelona
(first prize, two nights in a Barcelona hotel); Antoni Cervantes i Corominas,
from Barcelona (second prize, a free one-year subscription to the Art
Nouveau Club and a selection of books on Art Nouveau), and Frank Welele,
from Bivres (third prize, a selection of books on Art Nouveau).
Endevineu la nostra coberta!
Guess Our Cover!
Participeu en el nostre concurs! Podeu identificar la imatge de la coberta

daquest nmero 25 de coupDefouet? Endevineu-la i podreu guanyar:
Take part in our competition: what is the cover image on

coupDefouet No 25? Guess our cover and win!
1r premi: dues nits per a dues persones en un hotel de Barcelona

(patrocini del Gremi dHotels de Barcelona)
2n premi: una subscripci gratuta dun any a lArt Nouveau Club
i un lot de llibres dart modernista
3r premi: un lot de llibres dart modernista
First prize: two nights for two people in a Barcelona hotel

(courtesy of the Barcelona Hotel Association).
Second prize: a free one-year subscription to the Art Nouveau
Club plus a selection of books on Art Nouveau.
Third prize: a selection of books on Art Nouveau
(Els premis es poden enviar com a regal a qui esculli el/la guanyador/a.)
(These prizes may be sent as a gift to whomever the winner chooses.)
Envieu-nos un email identificant lobra que surt a la coberta i lautor.

Recordeu dincloure el vostre nom, adrea postal i un telfon de contacte.
Data lmit: 1 d'octubre de 2015
Send us an email identifying the work that appears on the cover and
its creator. Remember to include your name, postal address and a
contact phone number.
Deadline for entries: 1 October 2015
coupDefouet@coupDefouet.eu
The first-place winner of the Guess our Cover!

competition in coupDefouet 21, Merc Compte,
on the entrance stairs to the Hotel Ciutadella, where
she stayed one weekend in December 2014
La guanyadora del primer premi del concurs Endevineu
la nostra coberta! del coupDefouet 21, Merc Compte,
a l'escala de l'entrada de lHotel Ciutadella, on es va
allotjar un cap de setmana de desembre de 2014
Come join us on Facebook!

www.facebook.com/artnouveauclub
Follow us on twitter!
@ArtNouveauClub
Sponsored by:
contact
IMPUiQV
12
La Glasgow School of Art

Un fnix que reneix de les cendres
15
Glasgow School of Art

A Phoenix Rising from the Ashes
Peter Trowles
Conservador Mackintosh, Glasgow School of Art
P.Trowles@gsa.ac.uk
he Glasgow School of Art, designed by Charles

Rennie Mackintosh, is an extraordinary building
recognised and admired worldwide. The building is
also revered and held in high regard by the people
of Glasgow it is, after all, Glasgows art school.
It was therefore not surprising that, following the
tragic fire that engulfed the Mackintosh Building
on 23 May 2014, some of the first media coverage of the event
focussed on crowds of people on the nearby streets transfixed by
the flames. Many were clearly distressed and in tears. Since that
traumatic day, the world has continued to watch as the School starts
to address the long and painful road to recovery and the eventual
rebuilding of Mackintoshs masterwork.
It is now widely recognised that the loss to the School, to
Glasgow, and to the wider architectural community is substantial,
particularly with the almost total destruction of the iconic
Mackintosh library and its contents. However, without the
remarkable actions of the Scottish Fire and Rescue Service, the
situation would have been far worse. Almost 200 fire fighters
John Linton
John Linton
Peter Trowles
Mackintosh Curator, Glasgow School of Art
P.Trowles@gsa.ac.uk
The fire proved to be a challenging and complex operation for the Rescue Services
Els serveis de rescat van haver de preparar i muntar una operaci complexa per extingir el foc
managed to contain the blaze to just one half of the building

and with the flames under control, small teams of firemen
were able to rescue some
Almost 200 fire fighters of the most important and
managed to contain the iconic pieces of Mackintosh
furniture, carrying them
fire to just one half of
across the street one by
the building
one to safety. A day or
two later, most of the Schools extensive archives and other
collections were also rescued a human chain of students, staff
and volunteer conservators from across the UK carrying valuable
objects including textiles, watercolours and architectural
drawings to safety from store rooms that had remarkably
escaped the fire.
Despite early concerns about the physical condition of
the building in the hours and days immediately after the blaze
it became apparent that the overall, external structure was still
remarkably sound. Although scaffolding was quickly erected on
the damaged west elevation of the building, it was to be early
October before the metal-framed sections of a new temporary roof
were hoisted into place, finally protecting the badly damaged and
exposed second floor from further wind and water damage.
At the height of the blaze the devastating impact of the fire could be seen across much of Glasgow city centre
Quan el foc cremava amb ms intensitat lefecte devastador de les flames es podia veure des de bona part del centre de Glasgow
'Escola d'Art de Glasgow, dissenyada per Charles Rennie

Mackintosh, s un edifici extraordinari reconegut i admirat
arreu, i venerat i molt estimat tamb pels mateixos habitants
de la ciutat: s, al capdavall, l'escola d'art de Glasgow. No
sorprn, doncs, que desprs del trgic incendi que va cremar
l'edifici de Mackintosh el 23 de maig de 2014, algunes de
les primeres informacions dels mitjans de comunicaci se
centressin en les multituds hipnotitzades per les flames que es van aplegar
en els carrers adjacents. Vam veure moltes persones angoixades i amb
llgrimes als ulls. Des d'aquell dia terrible, el mn ha continuat atent al
cam llarg i dolors iniciat per l'Escola per recuperar-se i reconstruir "l'obra
mestra" de Mackintosh.
s evident per a tots que la prdua per a l'Escola, per a Glasgow i per a
la comunitat arquitectnica en general s notable, sobretot per la destrucci
gaireb total de la icnica biblioteca de Mackintosh i el seu contingut. Amb tot,
sense l'actuaci destacada del cos de bombers escocs i del servei de rescat,
les conseqncies podrien haver estat encara molt pitjors. Gaireb dos-cents
bombers van aconseguir contenir el foc en una meitat de l'edifici i controlar
les flames; equips de bombers van poder rescatar algunes de les peces ms
importants i icniques del mobiliari de Mackintosh i les van anar transportant
una a una fins a un lloc segur. Un o dos dies ms tard, es van rescatar la major
part de l'extens arxiu de l'Escola
Gaireb dos-cents
i altres colleccions una cadena
bombers van aconseguir humana d'estudiants, treballadors
i conservadors voluntaris de tot
contenir el foc en una
el Regne Unit van traslladar un
meitat de l'edifici
seguit d'objectes valuosos, incloent
teixits, aquarelles i esbossos arquitectnics, des dels magatzems, que
sorprenentment s'havien salvat de les flames, fins a un lloc segur.
Malgrat la preocupaci inicial sobre l'estat de l'edifici, en les hores
i els dies immediatament posteriors al foc es va veure que l'estructura
externa es mantenia globalment en unes condicions fora acceptables.
Many Glaswegians were visibly shocked when the severity of the fire
became apparent
Molts glasgowians van reaccionar amb emoci en veure la gravetat de lincendi
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John Linton
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From the air, the enormity of the task faced by the Scottish Fire and Rescue Service could be seen. Thanks to the bravery and tenacity of fire fighters, the fire was contained
to the west wing of the building only. Remarkably, the east wing and central section of the School survived almost untouched
Scotlands presence at the Venice Biennale of Architecture

in October 2014 provided an early opportunity for the School
to engage with the international architectural community. It
hosted a symposium entitled Building on Mackintosh, which
brought together a number of professionals with experience in
the restoration of heritage buildings. Interestingly, a quick trawl
through the Internet reveals that similar cultural disasters are far
from uncommon: Only in January 2015, Moscows Institute of

Scientific Information on Social Sciences suffered a disastrous fire
that damaged or destroyed in the region of one million historical
documents.
As a Grade-A listed building, the task of reconstructing the
upper studios and the interior of the famous library will be overseen
in part by Historic Scotland, an executive agency of the Scottish
Vista des de laire, lenormitat de la tasca dels bombers escocesos era evident. Grcies al seu coratge i tenacitat, el foc va ser contingut dins lala oest de ledifici, i gaireb no va tocar lala est
i lrea central de lescola, que van quedar prcticament intactes
aquesta mena de desastres culturals no sn gens

infreqents: tot just el gener de 2015 l'Institut
d'Informaci Cientfica sobre Cincies Socials
de Moscou va patir un devastador incendi que
va malmetre o destruir al voltant d'un mili de
documents histrics.
Essent un edifici classificat de
categoria A, la tasca de reconstruir els estudis
superiors i l'interior de la famosa biblioteca
ser supervisada en part per Historic Scotland,
una agncia executiva del Govern escocs
que s'encarrega de la salvaguarda de l'entorn
histric nacional. Tot i que, lgicament, es compta
amb mplia documentaci de l'Escola, es va acordar
que era important realitzar un examen digital de l'edifici
Eric Thorburn
Peter Trowles
Si b de seguida es van alar bastides en la

faana oest de l'edifici que havia quedat
malmesa, no va ser fins a primers d'octubre
que es va construir l'estructura metllica
d'una nova teulada provisional per protegir el
segon pis, molt afectat, dels danys provocats
per l'exposici al vent i l'aigua.
La presncia d'Esccia a la Biennal de
Vencia d'Arquitectura l'octubre de 2014 va
representar una primera oportunitat perqu
l'Escola impliqus la comunitat arquitectnica
internacional. Va acollir un simposi titulat Building
on Mackintosh, que va aplegar diversos professionals
amb experincia en la restauraci d'edificis patrimonials.
Curiosament, un reps rpid per Internet ens revela que
A smoke-damaged
that
was saved from the fire
Piestatue
de foto
ingls
The greatest tragedy proved to be the loss of the Schools celebrated Mackintosh
Above, the library before the fire; below, the same room, totally destroyed
Pie de Library.
foto ingls
Una esttua ennegrida

pel fum
que es va salvar del foc
Peu de foto
Catal
La tragdia ms gran va ser la prdua de la famosa biblioteca de lEscola dissenyada

Mackintosh.
Peuper
de foto
Catal A dalt, la biblioteca abans del foc; a sota, el mateix espai, totalment destrut
Eric Thorburn
Two images of the brightly lit corridor known as the Hen Run. Left, before the fire; right, after the destruction
Dues imatges del llumins passads conegut com El corredor de les gallines. A lesquerra, abans del foc; a la dreta, desprs de la destrucci
The majority of the Schools archives and collection survived the fire. Left,
Pie de
part
foto
of ingls
the rescued GSA archives; right, damaged stonework recovered from the library
Gaireb tot larxiu i la collecci dart van salvar-se del foc. A lesquerra,
Peu depart
fotodeCatal
larxiu de lescola; a la dreta, porcions de pedra recuperades de la biblioteca
Peter Trowles
Peter Trowles
Michelle Kaye
immediatament desprs de l'incendi, que ajudaria a dissenyar el programa

de reconstrucci final. L'examen va ser dut a terme pel Digital Design Studio
de la mateixa Escola, una entitat reconeguda internacionalment. D'altra
banda, es va considerar que la gran pila de runa, vidre i fustes cremades
que van quedar al terra de la biblioteca (que contenia la mateixa biblioteca
ms la galeria i el magatzem superior, que s'havien esfondrat) podien donar
tamb pistes valuoses sobre la construcci original de l'ala oest. Tot just
s'ha completat una detallada recuperaci de la biblioteca i tot i que noms
s'han rescatat alguns fragments del mobiliari i de les lmpades, s'han
pogut treure intactes un nombre substancial de peces de l'estructura de
fusta, que resultaran de gran valor per entendre els detalls de les tcniques
estructurals utilitzades, algunes de les quals s'han descobert ara per primera
vegada com a conseqncia del foc.
More elements rescued from the fire: left, items from the GSA art collection; right,
wooden remains from the library. Some of these pieces may prove useful in the
Piesalvaged
de foto ingls
rebuilding project and will allow for a better understanding of the librarys original construction and the materials used
Peu de foto Catal
Ms elements salvats del desastre: a lesquerra, peces de la collecci dart de la GSA; a la dreta, restes de fusta de la biblioteca. Algunes daquestes peces podrien ser tils a lhora de
reconstruir-la, aportant informaci sobre materials originals i solucions estructurals
19
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Government that is charged with safeguarding the nations

historic environment. Although the School has, understandably,
been well documented in the past, it was recognised that a digital
survey of the building, immediately post-fire, was important
and would help to inform the eventual rebuilding programme.
This survey was carried out by the Schools own internationally
recognised Digital Design Studio. In addition, it was accepted that
the substantial pile of building rubble, glass and charred timbers
on the floor of the library (containing the contents of the library
itself, plus the library balcony and the store room above, which
had both collapsed) might also provide unique evidence as to the
original construction of the west wing. A detailed salvage of the
library has just been completed and although only fragments of
library furniture and light fittings were eventually recovered, a
number of substantial pieces of structural timbers were removed
intact. These will prove invaluable, providing details of structural
techniques employed, many only now revealed for the first time
as a direct result of the fire.
Michelle Kaye
Peter Trowles
featuring
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Peter Trowles
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The Schools collection of drawings and watercolours was saved entirely

La collecci de lescola de dibuixos i aquarelles es va salvar sencera
In October 2014, a new temporary metal-framed roof was put into place to protect
the interior from further damage caused by wind and rain
Ens els propers mesos es realitzar una anlisi ms detallada sobre

la direcci que ha de prendre la tasca de restauraci. Ning no dubta que
l'edifici renaixer d'una manera fora similar al que fou la intenci original
de Mackintosh, per ateses les circumstncies, l'Escola t l'oportunitat de
revisar l's que fa de l'edifici per fer-lo ms prctic i adequat als objectius
d'una escola d'art per als propers cent anys i ms enll. Mai no s'havia fet
tan palesa la necessitat de trobar l'equilibri entre el comproms de l'Escola
amb les seves necessitats educatives i amb el seu patrimoni. Mentre la
comunitat arquitectnica en general observa amb expectaci, la tasca de
garantir que es prenen les decisions correctes s ara ms vital que mai.
Jeff J. Mitchell Getty Images
www.gsa.ac.uk
Pie de foto
ingls
The protection and stabilising of the surviving library structures
began
in February 2015 once the salvage operation had been completed
Peules
detasques
foto Catal
El febrer de 2015 els operaris ja safanyaven a fer
de protecci i prevenci ms essencials a la biblioteca
Remains of the professors studios on the second floor, after the temporary roof had been installed
El que queda dels estudis dels professors a la segona planta, un cop installada la coberta provisional
In the New Year, the School of Art announced the

names of five firms shortlisted to lead the restoration
of the Mackintosh Building including companies
from Glasgow, Edinburgh, London and Hong Kong.
At the end of March 2015 the contract was awarded
to Glasgow-based Page/Park Architects. Page/Park
are widely recognised for their involvement in both
restoring and reinvigorating major historic buildings
and have previously worked on the School's Mackintosh
Conservation and Access Project (20072009) and were
the lead designers in the development of Glasgow's
Lighthouse the former Glasgow Herald newspaper
offices, also designed by Mackintosh.
In the coming months, a more detailed analysis
will be undertaken as to the direction this restoration
work will take. No one doubts that the building will be
reborn very much as Mackintosh intended, but given
the circumstances, the School has the opportunity to
review how it uses the building, making it practical and
fit for purpose as an art school for the next one hundred
years and beyond. The need to balance the Schools
commitment to its educational needs and to its heritage
has never been greater. As the wider architectural
community continues to watch in anticipation, the task
of ensuring that the right decisions are made has never
been so critical.
www.gsa.ac.uk
Peter Trowles
Enguany, l'Escola d'Art va anunciar els noms de les cinc empreses

finalistes per dirigir la restauraci de l'edifici de Mackintosh, entre les quals
es compten companyies de Glasgow, d'Edimburg, de Londres i de Hong
Kong. A final de mar es va concedir el contracte a Page/Park Architects,
una empresa amb seu a Glasgow. Page/Park sn coneguts per la seva feina
tant en la restauraci com en la revitalitzaci de grans edificis histrics,
i han treballat prviament en el Projecte Mackintosh de Conservaci i
Accs de l'Escola (2007-2009) i van ser els dissenyadors responsables del
desenvolupament de The Lighthouse de Glasgow, les antigues oficines del
diari Glasgow Herald, tamb obra de Mackintosh.
Peter Trowles
L'octubre de 2014 es va collocar una nova coberta d'estructura metllica per protegir
l'interior de la intemprie
Half ofPie
thedeSchool
has been covered by scaffolding to protect the damaged west wing
foto ingls
La meitat
ha estat coberta amb bastides per protegir lala oest, la ms danyada
PeudedelEscola
foto Catal
THE
La Fundaci Mucha: preservaci del

llegat artstic d'Alphonse Mucha
The Mucha Foundation: Preserving

Alphonse Muchas Artistic Heritage
Katie Durand
Mucha Foundation, Londres
katie@muchafoundation.org
Katie Durand
Mucha Foundation, London
katie@muchafoundation.org
Mucha Trust
he decorative works of Czech artist Alphonse

Mucha (18601939) are landmarks in the
history of modern graphic art. His distinctive
style le style Mucha characterised by sinuous
forms, organic lines and a muted palette, have
become synonymous with the commercial and
artistic opulence of fin-de-sicle Paris. Muchas
talents and ambitions, however, far exceeded those of a purely
decorative poster artist. He developed a unique signature style
across a great many mediums and exerted an unrivalled influence
on both his contemporaries and generations to come.
Mucha believed passionately that art was an essential
benefit to humanity and that it should be seen and enjoyed by
as many people as possible. It is on this premise that the Mucha
Foundation was established in 1992 by Geraldine and John Mucha,
the daughter-in-law and grandson
Le style Mucha was of Alphonse Mucha. Set up as an
characterised by
independent, non-profit-making
sinuous forms and charity, its core aims are to preserve
and conserve the Mucha Family
a muted palette
Collection the largest and most
comprehensive collection of works by Alphonse Mucha in the
world and to promote the broadest possible vision of his work.
The Mucha Foundation organised its first exhibition at

the Barbican Art Gallery in London in 1993. While focussing
on Muchas Parisian period and the celebrated theatrical and
commercial posters produced at this time, visitors were invited to
discover the broad scope of Muchas work through a selection of
jewellery, sculpture, architectural and theatrical designs, magazine
covers, book jackets and illustrations, paintings, drawings and
photographs.
From this, a worldwide exhibition programme ensued, with
blockbuster tours held throughout Europe, Asia and North America.
Mucha Trust
'obra decorativa de l'artista txec Alphonse Mucha (1860-1939)

marca una fita en la histria de l'art grfic modern. El seu estil
particular, l'estil Mucha, caracteritzat per formes sinuoses,
lnies orgniques i colors tnues, ha esdevingut sinnim de
l'opulncia comercial i artstica del Pars finisecular. El talent
i l'ambici de Mucha, per, anaven molt ms enll dels d'un
artista de cartells purament ornamentals. Va desenvolupar un
estil propi i singular mitjanant un gran ventall de tcniques i va exercir
una influncia sense precedents tant en els seus contemporanis com en les
generacions futures.
Mucha creia fermament que l'art constitua un benefici essencial per
a la humanitat i que calia que hi tinguessin accs i en gaudissin el major
nombre possible de persones. Sobre aquesta premissa, el 1992 Geraldine
i John Mucha, la nora i el nt d'Alphonse
L'estil Mucha es Mucha, van crear la Fundaci Mucha, una
caracteritza per
organitzaci independent sense afany de
lucre,
els seus objectius principals de la
formes sinuoses i
qual sn preservar i conservar la collecci
colors tnues
de la famlia Mucha la collecci ms
extensa i exhaustiva d'obres d'Alphonse Mucha del mn i promoure tant
com sigui possible la difusi de la seva obra.
La Fundaci Mucha va organitzar la seva primera exposici a la
Galeria d'Art Barbican de Londres el 1993. Tot i que se centrava en el
perode parisenc de Mucha i els cartells teatrals i comercials produts en
aquesta poca, els visitants van poder descobrir tot l'abast de l'obra de
Mucha a travs d'una selecci de joies, escultures, dissenys arquitectnics
i escenogrfics, cobertes de revistes, cobertes i illustracions de llibres,
pintures, dibuixos i fotografies.
France Embraces Bohemia by Mucha (1918). Oil on canvas

Frana abraa Bohmia, oli sobre tela de Mucha de 1918
Poster Mot & Chandon: Grand Cremant Imperial by Mucha (1899).

Colour lithograph, 60 x 20 cm, F. Champenois, Paris
Cartell Mot & Chandon: Grand Cremant Imperial de Mucha (1899).
Litografia en color, 60 x 20 cm, F. Champenois, Pars
Alphonse Muchas grandson, John, and his wife Sarah are the active leaders of the Mucha Foundation. Here, in a recent picture in the family home in Prague
El nt dAlphonse Mucha, John, i la seva dona, Sarah, sn els responsables actius de la Fundaci Mucha. Aqu, en una imatge recent a la casa familiar de Praga
EL CENTRE
23
CENTRE
Mucha Trust
22
Necklace made by Alphonse Mucha for his wife in 1906, using gold, enamel
and semi-precious stones
Vista de lexposici Alphonse Mucha. Seducci, modernitat i utopia quan es va

mostrar a CaixaForum Madrid el 2008
Collar fet per Alphonse Mucha per a la seva dona el 1906, usant or, esmalt i pedres
semiprecioses
Model amb vestit tradicional de Bohmia a lestudi de Mucha al carrer Val de Grce
de Pars (ca. 1900). Reprodut duna placa de vidre original
D'aqu va sorgir un programa d'exposicions arreu del mn en gira

per tot Europa, sia i Amrica del Nord, que van tenir un gran xit. S'hi va
incorporar un petit equip de professionals amb l'objectiu de situar Mucha
dins el seu context crtic i artstic i destacar alhora la seva rellevncia per
a la cultura contempornia. A travs d'un intens programa d'exposicions i
publicacions, d'activitats de concessi de llicncies, i d'un web amb bons
continguts i la presncia a les xarxes socials, la Fundaci treballa per captar,
entusiasmar i inspirar pblics de totes les edats i procedncies.
El febrer de 1998, la Fundaci va inaugurar el Museu Mucha a
Praga. Amb ms de 130.000 visitants cada any, s el museu ms visitat de
la Repblica Txeca. La mostra s una introducci a Mucha i el seu mn i
presenta tot l'espectre de les seves aspiracions artstiques, de les personals a
les proftiques. Inclou algunes de les seves obres ms aplaudides, aix com una
selecci d'esbossos i dissenys que sn la base de les composicions acabades.
Des dels inicis, la Fundaci ha creat estretes relacions de treball amb
institucions i acadmics d'arreu del mn. Posseeix la collecci ms completa
de l'arxiu textual de Mucha i se la reconeix com la principal autoritat sobre
l'obra de Mucha. Quan els recursos ho permeten, adquireix noves obres per
incorporar i fer crixer la collecci.
Actualment la Fundaci est desenvolupant un programa expositiu
ambicis, per descobrir mbits de l'obra de Mucha fins ara inexplorats, en
especial la seva influncia en la cultura popular a partir de la dcada de
1960. Desprs de l'xit del Museu Mucha de Praga, la Fundaci est treballant
tamb estretament amb el municipi de Pars i amb socis particulars per crear
un museu en aquesta ciutat. Aquest museu commemorar els xits de Mucha
a la capital francesa, on va viure i treballar durant divuit anys.
Poster Monaco Monte Carlo, for the PLM railway services. Colour lithograph, produced by F. Champenois, Paris in 1897
Cartell Monaco - Monte Carlo per a la companyia ferroviria PLM. Litografia en color, produda per F. Champenois, Pars, el 1897
View of the exhibition Alphonse Mucha. Seduction, Modernity and Utopia

when it was shown in CaixaForum Madrid in 2008
Model in Bohemian folk costume posing in Mucha's studio at Rue du Val de

Grce in Paris (ca. 1900). Reproduced from original glass plate negative
Mucha Trust
Mucha Trust
Mucha Trust
EL CENTRE
Mucha Trust
24
In February 1998, the Foundation opened the Mucha Museum

in Prague. With over 130,000 visitors each year, it is the most visited
museum in the Czech Republic. The display serves as an introduction
to Mucha and his world and presents the full spectrum of Muchas
artistic aspirations, from the personal to the prophetic. It includes
some of his most celebrated works as well as a selection of the
sketches and designs which underpin his finished compositions.
Mucha Trust
A small team of professionals was brought on board with the focus

being directed on placing Mucha within his critical and artistic
context while highlighting his relevance to contemporary culture.
Through a strong exhibition and publications programme, licensing
activities, and a content-rich website and social-media presence,
the Foundation is committed to engaging, enthusing and inspiring
audiences of all ages and backgrounds.
The exhibition devoted to Mucha in 2007 at the Centrum Kultury Zamek, Poznan (Poland), was the most comprehensive Mucha show
to date in Northern Europe. It was organised by the Mucha Foundation and the Helsinki Amos Anderson Museum
Mucha Trust
Mucha Trust
Lexposici dedicada a Mucha el 2007 al Centrum Kultury Zamek de Poznan (Polnia) s fins a la data la mostra ms gran feta sobre Mucha al
nord dEuropa. Va ser coorganitzada per la Fundaci Mucha i el Museu Amos Anderson de Hlsinki
French Prime Minister Manuel Valls visiting the Mucha family home in
Prague in December 2014
Poster for the Lottery of the Union of Southwestern Moravia. This colour lithograph created by Mucha in 1912 was published by V. Neubert in Prague
Cartell per a la Loteria de la Uni de Morvia Sud-occidental. Aquesta litografia en color va ser creada per Mucha el 1912; el cartell el va editar V. Neubert a Praga
El primer ministre francs Manuel Valls visitant la casa de la famlia Mucha a

Praga el desembre de 2014
Since its inception, the Foundation has developed close

working relationships with leading institutions and scholars
across the world. It holds the most complete collection of Muchas
written archive and is recognised as the preeminent authority
on Muchas work. As and when its resources allow, it acquires
additional works to enhance the collection.
The Foundation is currently developing an ambitious
exhibition programme, illuminating previously unexplored areas
of Muchas work and, in particular, his influence on popular
culture since the 1960s. Following the success of the Mucha
Museum in Prague, the Foundation is also working closely with
the City of Paris and private partners to create a new museum
in Paris. The proposed museum will commemorate Muchas
achievements in the French capital where he lived and worked for
over eighteen years.
The Foundation's current exhibition, Alphonse Mucha:
In Quest of Beauty, opened on 31 March at the Russell-Cotes
Museum in Bournemouth, England. The exhibition makes links
between Mucha's work and philosophy and key works from the
Aesthetic movement held in British collections.
THE
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Conservators unveiling a recently restored study of The Slav Epic

at the Mori Art Centre
Entrada a lexposici Alphonse Mucha: una mirada dins lartista al Centre dArt
Mori de Tquio, el 2013
Conservadors al Centre dArt Mori desembalant un estudi de L'pica

Eslava acabat de restaurar
El context Art Nouveau i la collecci esteticista del Museu RussellCotes sn un marc perfecte per a la primera etapa de la gira britnica.
Proporcionen a l'art de Mucha un tel de fons espiritual fascinant. La
tardor de 2015 la mostra viatjar al Centre Sainsbury d'Arts Visuals de
Norwich, seu de Collecci Anderson, una de les colleccions Art Nouveau
ms importants del Regne Unit. Est previst que el 2016 i el 2017
l'exposici viatgi a dos museus britnics ms. Parallelament, la Fundaci
treballa en una publicaci que explora els vincles entre la idea de bellesa
de Mucha principi central de la seva filosofia artstica i el moviment
esteticista.
Mucha Trust
www.muchafoundation.org
Local authorities with John and Sarah Mucha opening Alphonse Mucha: An Insight into the Artist at the Hokkaido Museum of Modern Art in Sapporo in April 2014
Hattie Miles
Image of the exhibition Alphonse Mucha: In Quest of Beauty, which opened at the Russell-Cotes Museum, Bournemouth, England, in March 2015
Imatge de lexposici Alfons Mucha: a la recerca de la bellesa, inaugurada el mar de 2015 al Museu Russell-Cotes de Bournemouth, Anglaterra
Featuring works mainly from Mucha's Paris

period, it examines how le style Mucha evolved
and became synonymous with the international
Art Nouveau style. It also looks at how his artistic
philosophy is reflected on the development of his work
beyond the Art Nouveau period, with examples of works
produced after his return to the Czech lands in 1910.
The Art Nouveau environment and Aesthetic
collection of the Russell-Cotes Museum is a fitting
setting for the first leg of this British tour. It provides
a fascinating spiritual backdrop to Mucha's art. In
Autumn 2015 the show will travel to the Sainsbury
Centre for Visual Arts in Norwich, home of the
Anderson Collection, one of the most important Art
Nouveau collections in the UK. The exhibition is due
to travel to two further British museums in 2016 and
2017. In parallel, the Foundation is working on a
publication which explores the links between Mucha's
idea of beauty a core principle underlying his artistic
philosophy and the Aesthetic Movement.
Les autoritats locals amb John i Sarah Mucha inaugurant la mostra Alphonse Mucha: una mirada dins lartista al Museu dArt Modern Hokkaido de Sapporo, labril de 2014
Mucha Trust
Entrance to the exhibition Alphonse Mucha: An Insight into the Artist

at the Mori Art Centre of Tokyo, in 2013
La Fundaci presenta ara l'exposici Alphonse Mucha: a la recerca

de la bellesa, que es va inaugurar el 31 de mar al Museu Russell-Cotes
de Bournemouth, Anglaterra. La mostra estableix vincles entre l'obra i la
filosofia de Mucha i les obres clau del moviment esteticista que alberguen
les colleccions britniques.
Principalment a travs d'obres del perode parisenc de Mucha,
s'examina de quina manera va evolucionar le style Mucha i com va
esdevenir sinnim de l'estil internacional Art Nouveau. Tamb hi veiem
com la seva filosofia artstica es reflecteix en el desenvolupament de la
seva obra ms enll del perode Art Nouveau, amb exemples de treballs
produts desprs del seu retorn al territori txec el 1910.
THE
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Mucha Trust
EL CENTRE
Mucha Trust
28
The Mucha Foundation website includes an interactive timeline on Muchas life, work and times
El website de la Fundaci Mucha inclou una cronologia interactiva sobre la vida, lobra i els temps de Mucha
www.muchafoundation.org
arreu
Julin Garca Nez

and Art Nouveau in Buenos Aires
Ramon Manent IMPUiQV
Julin Garca Nez

i el Modernisme a Buenos Aires
ulin Garca Nez (Buenos Aires, 1875-1944) fou un dels

principals representants del Modernisme arquitectnic a
Argentina. Dascendncia espanyola i format a lEscola
dArquitectura de Barcelona entre 1892 i 1900 sota la direcci
de Domnech i Muntaner, largent tingu una base terica
fonamentada en leclecticisme vuitcentista que, des de 1906 i
ja a Buenos Aires, abandon per adoptar un Modernisme que
beu directament de la Secession vienesa. De letapa formativa en resta
noms el projecte de final de carrera (1900), Teatro Dramtico para Sevilla,
que segueix encara frmules prpies de lestil Segon Imperi amb l'pera
Garnier de Pars com a referncia. La Casa Brias (1903, a Gran Via, 439)
s lnica mostra material de la seva presncia a Barcelona, una finca de
lEixample que destaca per les tribunes i balcons geminats i individuals
que jerarquitzen els ritmes de la faana i incorporen ornaments en
consonncia amb obres com la Casa Lle Morera. s lapropament ms
directe que va fer Garca Nez al Modernisme catal i que desprs
abandon a favor de lesttica Secession seguint les solucions de J. M.
Olbrich i O. Wagner.
A Buenos Aires sencarreg de les construccions erigides per la
colnia espanyola, entre les quals destaquen lHospital Espaol de 1906
i lannex per a malalts crnics a Temperley (1908-1913). En ambdues
obres sobserva la rigidesa volumtrica i lausteritat decorativa a favor
duna geometritzaci racional de les formes que defineixen els cossos i
els espais. Incorpor una tipologia de faana que repet a gran part de la
seva producci: un pavell central que ordena lalat i queda flanquejat per
dos cossos laterals, tots tres verticalitzats a travs de cpules. Ms enll
daquest ritme ordenador, la singularitzaci dels hospitals radica en les
solucions ornamentals, derivades dun procs dabstracci dels elements
naturals a partir de la geometria pura. Aquests programes, que tamb
definiren la resta dobres de Garca Nez, incorporen detalls secessionistes
com les corones de llorer esquematitzades, els medallons i flors i fullaraca
estilitzades i disposades amb contenci, tots ells habituals en el repertori
wagneri apreciable a obres com l'esglsia d'Steinhof (1907) o el Pavell de
la Secession dOlbrich (1897).
Sergio Fuentes Mil

Art Historian, University of Barcelona
sfuentesmila@ub.edu
ulin Garca Nez (Buenos Aires, 18751944)

was one of the main representatives of
architectural Art Nouveau in Argentina. Of
Spanish ancestry and educated at Barcelonas
School of Architecture from 1892 to 1900 under
the direction of Domnech i Muntaner, the
Argentinian received a theoretical grounding
founded in nineteenth-century Eclecticism which, from 1906
onwards, once he returned to Buenos Aires, he would abandon
to adopt a style of Art Nouveau inspired directly by Viennese
Sezessionstil. From his formative period, only his end-of-degree
project remains extant (1900), a Teatro Dramtico para Sevilla
(Dramatic Theatre for Seville) which still follows formulas
typical of the Second Empire style, taking the Opra Garnier
in Paris as its reference. The Casa Brias (1903, Gran Via, 439)
is the only material evidence of his presence in Barcelona, an
Eixample townhouse: a marvel of bay windows and twinned or
individual balconies that create a hierarchy of rhythms in the
faade, incorporating ornamentation in consonance with works
such as the Casa Lle Morera. This is Garca Nezs most
direct approach towards Catalan Modernisme, one he would
later abandon in favour of a Secession aesthetic, following the
solutions of J. M. Olbrich and O. Wagner.
Portrait of Julin Garca Nez, ca. 1910
CEDODAL
Retrat de Julin Garca Nuez, ca. 1910
In Buenos Aires he was commissioned by the Spanish

expatriate colony with the construction of some of their
facilities, among which the Hospital Espaol (1906) stands
out, as does the annex for chronic patients at Temperley
(19081913). In both works, he observes a volumetric rigidity
and decorative austerity so as to create a rational geometrising
of the forms that the volumes and spaces define. Their faades
incorporate elements that are repeated often in his oeuvre:
a central pavilion which orders the height and is flanked
by two lateral bodies, all three strengthened vertically with
domes. Beyond this manner of ordering the faade, the hospital
buildings singularity lies in their ornamental solutions, derived
from a process of abstraction of the natural elements through
pure geometry. Such programmes, which would also define
Garca Nezs other works, incorporate Secessionist details
such as the schematised laurel wreaths, stylised medallions,
flowers and foliage, arranged with restraint. All of these are
habitual elements in the Wagnerian repertory and can be seen
in works such as Kirche am Steinhof (1907) and Olbrichs
Secession Pavilion (1897).
The complex of the Spanish Pavilions in the 1910 Buenos
Aires Worlds Fair, now demolished, was one of his most
valued works. This example perfectly projects the authors
Lorem Ipsum
Period picture of the annex for chronic patients at Temperley, a 19081913

work that has been altered over the years
Foto dpoca de lannex per a malalts crnics a Temperley, una obra de 1908-1913
que ha estat alterada al llarg dels anys
Public domain
Sergio Fuentes Mil

Historiador de lArt, Universitat de Barcelona
sfuentesmila@ub.edu
Bow window of Casa Brias, the only work by Garca Nez in Barcelona (1903)
Tribuna de la Casa Brias, lnica obra construda per Garca Nez a Barcelona (1903)
Period picture showing the original look of the Hospital Espaol right after
its construction in 1906
Foto dpoca de laspecte de l'Hospital Espaol el 1906, tot just acabat de construir
31
worldwide
CEDODAL
30
arreu
architectural spirit: showing truth and function through structure

and materials, applying a Secessionist appearance to the project
using balanced decoration that is subordinated to the utility of
the whole. The result was a project that captured the expressive
force of the architecture by itself via the simplicity of lines and
volumes in a harmonious arrangement.
Garca Nez undertook a huge number of private
commissions for rental apartment buildings that consolidated
his style in the capital, among which excellent examples include
corner buildings at Suipacha and Tucumn (1907), Independencia
and Sarand (1910) and Paso and Viamonte (1913). In all of these
the space of privilege is the corner, conceived by the architect
CEDODAL
CEDODAL
El complex dels Pavellons d'Espanya de lExposici Internacional de

Buenos Aires de 1910, actualment enderrocat, fou una de les obres ms
valorades. Aquest exemple plasma a la perfecci lesperit arquitectnic de
l'autor: mostrar la veritat i la funci a travs de lestructura i els materials,
aplicant-hi una fisonomia secessionista amb una decoraci equilibrada
sotmesa a la utilitat del conjunt. El resultat fou una obra que copsava la
fora expressiva de larquitectura per ella mateixa mitjanant la simplicitat
de lnies i volums en harmnica disposici.
Destaca un gran nombre d'encrrecs particulars per a cases de renda
que consolidaren l'estil de Garca Nez a la capital, entre els quals citem
els dels xamfrans Suipacha/Tucumn (1907), Independencia/Sarand (1910)
i Paso/Viamonte (1913). En tots ells l'espai de privilegi s la cantonada,
concebuda per l'arquitecte com a confluncia d'eixos que monumentalitza
el conjunt per mitj de torres, agulles de ferro forjat o b cpules amb
relleus diamantats que recuperen les de l'Hospital Espaol.
Central building of the Spanish Pavillions in the 1910 Buenos Aires World Fair
Edicle central dels Pavellons dEspanya a lExposici Internacional de Buenos Aires de 1910
Balcony of the Chacabuco Street building
as a confluence of axes that give the project a monumental

air through towers, wrought-iron spires and domes displaying
rhomboid reliefs recalling those of the Hospital Espaol.
The no-longer-extant La Armona cinema (1909) is a
further example of the architects Modernista line. Like the
Spanish Pavilions, it incorporates the solution of masts in the
triple volumes that flank the faade, culminating in stepped
geometric spires that recall Olbrichs creations. The wrought
ironwork follows in the same vein of plant abstraction typical
of Sezessionstil, highlighted in the awning above the main
entrance.
These are merely a selection from the extensive oeuvre of
Garca Nez, an architect who imported European architectural
modernity into Argentina via the Viennese Art Nouveau he had
assimilated in Barcelona. Despite the continuous attacks his
works have suffered amputations such as the Hospital Espaol,
demolitions like La Armona cinema, or violent modifications
such as the Temperley complex a significant number of
examples from his career still exist. They deserve to be valued,
preserved and the knowledge of them disseminated in order
better to understand the phenomenon that Art Nouveau signified,
as well as its internationalisation and importation into South
America.
CEDODAL
Balc de ledifici del carrer Chacabuco
Main faade of the office bulding in Chacabuco Street in Buenos Aires (19101911)
Faana principal de l'edifici d'oficines del carrer Chacabuco de Buenos Aires (1910-1911)
Public domain
El desaparegut cinema La Armona (1909) s un exemple ms de

la lnia modernista de l'autor. Com als Pavellons d'Espanya, incorpora la
soluci dels mastelers en els cossos tripartits que flanquegen la faana,
culminant en pinacles esglaonats de tall geomtric propers als d'obres
d'Olbrich. Els treballs del ferro forjat segueixen la mateixa estela de
l'abstracci vegetal prpia del Modernisme de la Secession, destacables en
la marquesina de l'accs principal.
Aquesta s noms una selecci de l'extensa obra de Garca Nez, un
autor que va importar la modernitat arquitectnica europea a l'Argentina
a travs del Modernisme viens que havia assimilat al nucli barcelon.
Malgrat el continu atac que han patit les seves construccions (amputacions
com l'Hospital Espaol, enderrocs com el cinema La Armona, o violentes
modificacions com el complex de Temperley), encara resta un important
nombre d'exemples de la seva trajectria que cal valorar, conservar i difondre
per comprendre molt millor el fenomen que supos el Modernisme, aix com
la seva internacionalitzaci i importaci a l'Amrica del Sud.
Period picture of La Armona cinema, a 1909 work now disappeared
Pie de foto ingls
Foto dpoca de la sala de cinema La Armona, una obra de 1909 avui desapareguda
Peu de foto Catal
Apartment building at the corner of Paso and Viamonte Streets.

Garca Nez built this in 1913 in a pronounced Secessionist style
Casa de pisos a la cantonada dels carrers Paso i Viamonte. Garca Nez la
va construir el 1913 en un pronunciat estil secessionista
33
worldwide
Public domain
32
Memory
Villa Lampo, japonisme

a la costa adritica
Andrea Speziali
Doctor en Histria de l'Art, Riccione
info@andreaspeziali.it
Andrea Speziali
Doctor in History of Art, Riccione
info@andreaspeziali.it
el procs per esdevenir un municipi independent de Rmini) a causa de la

velocitat amb qu fou construda. Era el "clon" d'una casa d'estil japons. La
Villa Lampo va ser dissenyada per l'enginyer de Trieste Alessandro Vucetich,
per a la seva famlia, i pels seus collegues Tito i Achille Franceschi, que ms
tard realitzarien la famosa Capannina a Forte dei Marmi. La villa, que data de
1922, l'any en qu Riccione van esdevenir municipi, s'alava fins als anys 1960
a la cantonada de les avingudes Cesare Battisti i Gorizia. Aleshores, segons
testimonien els mapes cadastrals, l'avinguda Cesare Battisti es deia Dei Fiori.
L'edifici fou un encrrec d'Alessandra
La Villa Lampo era Campanini, de Mdena, com a casa per
el "clon" d'una casa a les vacances familiars. A l'edifici no
hi podia faltar la creativitat d'un artista
d'estil japons.
polifactic com Mirko Vucetich (Bolonya,
1898-Vicenza, 1975), germ d'Alessandro i Gino. La decoraci de frescos,
llucanes i baixos relleus de marbre, aix com els mosaics, sn obra de Mirko.
El talent en la realitzaci d'aquestes obres artstiques va captar l'atenci del
matrimoni d'Egle Massei i Dante Antolini, que el 1923 li van encarregar la
prestigiosa residncia Antolini, al carrer Milano (que encara existeix).
Presentava una estructura lleugera, amb ideogrames a les parets i
esvstiques de marbre com a balustrades del prtic d'entrada, i envoltada per
un jard a la italiana. Una novetat que va atraure la curiositat dels habitants
de Riccione i dels primers estiuejants.
Archivio famiglia Vucetich, Milano
cavall entre mitjan segle XIX i els anys 1930 el municipi

de Riccione, situat a la regi d'Emlia-Romanya, al nord
d'Itlia, es va convertir en una exposici a l'aire lliure de
villes i cases d'estil Liberty i d'altres. Els qui s'aventuren
pels carrers i avingudes centrals, i tot i aix desconeguts,
de la perla verda poden contemplar el que queda de
les gaireb dues-centes cases construdes en aquelles
dcades: ben poca cosa!
Aquest s el resultat del que va passar durant els anys d'apogeu
que, s cert, d'una banda va fer gran la ciutat i rics els ciutadans, per
tamb va provocar l'enderrocament de gran part d'aquell patrimoni
constructiu i cultural, cosa que, massa tard, molts comencen a lamentar
i, en la mesura del possible, intenten recuperar.
Sense nim de revifar la llarga controvrsia sobre el fet que la
manca de cultura (especialment per part dels qui governaven llavors i
que, convenuts de fer el millor per als ciutadans, van donar via lliure a
les excavadores per fer sorgir les famoses "pensione Mare") va produir
desastres dels quals ara ens adonem, i intentem salvar el salvable, potser
recordant algunes de les villes histriques de les quals queda algun rastre
en la memria de la gent gran o en alguna postal o fotografia vella.
Una d'aquestes villes s, o ms ben dit, era, la Villa Lampo (Villa
Llampec), batejada aix pels "primers riccionesos" (es va edificar durant
Villa Lampo, Japonism

on the Shores of the Adriatic
Villa Lampo was designed by the engineer Alessandro Vucetich and his colleagues Tito and Achille Franceschi in 1922.
The period photograph, from August 1922, shows the villa still without decorations
La Villa Lampo va ser projectada per lenginyer Alessandro Vucetich i els seus collegues Tito i Achille Franceschi el 1922.
La foto dpoca, de lagost de 1922, mostra la villa sense decoracions a la faana
Design of Villa Lampos faade by Studio Tecnico Legale A. Vucetich & A. Franceschi, 1922
Disseny de la faana de la Villa Lampo realitzat pel Studio Tecnico Legale A. Vucetich & A. Franceschi, 1922
etween the mid-nineteenth century and the 1930s,

Riccione, a municipality in the northern-Italian
region of Emilia-Romagna, became an open-air
exhibition space for villas and houses in Liberty
and other styles. Those who nowadays venture
through the still-unknown central avenues and
streets of this green pearl of the Adriatic can
contemplate all that remains of nearly two hundred houses built
during those decades: barely a trace.
This is the fallout from those years of plenty. While it is true that
the city grew and its inhabitants grew rich, those years also spelled
doom for a large part of that built and cultural heritage. Too late, many
began to rue this fact and, insofar as was possible, recover this past.
Without wishing to fuel the long controversy around the fact
that a lack of culture caused disasters of which we are now aware
(true especially of those then governing who, convinced of doing their
Villa Lampos floor plan
Plnol de la Villa Lampo
Memria
35
34
Vista de la Villa Lampo acabada amb les decoracions de la faana que donaven a la casa laspecte destil japons. Obra de Mirko Vucetich sn els frescos, les llucanes,
els baixos relleus en marbre i mosaics
best by the citys inhabitants, gave the green light to the bulldozers in order to
erect the infamous pensione Mare), we must try to redeem the salvageable. One
way to do so is by recalling some of the historical villas of which some vestige
remains in the memories of older people, or on the odd antique postcard or photo.
One of these villas is, or rather was, the Villa Lampo (Lightning Villa),
baptised thus by the first Riccioneses (it was built during the process by which
Rmini became an independent municipality) due to the speed with which it was
built. It was the clone of a Japanese-style house. Villa Lampo was designed
for the Trieste engineer Alessandro Vucetichs family by him and his colleagues
Tito and Achille Franceschi, who would later
Villa Lampo was
build the famous Capannina in Forte dei Marmi.
the clone of a
The villa, dating from 1922, the year in which
Japanese-style house Riccione became a municipality, survived until
the 1960s on the corner of the avenues Cesare
Battisti and Gorizia. At that time, the survey maps tell us, the avenue Cesare
Battisti was called Dei Fiori. The building was commissioned by Alessandra
Campanini, from Modena, as a family holiday home. This building could not but
include the creativity of such a multi-talented artist as Mirko Vucetich (Bologna,
1898 Vicenza, 1975), Alessandro and Ginos brother. The decoration of frescos,
dormer windows, marble bas-reliefs, and also mosaics, is the work of Mirko. The
talent employed to carry out these artistic works caught the attention of a couple,
Egle Massei and Dante Antolini, who in 1923 commissioned the prestigious
Antolini residence in Milano street (still extant).
This was a light structure, with ideograms on the walls and marble
swastikas as balustrades on the entrance portal, surrounded by an Italianate
garden. It was a novelty that attracted the curiosity of Riccione inhabitants and
early summer visitors.
Engineer Alessandro Vucetich at Villa Lampos entrance

Lenginyer Alessandro Vucetich a la porta dentrada de la Villa Lampo
Per als anys 40 segons el relat, entre crnica i llegenda urbana,

de Gian Luigi "Gil" Dondi, que hi va residir fins que fou enderrocada a la
Villa Lampo s'hi havia produt un crim: dos xinesos van matar un home i
el van enterrar al jard. A partir d'aleshores, l'atenci sobre la villa ja no
provenia de l'originalitat del projecte sin de la curiositat morbosa.
D'histries com aquesta en trobem a grapats si busquem en les
crniques de l'poca i en els records dels pocs que van conixer Riccione
abans de la guerra. Llavors va passar el "cicl del turisme de masses"
documentat en el llibre "Un perode Liberty a Riccione" (Maggioli editore).
De la Villa Lampo avui a Riccione no en queda ni rastre, per si no
fos aix, sens dubte el seu permetre de balustrades de marbre decorades
amb el smbol de l'esvstica farien parlar molt. Sembla que aquests
valuosos elements decoratius es van salvar.
L'esvstica o creu gammada s un element figuratiu antic, utilitzat
per molts pobles, des de l'extrem asitic fins a Amrica, passant per la
Xina, Monglia, l'ndia i Europa. Smbol per excellncia de bons desitjos
indica tamb benedicci i salutaci, i amb aquesta intenci ha estat
utilitzada per moltes cultures des del neoltic, i encara avui t un valor
sacre en algunes religions com l'hinduisme, el budisme i el jainisme.
Aix no obstant, en l'imaginari collectiu de la societat actual,
l'esvstica es veu amb uns altres ulls, i amb ra, a causa del seu s en la
bandera i la insgnia militar de l'Alemanya nazi.
Period photograph showing Mirko Vucetich (centre) with his parents at the
entrance of Villa Lampo
Foto dpoca de Mirko Vucetich (centre) junt amb els seus pares a lentrada de la
Villa Lampo
The Vucetich and Campanini families, who owned the villa, in its garden
Les famlies Vucetich i Campanini, propietries de la Villa Lampo, al jard
View of the Villa Lampo completed with the decoration of the faade that gave the house its Japanese-style look. Mirko Vucetich designed the frescos,
dormer windows, marble bas-reliefs and mosaics
Memory
37
Memria
36
Pel que fa als ornaments de la Villa Lampo, a Riccione, propietat de

la famlia Vucetich i dels seus parents de Mdena, els Campanini, ms que
d'apologia del nazisme haurem de parlar simplement d'elements esotrics
de caire oriental, que la caracteritzaven igual que el seu disseny de formes
geomtriques rigoroses i simples. Aquestes, que recordaven les obres
arquitectniques del racionalista Adolf Loos, feien de l'edifici un exemple
de villa nica en tota la costa adritica per, malgrat els seus smbols, a
l'poca no va provocar cap comentari particular per part del pblic.
Podem, aix s, relacionar el smbol sinistre de l'esvstica amb el
presumpte homicidi coms pels dos turistes xinesos que haurien enterrat
el cos de la vctima al jard de la villa; aix, si ms no, ho relaten alguns
habitants de Riccione i Gian Luigi Dondi, basant-se en els seus records
d'aquesta "llegenda" local. Se suposa que el cos pertanyia a un nazi i el fet
es remunta, casualment, al final de la Segona Guerra Mundial.
Andrea Speziali
The new villa built on the same site where Villa Lampo stood until its demolition in 1960
La nova villa que es va construir en el solar on salava la Villa Lampo fins al seu enderrocament el 1960
Application for a building licence which Augusta Campanini sent to the Mayor of
Rimini in January 1921
Sollicitud de llicncia d'obres que Augusta Campanini va dirigir a lalcalde de la ciutat de

Rimini el gener de 1921
View of the Villa Lampo from the garden

Vista de la Villa Lampo al fons del jard
Originriament, doncs, l'esvstica i els altres smbols de la villa no

evocaven pensaments funestos, com passaria desprs amb Hitler, sin que
representaven bons auguris, igual que els frescos dels dos budes situats
als costats de la porta d'entrada i de la llegenda amb una antiga frase
japonesa, que significava protecci per als qui hi vivien. Ms endavant,
per, aquests mateixos smbols ja no devien portar tanta benaurana a la
villa... No noms vam perdre la vida de la persona trobada morta, tampoc
de la villa, malauradament, no en queda res.
Actualment, a la cantonada de Cesare Battisti i Gorizia hi ha una
altra villa, construda sobre les cendres de la Lampo. Notem que l'entrada
de l'habitatge reflecteix en part el permetre de les muralles de la villa
anterior, amb un accs angular.
Mirko Vucetich with his father, Giovanni, in front of Villa Lampo in 1922
Mirko Vucetich amb el seu pare, Giovanni, davant la Villa Lampo el 1922
Yet in the forties as the story, part chronicle and part urban
legend, is told by Gian Luigi Gil Dondi, who lived there until it
was demolished a crime occurred in Villa Lampo: two Chinese
men killed a third man and buried him in the garden. From then
on, the attention the villa attracted stemmed not from the projects
originality but from morbid curiosity.
We uncover stories such as this aplenty if we delve into
the chronicles of the period and stir the memories of those few
who knew Riccione before the war. Then the mass tourism
phenomenon occurred, as documented in the book A Liberty
Period in Riccione (Maggioli editore).
No vestige remains of Villa Lampo in Riccione nowadays. Yet
were this not so, doubtless its fence of marble balustrades decorated
with the swastika symbol would cause a great deal of controversy.
It seems that these valuable decorative elements were salvaged.
The swastika or gammadion cross is an ancient figurative
element, used by many peoples from the Far East to America,
including China, Mongolia, India and Europe. It is the symbol
par excellence for good wishes, also representing blessings and
greetings. With this meaning, it has been used by many cultures
since the Neolithic period, and even today it has a sacred value in
some religions such as Hinduism, Buddhism and Jainism.
Nevertheless, in the collective consciousness of todays
society, the swastika is seen in another way, and with good reason,
due to its use on the flag and military insignia of Nazi Germany.
Regarding the ornaments on Ricciones Villa Lampo,
property of the Vucetich family and their relatives from Modena,
the Campanini: rather than an apology for Nazism, one would

simply have to see these as esoteric elements of an oriental
origin, which characterised the building in terms of their design,
consisting of strict, simple geometric shapes. These forms, recalling
the architectural works of the rationalist Adolf Loos, made the
building an example of a villa that was unique throughout the
entire Adriatic coast yet, despite its symbols, it did not prompt any
untoward comments from the general public during the period.
However, we can relate the sinister symbol of the swastika
with the alleged murder committed by two Chinese tourists who
allegedly buried the body of the victim in the villas garden. That,
in any case, is how some of Ricciones inhabitants including Gian
Luigi Dondi tell it, as they recall this local legend. Apparently the
corpse belonged to a Nazi and the story occurred by chance at the
end of World War Two.
So originally the swastika and other symbols on the villa
did not evoke such terrible thoughts, as would occur later due to
Hitlers legacy, but represented good omens, similar to the frescos
of two Buddhas situated on either side of the entrance door, and
the inscription of an ancient Japanese phrase, signifying protection
for those who lived there. Later, however, these same symbols could
not have brought the villa many blessings not only did the person
found dead lose their life, but of the villa too, nothing sadly remains.
Nowadays, another villa stands on the corner of Cesare
Battisti and Gorizia, built on the ashes of the Villa Lampo. It can be
seen that the building entrance partially echoes the perimeter walls
of the previous villa, but with an angled access.
Memria
38
IN DEPTH
Orgull local
Els paons de Budapest
David A. Hill
Investigador independent, Budapest
futured@hu.inter.net
Pride of Place
The Peacocks of Budapest
David A. Hill
Independent scholar, Budapest
futured@hu.inter.net
destaca en dos interiors esteticistes influents: el del nmero 15 de la plaa

Berkeley de Londres, on el disseny de George Aitchison (1873) incloa un
fris de paons d'Albert Moore, i el de la sala de Thomas Jeckyll a la casa
de Frederick Leyland, al Princes Gate de Londres, que James Whistler va
transformar en la Sala dels Paons (1877), amb una decoraci sumptuosa
de paons de color daurat i turquesa, actualment a la Galeria Freer de
Washington. Grcies a iniciatives com aquestes, el pa va esdevenir
un element com per als arquitectes i dissenyadors que treballaven en
terrenys on es mesclaven
A Hongria l'ocell era part
l'esteticisme, el moviment
integral de la tradici
Arts and Crafts i l'Art
Nouveau. En tenim exemples
popular, i es podia trobar
famosos, com la catifa de
en tota mena d'objectes
William Morris Paons i ocells
(1880), actualment a la Galeria Morris de Walthamstow, o teixits com
Plomes de pa d'Arthur Silver (1883, per a Liberty). I tamb pintures (Paons
de William Degouve de Nuncques, 1896, ara als Museus Reials de Belles
Arts de Brusselles), illustracions (La faldilla-pa d'Aubrey Beardsley per
a Salom d'Oscar Wilde, 1894), mosaics (Retaule de paons de L. C. Tiffany
per a l'Exposici Universal de Chicago, 1893, actualment al Museu Mores
de Florida), forja (canelobre Pa d'Alexander Fisher, 1899, ara al Museu
Victoria and Albert de Londres), i joieria (collaret Pa de plata, or, corall i
mareperla negra, de C. R. Ashbee, 1900).
Juhsz collection David A. Hill
he peacock is an important
symbol in many different
cultures from Asia, where the
bird originated, to Europe. In
ancient Greece it was Heras
bird; the one-hundred-eyed
blue tail feathers symbolised
heaven and its stars. For Hindus it is
Karthikeya, the god of wars mount; its tail is
the shape of the sacred Omkara syllable, too.
The Persian Shahs sat on the Peacock Throne.
For Christians it symbolises the resurrection,
stemming from earlier beliefs that peacocks
flesh did not decay after death. Peacocks are found
as carvings, mosaics and paintings in early Christian
churches. The floor mosaic from St Maria and St Donato
(Murano, Italy, 1141) is typical: two peacocks face each other across
a drinking vessel. Here they are asymmetrical, but they are frequently
symmetrical. And the male bird, with its brilliant blue body feathers
and stupendous tail, has always been an exotic symbol of beauty
everywhere.
The poster for the 2012 Victoria and Albert Museum exhibition
The Cult of Beauty: The Aesthetic Movement 18601900 showed
Lord Leightons Pavonia (1858) a woman with a vase of peacock
feathers behind her. If, as Elizabeth Aslin suggests in her book
The Aesthetic Movement: Prelude to Art Nouveau (1969), the
Aesthetic Movement was the prelude to Art Nouveau, then using
the peacock as a symbol of beauty may have moved into Art
Nouveau consciousness from that. Peacocks from Japanese art and
design would have been another source. Two influential aesthetic
interiors foregrounded the peacock: George Aitchisons designs
The peacock symbolizes resurrection in the Christian tradition, stemming from earlier beliefs that peacocks flesh did not decay after death. In early churches peacocks are
found as carvings, paintings and mosaics, like this twelfth-century floor at St Maria and St Donato in Murano, Italy
Transylvanian embroidered hanging, by Piroska Ujvri; the peacocks are on either

side of a vessel, as in the Christian tradition
El pa reial simbolitza la resurrecci en la tradici cristiana, a partir duna antiga creena que la carn del pa no es podria desprs de morir. A les esglsies antigues trobem paons en talles,
pintures i mosaics, com aquest del segle XII al terra de lesglsia de Sta. Maria i St. Donato a Murano, Itlia
Taps brodat destil transsilv, obra de Piroska Ujvri; els paons sn a banda i banda dun
gerro, com en la tradici cristiana
Juhsz collection David A. Hill
l pa s un smbol important en diverses cultures, des

d'sia, d'on s originari, fins a Europa. En la Grcia antiga
era l'au d'Hera: els cent ulls de les plomes de la seva cua
blava simbolitzaven el cel i les estrelles. Per als hinds s la
muntura de Kartikeya, el du de la guerra; la seva cua t a
ms la forma de la sllaba sagrada om. Els xas perses seien
en el Tro del Pa. Per als cristians, simbolitza la resurrecci,
fruit de l'antiga creena que la carn del pa no es podria quan l'animal
moria. Trobem paons en talles, mosaics i pintures de les primeres esglsies
cristianes. El mosaic del terra de Santa Maria i Sant Donato a Murano,
Itlia (1141), n's un exemple tpic: dos paons encarats a banda i banda
d'un vas. En aquest cas sn asimtrics, per sovint presenten simetria.
I l'ocell mascle, de lluminoses plomes blaves i magnfica cua, ha sigut
sempre i arreu un smbol extic de bellesa.
El cartell de l'exposici de 2012 El culte a la bellesa: el moviment
esteticista 1860-1900, al Museu Victoria and Albert, mostrava la Pavonia
(1858) de Lord Leighton una dona amb un gerro de plomes de pa al
darrere. Si, tal com suggereix Elizabeth Aslin en el llibre The Aesthetic
Movement: Prelude to Art Nouveau (El moviment esteticista: preludi de
l'Art Nouveau, 1969), el moviment esteticista fos realment el preludi
de l'Art Nouveau, aleshores l's del pa com a smbol de bellesa podria
haver penetrat en l'imaginari de l'Art Nouveau per aquesta via. Una altra
font podrien haver estat els paons de l'art i el disseny japonesos. El pa
41
Felt appliqu pincushion; an example of the use of

peacock imagery in Hungarian folk art
Buirac de sastre de feltre; un exemple de ls de la imatge del
pa en lart popular hongars
for 15 Berkeley Square, London (1873) included Albert Moores

peacock frieze; Thomas Jeckylls room in Frederick Leylands
Palace Gate, London house was completed as The Peacock Room
by James Whistler (1877), sumptuously decorated with peacocks
in gold and turquoise, and now in the Freer Gallery, Washington.
Through such design initiatives, the peacock became a common
element for architects and designers working in the crossover
areas of the Aesthetic and the Arts and Crafts Movements and Art
Nouveau. There are famous examples, like the carpet by William
Morris, Peacock and Bird (1880), now in the Morris Gallery at
Walthamstow, or fabrics like Peacock Feathers by Arthur Silver
(1884, for Liberty). Also,
In Hungary the bird was an paintings (The Peacocks
integral part of the on-going by William Degouve de
Nuncques, 1896, now
folk tradition, found on all
at Muses Royaux des
kinds of objects
Beaux-Arts, Brussels);
book illustration (The
Peacock Skirt by Aubrey Beardsley for Oscar Wildes Salome,
1894); mosaics (Peacock Reredos by L. C. Tiffany for the Chicago
World Fair, 1893, now in Mores Museum, Florida); metalwork
(Peacock Sconce by Alexander Fisher, 1899, today at the London
V&A Museum), and jewellery (Peacock necklace in silver, gold,
coral and black mother-of-pearl, by C. R. Ashbee, 1900).
A FONS
David A. Hill
40
Left, window of architect Albert Krssys own house (1899), with symmetrical peacocks at the base of the frame; detail of peacock on the right
The Walk House at Aulich Street 3, also by Albert Krssy (1901), has delicate peacock plaster reliefs under its second-floor balconies
A lesquerra, finestra de la prpia casa de larquitecte Albert Krssy, de 1899, amb paons simtrics a la base del marc; detall de pa reial a la dreta
La Casa Walk, al carrer Aulich 3, tamb dAlbert Krssy (1901), t uns delicats relleus de guix amb paons reials sota els balcons de la segona planta
In Europe, peacocks were generally known through their

Christian symbolism, and as creatures of colourful beauty. In
Hungary, however, the bird was an integral part of the on-going
folk tradition, found on all kinds of products from embroidery to
metalwork. Additionally, the peacocks tail and the eyes blend
well with the floral shapes used in the Hungarian tradition. As
elsewhere, Hungarian Art Nouveau designers studied local folk
traditions for inspiration. Various major figures like Aladr
Krsfoi-Kriesch, Sndor Nagy and Ede Toroczkai Wigand were
involved in the influential cataloguing work published by Dezso
Malonyay as A Magyar Np Muvszete (Hungarian Folk Art) in
five volumes (Budapest, 19071922). Indeed, Krsfoi-Kriesch
wrote the Hungarian Peasant Art section of The Studios special
volume Peasant Art in Austria and Hungary (London, 1911), and
illustrations 658, 659 and 662 include peacocks.
While the founders of the two main strands of Hungarian
Art Nouveau architecture, dn Lechner and Kroly Ks, used
elements of the Oriental-Magyar and Transylvanian folk
traditions respectively, neither of them used the peacock as
a decorative motif. However, others did, and this article will
examine the twenty-eight Art Nouveau buildings I have found
in Budapest with significant peacock decoration. The peacocks
were produced using these materials: eleven metalwork (one
including glasswork), fifteen plasterwork, one ceramic and one
moulded concrete and mosaic. In the five earliest buildings
the peacock decoration is always naturalistic. The oldest is the
Lindenbaum House at Izabella utca 94 (Frigyes Spiegel and Flp
Weinrb, 18961897). The faade is a simple rectangular plane,
but decorated with five bands of the strangest plaster reliefs in
the city. On the second-lowest, four gilt peacocks are interspersed
David A. Hill
paons significativa. Els paons es van realitzar usant els segents materials:
onze de metall (un d'ells inclou vidre), quinze de guix, un de cermica i un de
ciment modelat i mosaic. En els cinc primers edificis, el pa com a element
decoratiu s sempre naturalista. El ms antic s la Casa Lindenbaum, a
Izabella Utca, 94 (Frigyes Spiegel i Flp Weinrb, 1896-1897). La faana s
un pla rectangular simple, per decorada amb cinc franges de relleus de guix
que resulten les ms sorprenents de la ciutat. En el segon comenant per baix,
hi trobem quatre paons daurats intercalats amb parelles de serps, guineus i
dues dones nues tamb daurades.
Els dos edificis segents sn obra d'Albert Krssy. Un s la prpia
villa de l'arquitecte, a Vrosligeti Fasor, 47 (1899), que presenta uns
paons de guix situats simtricament a banda i banda de
la finestra circular del primer pis. L'altre s la Casa
Walk, a Aulich Utca, 3 (1901), amb una
faana decorada amb diversos elements
animals en relleus de guix i amb parelles
simtriques de paons delicadament
modelats sota els tres balcons del
segon pis. El quart d'aquesta srie
s la casa prpia d'Emil Vidor,
a Vrosligeti Fasor, 33 (19041905). Els edificis ms reeixits
de Vidor utilitzen l'asimetria per
jugar amb les lnies i els volums,
aix que sorprn un nic pa de
guix al balc encoixinat de la
planta baixa. Els ltims paons
d'aquesta srie estan ubicats
simtricament damunt la porta
d'entrada de la Casa Neuschlosz,
David A. Hill
A Europa, els paons es coneixien generalment per la seva simbologia

cristiana, i com a criatures d'una bellesa acolorida. A Hongria, per, l'ocell
era part integral de la tradici popular, i es podia trobar en tota mena
de productes, des de brodats a articles de metall. A ms, la cua i els
ulls del pa combinen b amb les formes florals utilitzades en la tradici
hongaresa. Com a tot arreu, els dissenyadors modernistes hongaresos
van estudiar les tradicions populars locals per trobar-hi inspiraci.
Diverses figures importants, com Aladr Krsfoi-Kriesch, Sndor Nagy
i Ede Toroczkai Wigand, van participar en un treball de catalogaci molt
influent publicat en cinc volums per Dezso Malonyay i titulat A Magyar
Np Mu vszete (L'art popular hongars, Budapest, 1907-1922). De fet,
Krsfoi-Kriesch va escriure la secci Hungarian Peasant
Art (L'art rural hongars) del volum especial de
The Studio sobre Peasant Art in Austria and
Hungary (L'art rural a ustria i Hongria,
Londres, 1911), on les illustracions 658,
659 i 662 inclouen paons.
Si b els fundadors dels dos
corrents principals de l'arquitectura
modernista hongaresa, dn
Lechner i Kroly Ks, van utilitzar
elements de les tradicions populars
magiars de la zona oriental i
transsilvanes,
respectivament,
cap dels dos va utilitzar el pa
com a motiu ornamental. Altres,
per, s que ho van fer, i en aquest
article examinar els vint-i-vuit
edificis modernistes que he trobat
a Budapest amb una decoraci de
Plaster peacock on the faade of Lindenbaum House at Izabella Street 94,

by Frigyes Spiegel and Flp Weinrb, 18961897
Emil Vidors house at Vrosligeti fasor 33 (19041905) displays a single

plasterwork peacock asymmetrically placed by the ground floor balcony
Pa de guix a la faana de la Casa Lindenbaum al carrer Izabella 94,

obra de Frigyes Spiegel i Flp Weinrb, 1896-1897
La casa dEmil Vidor a Vrosligeti fasor 33 (1904-1905) mostra un sol pa reial de guix
situat de froma asimtrica al costat del balc de la planta baixa
David A. Hill
IN DEPTH
43
David A. Hill
A FONS
David A. Hill
42
Lorem Ipsum
David A. Hill
with pairs of snakes, foxes and two gilt nude women! The next
two buildings are by Albert Krssy. The architects own villa at
Vrosligeti fasor 47 (1899), has symmetrically placed plasterwork
peacocks at either side of the circular first floor window. The
Walk House at Aulich utca 3 (1901) has its faade decorated with
various wildlife in plaster relief and, under the three second-floor
balconies, symmetrical pairs of delicately modelled peacocks. The
fourth of this series is Emil Vidors own house at Vrosligeti fasor
33 (19041905). Vidors best buildings use asymmetry to play
with lines and volumes, so unsurprisingly he perches a single
plasterwork peacock on the rusticated ground-floor balcony. The
final peacocks in this series are symmetrically placed above the
doorway of the Neuschlosz House at Bthory utca 5 (Ignc Alpr,
19041905). These rather aggressive-looking birds have a reptilian
appearance, and were designed to fit with other medieval elements
of the decoration.
The second group of buildings all feature metalwork. The
Piatschek House at Aradi utca 57 (Bla and Sndor Lffler,
19071908) has the most complete peacock-themed details of
all Budapest Art Nouveau buildings. It starts with a remarkable
wrought-iron street door. Two highly stylised peacocks are
Detail of peacock acid-etched on glass in the entrance hall of the Piatschek House
at Aradi Street 57 (by brothers Bla & Sndor Lffler, 19071908)
Detall de pa gravat amb cid sobre vidre al vestbul dentrada de la Casa Piatschek, al
carrer Aradi 57 (obra dels germans Bla & Sndor Lffler, 1907-1908)
symmetrically placed on either side of the small windows, which

effectively become their bodies, while the angular form of the
tail continues the lozenge shape of the window. In the entrance
hall, the window glass above the courtyard doors displays acidetched peacocks. The design of the bird and surrounding tree and
flowers are geometrically stylised. Finally, the stair railings have
a repeat design from bottom to top, with peacocks perched amidst
foliage. The enormous Trombits House at Szilgyi Erzsbet fasor
1721 (Emil Bauer and Gyula Guttmann, 19111912) also carries
its peacock theme from entrance doors to stair railings. The door
birds are naturalistic and symmetrical, recalling the Christian
or folk format, while the small birds on the stair railings have
different forms as the stairs climb. The apartment block doors at
Balassi Blint utca 7, of unknown architect and date, have two
small reversed symmetrical panels of beaten copper in them. The
bird is so stylised that it resembles a mechanical robot peacock
The peacocks above the main entrance of Neuschlosz House at Bthory Street 5
(by Ignc Alpr, 19041905) have a reptilian air about them
Els paons sobre lentrada principal de la Casa Neuschlosz, al carrer Bthory 5,
(Ignc Alpr, 1904-1905) tenen un aspecte reptili
Imagery of peacocks amidst foliage on the stairway railings of the Piatschek House
Imatges de paons entre vegetaci a la barana de lescala de la Casa Piatschek
IN DEPTH
David A. Hill
David A. Hill
A FONS
45
IN DEPTH
Peacocks on balcony ironwork of the apartment block at Pannnia Street 6, by Zsigmond & Dvid Jns (1909)
Paons en un balc de forja de la casa de pisos al carrer Pannnia 6, obra de Zsigmond & Dvid Jns (1909)
David A. Hill
a Bthory Utca, 5, (Ignc Alpr, 1904-1905). Sn uns ocells d'aspecte

fora agressiu amb una aparena reptiliana, i van ser dissenyats per
casar amb altres elements medievals de la decoraci.
El segon grup d'edificis presenten tots treballs de ferro. La Casa
Piatschek, a Aradi Utca, 57 (Bla i Sndor Lffler, 1907-1908), presenta
el conjunt de detalls amb el tema del pa ms complet de tots els edificis
modernistes de Budapest. Comena amb una porta d'entrada de forja
destacable, on dos paons molt estilitzats se situen a banda i banda de les
finestretes, que es converteixen en els seus cossos, mentre que la forma
angular de la cua continua la forma romboide de la finestra. Al vestbul,
la vidriera damunt les portes del jard presenta uns paons gravats a l'cid.
El disseny de l'ocell i de l'arbre i les flors que l'envolten segueixen una
estilitzaci simtrica. Finalment, en les baranes de l'escala s'hi repeteix
de dalt a baix un disseny amb paons posats en el ramatge. Tamb a
l'enorme Casa Trombits, a Szilgyi Erzsbet Fasor, 17-21 (Emil Bauer i
Gyula Guttmann, 1911-1912), hi trobem el pa com a motiu, des de les
portes d'entrada fins a les baranes de l'escala. Els ocells de la porta sn
naturalistes i simtrics, evocant el format del simbolisme cristi o de l'art
popular, mentre que els petits ocells de les baranes prenen formes que
varien a mesura que l'escala s'enfila. Les portes del bloc de pisos de Balassi
Blint Utca, 7, d'arquitecte i data desconeguts, compten amb dos petits
panells simtrics oposats de coure batut. L'ocell s tan estilitzat que sembla
un robot mecnic de pa de cincia ficci! Un altre exemple de mestria
David A. Hill
A FONS
David A. Hill
46
en el treball de la forja el trobem als balcons del segon pis de la casa de

Stylised peacock of beaten copper on the doors of the apartment
block on Balassi Blint Street 7 (unknown architect and date)
One of the famous wrought-iron gates with three peacocks of the Gresham
Palace, now a hotel, by Zsigmond Quittner and Jzsef Vg (19051907)
Estilitzat pa en coure batut a les portes de ledifici de pisos del carrer

Balassi Blint 7 (dautor i data desconeguts)
Un dels famosos portals de forja amb tres paons del Palau Gresham, avui un hotel,
de Zsigmond Quittner i Jzsef Vg (1905-1907)
David A. Hill
David A. Hill
from science fiction! A contrasting example of the wrought-iron

workers skill is found on the two second-floor balconies of the
apartment block at Pannnia utca 6 (Zsigmond and Dvid Jns,
1909). Pairs of peacocks perched on the balcony walls, face each
other across a basket, which is actually the balcony railing a
neat piece of design. They also recall the symmetrical Christian or
folk arrangement. Beaten copper panels are set over the striking
iridescent Zsolnay tiled faade of the ex-Jns Hecht shop at
Szent Istvn tr 14 (Bla Lajta, 19061907). They repeat an
elongated peacock design that owes something to the Hungarian
folk tradition. And finally come the two large, beautifully restored,
wrought-iron gates on either side of the Gresham Palace (now
the Four Seasons Hotel) at Szchenyi tr 5 (Zsigmond Quittner
and Jzsef Vg, 19051907) with their three peacocks, two in
symmetrical profile and one facing us.
David A. Hill
One of the two moulded concrete peacocks that guard the entrance of Vci Street 7880 / Un dels dos paons de motllura de ciment que guarden la porta dentrada del carrer Vci 78-80
pisos a Pannnia Utca, 6 (Zsigmond i Dvid Jns, 1909),

on unes parelles de paons parats a les parets del balc
es miren cara a cara a travs d'una cistella, que s de
fet la balustrada del balc una pea de disseny de
gran pulcritud. Tamb recorden la disposici simtrica
que trobem en el simbolisme cristi i en l'art popular. Al
damunt de la faana de rajola Zsolnay d'una iridescncia
sorprenent de l'antiga botiga de Jns Hecht, a Szent
Istvn Tr, 14 (Bla Lajta, 1906-1907), hi trobem uns
panells de coure batut on es repeteix el disseny d'un pa
allargat que palesa certa influncia de la tradici popular
hongaresa. I, finalment, tenim les dues mplies portes
d'entrada de ferro forjat bellament restaurades a banda i
banda del Palau Gresham (actual Hotel Four Seasons), a
Szchenyi Tr, 5 (Zsigmond Quittner i Jzsef Vg, 19051907), amb tres paons: dos de perfil i simtrics, i un que
mira de cara el visitant.
Per acabar, tres dissenys molt diferents de paons.
Dos els trobem al mateix bloc de pisos i botigues, a Vci
Utca, 78-80 (Henrik Bhn i Armin Hegedus, 1912). Al
damunt de l'entrada principal hi ha dos paons inversament
simtrics de ciment modelat amb un fons de mosaic
daurat. A la planta superior, gaireb invisibles des de
l'estret carrer, dos parells de panells de mosaic bellament
acolorit mostren uns paons encarats a banda i banda de
les finestres de l'tic. I per tancar aquest reps de l's
dels paons en l'arquitectura modernista de Budapest, un
disseny que ens retorna al principi de l'article. Al bloc de
pisos de Molnr Utca, 21 (d'autor i data desconeguts), hi
trobem dos panells idntics que recorden molt els primers
dissenys cristians: una parella de paons de guix situats
simtricament que beuen d'un vas.
These plasterwork peacocks on Molnar Street 21 relate directly to Christian and

folk traditions
Aquests paons de motllura de guix del carrer Molnar 21 connecten amb les tradicions
cristiana i popular
We conclude with three very different peacock designs.

Two are on the same apartment and retail block at Vci utca
7880 (Henrik Bhn and Armin Hegedus, 1912). Above the
main entrance are two reversed symmetrical moulded-concrete
peacocks set on gold mosaic backgrounds. On the top floor,
almost invisible from the narrow street, are two pairs of
gorgeous colourful mosaic panels with peacocks facing each
other across the rooftop flats windows. And to close this
overview of the use of peacocks in Budapest Art Nouveau
architecture, a design which returns us to the beginning of the
article. On the apartment block at Molnr utca 21 (architect
and date unknown) are two identical panels which are very
close to early Christian designs a pair of symmetrically
positioned plasterwork peacocks drinking from a vessel.
The shop front designed by Bla Lajta in 1907 for Jns Hecht on Szent Istvn square (above) displays
a rich Zsolnay tile-clad faade with peacock designs on beaten copper panels (below)
La tenda dissenyada el 1907 per Bla Lajta per a Jns Hacht, a la plaa Szent Istvn (a dalt), presenta una
faana coberta amb ceramica Zsolnay i dissenys de paons en panells de coure batut (a baix)
49
David A. Hill
A FONS
David A. Hill
48
Ceramic mosaic panel of the top-floor faade of the Vci Street 7880 apartment
building, a 1912 work by Henrik Bhn and Armin Hegedus
Panell de mosaic cermic a la faana de la planta superior de la casa de pisos del carrer
Vci 78-80, obra de 1912 de Henrik Bhn i Armin Hegedus
HERSTORY
Pepita Texidor
Als lmits del Modernisme
51
Pepita Texidor
On the Fringes of Modernisme

Historiadora, Barcelona
mgasconuc@gmail.com

Historian, Barcelona
mgasconuc@gmail.com
Photo of Pepita Teixidor in her studio in 1907

Fotografia de Pepita Teixidor al seu estudi el 1907
Woodland Flowers, an undated watercolour by Teixidor

Flors bosquetanes, una aquarella sense datar de Teixidor
osefa Texidor was born and lived in the

bustling, expansive and entrepreneurial
Barcelona of the latter half of the
nineteenth century. It was a
Barcelona where a new way of life,
one of feeling and expressing
art was flourishing: Modernista
Barcelona. Nevertheless, despite the subjects
she painted throughout her life earning her
recognition far beyond Spains borders,
Josefa or Pepita as she signed her works
did not belong to the caste of painters
nowadays classed as Modernista.
Experts agree that one of the
characteristics of Art Nouveau or
Modernisme, the Catalan version of
this style is a break with previous
artistic trends and a return to nature, an
explosion of colour and sinuous plant
shapes. The quest for this new expressive
form covered all creative modes, from
architecture to the decorative arts, and
painting was no exception. Texidor was
essentially a recognised still-life painter, a
contemporary and friend of the artists who
were considered Modernista. Yet she remained
on the fringe. Why? Was this merely a question
of prejudice because of her gender? Or was it
rather a kind of subsequent oblivion, the same that
has eclipsed her person, her oeuvre and the monument
dedicated posthumously to her - the first in Barcelona
to identify a woman by name and surname along with her
profession?
Texidor was born in Barcelona on 17 November 1865 not
27 November, as believed up until now into a bourgeois family
of five children surviving from the eight which the marriage
between Josep Teixidor i Busquets and Concepci Torres i Nicols
had brought into the world. Her father perfectly represented the
spirit of the times. An
Pepita was defined as an industrialist by need and
an artist by vocation,
exquisite, sensitive and
Josep
Teixidor dedicated
detailed artist
himself professionally to
the gas lighting industry that he introduced into Spain until his
financial situation enabled him to pursue his vocation. He was
already professionally renowned as an artist when Pepita was
born. A friend and disciple of the painter Ramon Mart i Alsina,
he was a cultivated, inquisitive man. He did not merely paint,
but also opened the first artistic photographic studio and the
Calveras/Mrida/Sagrist MNAC
Adolf Mas Institut Amatller dArt Hispnic
osefa Texidor va nixer i va viure a la Barcelona bulliciosa,

expansiva i emprenedora de la segona meitat del segle XIX.
En aquella Barcelona on va florir una nova manera de veure,
de sentir i d'expressar l'art: la Barcelona modernista. Aix no
obstant, malgrat que els temes que va pintar al llarg de la seva
vida li van valer el reconeixement ms enll de les nostres
fronteres, la Josefa, o Pepita, com firmava les seves obres, no
forma part de l'elenc dels pintors actualment considerats modernistes.
Els experts coincideixen que una de les caracterstiques de l'Art
Nouveau, o de la nostra versi d'aquest estil, el Modernisme, s la ruptura amb
les tendncies artstiques anteriors i el retorn a la naturalesa, l'explosi del
color i les formes vegetals sinuoses.
Pepita s definida com La recerca d'aquesta nova forma
una artista exquisida, d'expressi abasta totes les formes
de creaci, des de l'arquitectura fins
sensible i minuciosa
a les arts decoratives, i la pintura no
n's una excepci. Texidor s, essencialment, una pintora de flors de prestigi
reconegut, contempornia i amiga d'artistes considerats modernistes. Per
ella en queda al marge. Per qu? s noms una qesti de prejudicis deguts
al sexe de l'artista? O es tracta d'un oblit posterior? El mateix oblit en qu
s'han sumit la seva figura, la seva obra i el monument que li va ser dedicat
un cop morta, el primer que singularitza, a la ciutat de Barcelona, una dona
amb nom i cognoms i ofici propis.
Pepita Teixidor painted this self-portrait around 1910

Pepita Teixidor va pintar aquest autoretrat pels volts de 1910
first graphic arts establishment in the city. In alliance with Jeroni

Granell and Mart Alsina, he was among those who founded the
Societat per a Exposicions de Belles Arts (Society for Fine Arts
Exhibitions) in 1868.
His daughter, Pepita and her siblings grew up in an
environment that cultivated and encouraged contact with the art
world. Modest, the oldest, and Pepita, the youngest, went on to
become the most renowned artists. Modest trained in Paris with
Carolus-Duran and Bastien-Lepage before specialising in oil-colour
portraits and landscapes. His select clientele included the Spanish
Feminal
Jordi Calveras MNAC
50
Jordi Calveras MNAC
Broom Leaves, watercolour from 1902

Fulles de ginesta, aquarella de lany 1902
View of the exhibition held at the Sala Pars art gallery, Barcelona, 1910
Carnations, an oil on canvas from 1896

Clavells, oli sobre tela de 1896
Aspecte de lexposici feta a la Sala Pars de Barcelona el 1910
royal family and the cream of the Catalan bourgeoisie. Pepitas first
teachers came from within her own family her father and brother
and she finished her training with Francesc Miralles. Modest
tried to convince his little sister to abandon still lifes and devote
herself to other better-paid genres, but Pepita remained faithful to
her flowers and her style. Was this from a sense of vocation? Or
was it so as not to break the strict rules dictated by society of the
period and thereby avoid the censure of those who would doubtless
challenge her? Bourgeois women who adopted a professional trade,
regardless of how artistic, were not viewed favourably by society.
Paid work was not considered suitable for women; it challenged
the established social order because it distracted them from what
should always and with no exceptions be their main occupation:
the home. Furthermore, it undermined the familys social prestige.
Work was a necessity and only accepted in the case of lower-class
women who had to work to survive. However, the low esteem in
which still-life painting was held as a nineteenth-century artistic
expression made it a highly suitable activity for women; Texidor
could devote herself to her vocation while avoiding any type of
confrontation.
Texidor was one of the few women who during this period
was able to devote her time to painting regularly. As far as we
know, the first exhibition in which she participated was at the Sala
Pars in 1896, in a new category: womens painting an idea that
was very well received in late nineteenth-century society. A large
number of women, young and old, took part, and critics judged
them with a mixture of condescension, paternalism and, in rare
cases, even admiration. Attending such exhibitions became another
bourgeois social activity, one where young gentlemen could
F. Serra Arxiu Fotogrfic Barcelona
Pepita i els seus germans van crixer en un ambient que va afavorir

i encoratjar el contacte amb el mn de l'art. Modest, el ms gran, i Pepita,
la ms jove, van ser els que van esdevenir artistes reconeguts. Modest es
va formar a Pars amb Carolus-Duran i Bastien-Lepage i es va especialitzar
en retrats a l'oli i paisatges. Entre la seva selecta clientela s'hi comptaven
la famlia reial i l'alta burgesia catalana. Pepita va trobar dins la famlia els
primers mestres, el seu pare i el seu germ, i va completar la seva formaci
amb Francesc Miralles. Modest va intentar influir en la seva germana petita
perqu abandons la pintura de flors i es dediqus a altres gneres ms
ben remunerats, per Pepita va seguir fidel a les flors i al seu estil. Ho va
fer per vocaci? O fou per no trencar les rgides normes dictades per la
societat de l'poca i evitar-se aix els disgustos que sens dubte li produiria
un enfrontament obert contra elles? Les burgeses que es dedicaven
professionalment a un ofici, per molt artstic que fos, no gaudien del
beneplcit de la societat. El treball remunerat no es considerava adequat
per a les dones; atemptava contra l'ordre social establert perqu les distreia
del que havia de ser sempre i sense excepci la seva ocupaci principal: la
llar. A ms, comprometia el prestigi social de la famlia. El treball era una
necessitat i noms s'acceptava en el cas de les dones de les classes baixes
que el necessitessin per subsistir. Tanmateix, el poc valor que s'atorga a la
pintura de flors com a manifestaci artstica al segle XIX la converteix en
una activitat molt adequada per a les dones i Texidor pot dedicar-se a la
seva vocaci estalviant-se qualsevol mena de confrontaci.
Texidor s una de les poques dones que durant aquest perode es
dedica de forma regular a la pintura. Pel que sabem fins ara, la primera
exposici en qu participa s la de 1896 a la Sala Pars, dins una nova
modalitat: les exposicions femenines, una idea que fou molt ben acollida
per la societat de final del segle XIX. Hi van participar un gran nombre
de senyores i senyoretes, i els crtics les van valorar amb una barreja
de condescendncia, de paternalisme i, en alguns casos, tamb d'admiraci.
An auction was held in 1916 to obtain funds for Teixidors monument

El 1916 es va fer una subhasta per obtenir fons per al monument de Teixidor
Adolf Mas Institut Amatller dArt Hispnic
FEMINAL
Texidor va nixer a Barcelona el 17 de novembre de 1865 no el 27

de novembre, tal com s'havia cregut fins ara al si d'una famlia burgesa
composta pels cinc fills supervivents dels vuit que va tenir el matrimoni
format per Josep Teixidor i Busquets i Concepci Torres i Nicols. El pare fou
una figura que representava a la perfecci l'esperit de l'poca. Industrial per
necessitat i artista per vocaci, Josep es va dedicar professionalment a la
indstria que va introduir a Espanya la illuminaci de gas fins que la seva
situaci financera li va permetre dedicar-se a l'exercici de la seva vocaci.
Ja era reconegut professionalment com a artista quan va nixer Pepita. Fou
deixeble i amic del pintor Ramon Mart i Alsina. Home culte i inquiet, no
es va limitar a pintar, sin que va obrir a ms el primer taller de fotografia
artstica i el primer establiment d'arts grfiques de la ciutat, i va formar
part, al costat de Jeroni Granell i de Mart Alsina, del grup que el 1868 va
fundar la Societat per a Exposicions de Belles Arts.
collecci particular
52
Jordi Calveras MNAC
Assistir a aquestes exposicions es va convertir en un ms dels actes socials

de la burgesia, en qu els joves cavallers no sabien si mirar els quadres o les
pintores. Pepita va exposar les flors senzilles que pintava, les que trobava en
el seu entorn: flors d'ametller, geranis, clavells o violetes, infludes en moltes
ocasions per la pintura japonesa tan en voga entre els artistes del moment. La
seva amiga i tamb pintora Llusa Vidal, per, no va voler participar en aquests
certmens, ja que, a diferncia de Pepita, Llusa no volia que l'encasellessin en
la categoria de pintura femenina (vegeu cDf n. 13).
Llusa i Pepita representen dues maneres d'afrontar un mateix problema,
dues estratgies diferents per aconseguir la
mateixa fi: dedicar-se a la pintura. Llusa es
rebella, no accepta limitacions imposades per
qesti de gnere, i Pepita, per contra, s'adapta
i aconsegueix ser acceptada i reconeguda com la
millor aquarellista de flors del moment, malgrat
que utilitzava tamb altres tcniques com l'oli o
l'aiguada. En les comparacions inevitables que
els crtics de l'poca fan entre les dues, Llusa
s reconeguda com una pintora excepcional,
dotada d'una fora viril, i Pepita s definida com
una artista exquisida, sensible i minuciosa, que
no arriba a caure en la timidesa o la cursileria.
Totes dues, tan diferents en la forma, mantenen
juntament amb Visitaci Ubach, Antnia Farreras
i M. Llusa Gell, una lluita per aconseguir que les
sales de pintura acullin tots dos sexes, cosa que
ja havien fet anteriorment. A la XVII Exposici
Extraordinria de Belles Arts de Barcelona,
celebrada el febrer de 1900 a la Sala Pars, homes
i dones exposen conjuntament les seves obres.
Aquell mateix any Texidor participa, juntament amb Santiago Rusiol i

Ramon Casas, a l'Exposici Universal de Pars, representant Catalunya, i aix
no obstant, al contrari del que passa amb els seus companys, a ella no se la
considera una pintora modernista.
Fins al 1912 exposa regularment tant a Barcelona com a Madrid. La
seva obra s present en certmens regionals i exposicions internacionals, a
Olot i a Pars, a Santiago de Compostella i a l'Exposici Hispanofrancesa de
Saragossa, a l'Exposici d'Art Espanyol a Mxic i a l'Exposici Universal de
Brusselles. La qualitat de la seva obra s reconeguda amb diversos premis,
entre els quals una medalla d'or a l'Exposici de
Brusselles, que arriba desprs de la seva mort el
febrer de 1914.
Compromesa amb el seu temps, Texidor
va collaborar des de l'inici amb la revista
Feminal, una publicaci inspirada en la
francesa La Fronde, dirigida i escrita per dones.
Van ser les seves companyes de Feminal les
que van decidir perpetuar la seva memria
retent-li un homenatge merescut. Des de bon
comenament prcticament tots els artistes
i intellectuals catalans del moment es van
sumar a la iniciativa, i es va decidir alar-li un
petit monument, un bust esculpit per Manuel
Fux, collocat damunt un senzill pedestal
projectat per Enric Monserd. El resultat fou el
monument que encara avui podem contemplar
al parc de la Ciutadella, malgrat que el nom de
Pepita Teixidor hagi estat gaireb oblidat en
l'actualitat, igual que la seva obra, i no tingui
un lloc entre els artistes modernistes.
Portrait of Pepita Teixidor by Modernista painter Ramon

Casas. Charcoal and pastel on paper, 1910
Retrat de Pepita Teixidor, obra del pintor modernista Ramon
Casas. Carb i pastel sobre paper, 1910
collecci particular
Inauguration of the monument to Pepita Teixidor in October 1917, three years after her death
Inauguraci del monument dedicat a Pepita Teixidor loctubre de 1917, tres anys desprs de la seva mort
not decide between viewing the paintings or the artists. Pepita

exhibited the simple flowers which she found around her: almond
flowers, geraniums, carnations and violets, often influenced by
Japanese painting, which was so in vogue among artists of the time.
Yet her friend and painter Llusa Vidal refused to participate in these
competitions because, in contrast to Pepita, Llusa did not want to
be stereotyped in the category of womens painting (see cDf No 13).
Llusa and Pepita represent two ways of dealing with the same
problem, two different strategies to achieve the same end: devoting
ones time to painting. Llusa rebelled, not wanting to accept the
limitations imposed on her sex while Pepita, in contrast, adapted
and managed to become accepted and recognised as the best stilllife watercolourist of the time, despite also using other techniques
such as oil or gouache. In the inevitable comparisons that critics
of the period made between the two, Llusa was recognised as an
exceptional painter, possessed of a virile force. Pepita was defined
as an exquisite, sensitive and detailed artist, who was neither shy
nor vulgar. Both, though so different in form, were united in their
struggle, along with Visitaci Ubach, Antnia Farreras and M. Llusa
Gell, to convince painting galleries to accept both sexes, as they
had done in former times. At the XVII Exposici Extraordinria de
Belles Arts (XVII Special Fine Arts Exhibition) in Barcelona, held in
February 1900 at the Sala Pars, both men and women exhibited
their works together. The same year, along with Santiago Rusiol
and Ramon Casas, Texidor participated in the Paris World Fair,
representing Catalonia, but in contrast to her colleagues, she was not
considered a Modernista painter.
Up until 1912, she exhibited regularly both in Barcelona
and Madrid. Her work appeared in regional competitions and
international exhibitions, in Olot and Paris, in Santiago de
Compostela and Saragossas Hispano-French Exposition, at the
Spanish Art Show in Mexico and the Brussels World Fair. The
quality of her work was recognised through several prizes, among
which was the gold medal at the Brussels World Fair, awarded after
her death in February 1914.
Thistles, a 1903 watercolour

Cards, aquarella de 1903
collecci particular
F. Balell Arxiu Fotogrfic Barcelona
HERSTORY
Committed to her period, Texidor collaborated with

the magazine Feminal from its beginnings. This was a
publication that took its inspiration from the French
La Fronde, written and edited by women. Her colleagues at
Feminal were the ones who decided to honour her memory by
creating a worthy homage. Right from the start, practically
all Catalan artists and intellectuals of the time backed the
initiative. It was decided to erect a small monument to her,
a bust sculpted by Manuel Fux, to be placed on a small
pedestal designed by Enric Monserd. The result, a monument
in Barcelonas Parc de la Ciutadella, that is still standing
despite the fact that Pepita Teixidors name has today, like
her work, all but faded, and she does not hold the place she
deserves among Modernista artists.
Carnations and Violets, an undated oil on canvas
Clavells i violetes, oli sobre tela de data desconeguda
55
Singular
Els Grans Magatzems Urbanc

tornen a la feina a Ljubljana
The Urbanc Department Store

Back in Business in Ljubljana
Marija Reek Kambic

Historiadora de lArt, Zavod za varstvo kulturne dedicine Slovenije, OE Ljubljana
Marija.Rezek.Kambic@zvkds.si
Institute for Cultural Heritage Slovenia
en forma de flor estilitzada amb ptals de vidre i ferro. La faana acabava

en unes estructures semicirculars coronades per l'esttua de Mercuri, el
du rom del comer i patr dels comerciants.
M. Reek Institute for Cultural Heritage Slovenia
Marija Reek Kambic

Art Historian, Zavod za varstvo kulturne dedicine Slovenije, OE Ljubljana
Marija.Rezek.Kambic@zvkds.si
Miran Kambic API arhitekti
'any 1903, Felix Urbanc, un respectat comerciant txtil i

membre de la cambra de comer, va construir els primers
grans magatzems de Ljubljana. L'edifici es va erigir en el que
avui s la plaa Preeren, que poc desprs del
terratrmol de 1895 va passar de ser una crulla
suburbana a convertir-se en un nou espai
urb modern que esdevindria el nou centre
de la ciutat. Urbanc va encarregar els plnols del nou
palau comercial a l'arquitecte Friedrich Sigmundt (18561917). Nat a Graz, Sigmundt havia estudiat arquitectura a
l'Institut Tcnic de Viena i desprs havia treballat amb Otto
Wagner i havia viatjat per l'Europa central i visitat Pars i
Londres. Va construir els seus primers grans magatzems a
Graz, creant una nova dimensi en l'arquitectura comercial
de la ciutat, on la introducci d'un nou tipus d'edifici enmig
de l'arquitectura histrica tradicional va provocar un cert
escndol.
Per contra, a Ljubljana, l'edifici de Sigmundt, en
el ms pur estil Art Nouveau, va ser ben acceptat i
es va considerar interessant, perfectament modern i
encantador. El palau, de tres plantes, combinava una
zona comercial i una de residencial, cosa que es reflectia
clarament en l'exterior. El disseny del palau es va inspirar
en l'arquitectura austraca contempornia i tamb en l'Art
Nouveau francobelga, que Sigmundt havia conegut durant
la seva visita a Pars el 1900. Les modernes faanes laterals
estaven decorades amb ornaments presos del vocabulari
decoratiu wagneri, concentrats al voltant de les finestres
i sota els rfecs. L'estreta faana principal que donava a
la plaa presentava, en canvi, ms reminiscncies de l'Art
Nouveau francobelga. La porta principal, que anava de la
planta baixa fins a l'entresl, comptava amb una coberta
57
Destacado
The steel-and-glass canopy over the main entrance is one of the best-known
original features of the building
La marquesina dacer i vidre de lentrada principal s un dels elements originals ms
coneguts de ledifici
Present-day view of the stores three faades, evening

Imatge actual de les tres faanes dels magatzems, al capvespre
Elevation of the three faades from the 2007 study of the building for its conservation plan and restoration, by Deanovic, Premk and Clark
Alat de les tres faanes incls en lestudi de ledifici per al seu pla de conservaci i restauraci, fet el 2007 per Deanovic, Premk i Clark
n 1903, Felix Urbanc, a respected wholesaler of textile

fabrics and member of the chamber of commerce, built
the first department store in Ljubljana. The building
was erected on what is today Preeren Square, which
had evolved from a suburban crossroads into a modern
urban hub shortly after an earthquake in 1895, to
become the new heart of the city. Urbanc commissioned
the architect Friedrich Sigmundt (18561917) with the plans for
his new commercial palace. Born in Graz, Sigmundt had studied
architecture at Viennas Technical High School, after which he
worked with Otto Wagner and travelled through central Europe,
also visiting Paris and London. He built his first department store
in Graz, determining commercial architecture on a new scale in
the city and by introducing a new building type into traditional
historical architecture provoking quite a scandal.
On the contrary, in Ljubljana, Sigmundts purest Art
Nouveau building was well accepted as being interesting,
perfectly modern and charming. The three-storied palace
combined commercial and residential sections, which were
clearly reflected on the exterior. The design of the palace was
inspired by contemporary Austrian architecture and at the same
time by Franco-Belgian Art Nouveau, with which Sigmundt
had become acquainted during his visit to Paris in 1900. The
fashionable side faades were decorated with ornaments
borrowed from Wagnerian decorative vocabulary, concentrated
around the windows and underneath the eaves. In contrast, the
This 1910 postcard shows how despite its narrowness, the corner faade of the
Urbanc Store becomes a protagonist of the Preeren square it faces
Aquesta postal de 1910 mostra com, malgrat ser molt estreta, la faana cantonera dels
Magatzems Urbanc agafa protagonisme a la plaa Preeren
narrow main faade facing the square was more reminiscent of

Franco-Belgian Art Nouveau. The front entrance, extending from
the ground floor to the mezzanine, was roofed by a canopy in the
form of a stylised flower with glass and iron petals. The faade
was crowned with semi-circular structures topped by a statue of
Mercury, the Roman god of commerce and patron of merchants.
Singular
56
Malgrat canvis radicals a linterior desprs de la Segona Guerra Mundial, a la planta

baixa dels magatzems es van conservar elements principals i alguns mobles. En aquestes
fotos fetes pels volts de 1950, saprecien lescala central (esquerra) i part de lebenisteria
modernista (dreta)
a ser uns grans magatzems. Malgrat totes les alteracions, el vestbul

central va conservar prcticament tota la decoraci i el mobiliari original,
que havia estat produt al taller de fusteria d'A. Irschnik de Graz. Els
taulells de venda i els miralls de peu van patir danys, i els panells de vidre
gravat que decoraven la part interior dels aparadors prcticament van
desaparixer; noms es va conservar intacte un panell de vidre gravat a
l'cid. L'any 2004, l'edifici va ser retornat als hereus de l'antic propietari,
que van decidir restaurar-lo i retornar-li la forma i la funci originals,
en estreta collaboraci amb l'Institut Eslov per a la Protecci del
Patrimoni Cultural. El pla de conservaci dissenyat per l'Institut establia
les poltiques i definia les guies per a la restauraci. L'objectiu principal
era mantenir els valors histrics bsics i la genunitat de l'edifici en el seu
conjunt, i preservar tamb el carcter i els grans valors del palau alhora
que s'incorporava la normativa constructiva actual (seguretat contra
incendis, consolidaci de la construcci...), aix com els requeriments de
l'activitat comercial.
While the exterior showed a blend of Viennese Secession

and Franco-Belgian Art Nouveau, the interior was a true French
department store in miniature, unique in Slovenia. The main sales
space was located centrally on the corner and extended over two
floors. A monumental staircase, placed directly on the axis of the
main entrance and leading up to the circular mezzanine gallery,
consisted of an iron construction supported on two pillars joined
by a beam bearing a female statue, an allegory for Craft.
Immediately after the Second World War, the palace
became the property of the State as part of a nationalisation
process. It was considerably remodelled, extended and the
interior radically altered. The whole building, including the
former residential areas, became a department store. Despite all
of these alterations, the central hall of the store preserved almost
all its interior decoration and authentic furniture, produced in
the workshop of Graz joiner A. Irschnik. Sales counters and
freestanding mirrors were damaged, while the etched-glass panels
that decorated the inner part of
Sigmundts purest
the shop windows practically
Art Nouveau building disappeared only one acidetched glass panel remained
was well accepted
intact. In 2004, the building
in Ljubljana
was returned to the heirs of the
former owner. They decided to restore the building to its original
form and function, working closely with the Slovenian Institute
for the Protection of Cultural Heritage. The conservation plan
drawn up by the Institute established the policies and defined the
guidelines for restoration. The main objective was to maintain
the basic historical values and authenticity of the building as
a whole while preserving the palaces character. Present-day
building regulations such as fire protection regulations and
building code specifications as well as commercial requirements
also had to be followed.
Anunci de lobertura dels Grans Magatzems, publicat el 12 de mar de 1904 al diari Slovenec
The stores main entrance hall in an image taken around 1950

Vestbul de lentrada principal, en una imatge del voltant de 1950
Advertisement for the department stores opening, published in the newspaper Slovenec on 12 March 1904
Despite radical transformations to the interior after World War II, the ground
floor of the store preserved its main features and some original furniture. These
photographs from around 1950 show the staircase structure (left) and part of the
Art Nouveau cabinetry (right)
59
Mentre que l'exterior presentava una barreja de Secession vienesa

i Art Nouveau francobelga, a l'interior s'hi trobaven uns autntics
magatzems francesos en miniatura, nics a Eslovnia. La zona principal
de l'activitat comercial ocupava l'espai central de la cantonada i abastava
dues plantes. Una escala monumental situada directament en l'eix de
L'edifici de Sigmundt, l'entrada principal duia a la galeria
circular de l'entresl. L'escala era una
en el ms pur estil Art construcci de ferro suportada per
dues columnes unides per una biga
Nouveau, va ser ben
que aguantava una esttua femenina,
acceptat a Ljubljana
personificaci de l'Artesania.
Just desprs de la Segona Guerra Mundial, el palau va passar a
ser propietat de l'Estat pel procs de nacionalitzaci. Va experimentar
importants remodelacions, es va ampliar i l'interior va ser radicalment
alterat. L'edifici sencer, incloent les antigues zones residencials, va passar
Singular
Singular
58
Singular
The restoration of the faade was carried out by an
experienced master faadier, who reconstructed the destroyed
plaster elements using traditional techniques and materials. The
major challenge for the restorer and builders was to repair the
copy of the statue of Mercury in artificial stone weighing more
than three tons on the roof attic. Casement windows, typical of
contemporary apartment houses, were recovered by re-using the
original handles. To preserve the oak door of the main entrance, a
new vestibule of minimalistic design was added onto the faade.
This was a compromise between the retailers requirement to
optimise accessibility and protection of the original materials.
Detailed restoration works of the original equipment, furniture
and furnishings, which included stucco work and the staircase,
were carried out by skilled specialists, such as academic restorers
and diverse craftspeople. Some compromises had to be made
at the retailers request. For example, the inner shelves of
cabinets were replaced to hide different installation systems
61
Singular
behind, and parquet flooring was laid in the stores gallery while
stone pavement was used on the ground floor. One of the Urbanc
palaces most significant values was its etched-glass panels, which
originally decorated the interior of the shop windows, creating
a kind of visual barrier between interior and exterior. They were
renowned for their size and excellent Art Nouveau floral motifs.
Reconstruction of these panels was one of the most difficult tasks,
as the goal was to recreate the best etching and shading effects
using the same technology as in 1903.
Today, the Emporium Gallery the present-day name of what
was formerly the Urbanc Department Store has discovered a new
lease on life as one of the foremost examples of a total work of art
in Ljubljana. If it is here today, it is thanks to its owners foresight.
Now, after a successful restoration process, it has regained its
original splendour.
www.zvad.si
View of the central hall after the store reopened as Galerija Emporium. On the right, one of the remade etched-glass panels
that proved to be an important challenge in the restoration process
Vista de la sala central desprs que els magatzems tornessin a obrir com a Galeria Emporium. A la dreta, un dels panells de vidre gravat,
que van ser un repte important en el procs de restauraci
After a painstaking colour study, the stores central hall was completely restored
Desprs dun curs estudi de color, la sala central dels magatzems va ser restaurada
Un mestre especialista va dur a terme la restauraci de la faana, i va

reconstruir-ne els elements de guix amb tcniques i materials tradicionals.
El repte principal per al restaurador i els constructors va ser la collocaci de
la cpia de l'esttua de Mercuri de pedra artificial que pesava ms de tres
tones al capdamunt de la teulada. Es van recuperar les finestres abatibles,
tpiques dels edificis de pisos contemporanis, reutilitzant-ne els agafadors
originals. Per preservar la porta de roure de l'entrada principal, es va afegir a
la faana un nou vestbul de disseny minimalista: fou una soluci intermdia
entre les demandes de l'activitat comercial per optimitzar l'accessibilitat i la
protecci de l'estructura original. Un grup d'especialistes acadmics de la
restauraci i artesans de diversos perfils van realitzar minuciosos treballs
de restauraci. Es va haver d'arribar a alguns pactes per requeriment de
les demandes de l'activitat comercial: per exemple, es van substituir els
prestatges interiors dels armaris per amagar-hi al darrere diversos sistemes
de les installacions, i a la galeria de la zona comercial s'hi va posar terra

de parquet, mentre que a la planta baixa s'hi va utilitzar paviment de pedra.
Un dels valors ms significatius del palau Urbanc eren els panells de vidre
gravat, que inicialment decoraven l'interior dels aparadors i creaven una
mena de barrera visual entre l'exterior i l'interior. Eren famosos per la
mida i per l'excellncia dels motius florals Art Nouveau. La reconstrucci
d'aquests panells fou una de les tasques ms difcils, ats que l'objectiu
era recrear l'efecte del dibuix i les tonalitats amb la mateixa tecnologia
emprada el 1903.
En l'actualitat, la Galeria Emporium nom actual dels antics Grans
Magatzems Urbanc ha reviscut com un dels millors exemples d'obra
d'art total a Ljubljana, conservat fins avui grcies als seus propietaris
i havent recuperat, desprs d'un reeixit procs de restauraci, la seva
esplendor original.
www.zvad.si
60
Paul Greenhalgh
Historiador de l'Art, Londres
P.Greenhalgh@uea.ac.uk
Paul Greenhalgh
Art Historian, London
P.Greenhalgh@uea.ac.uk
Victoria and Albert Museum, London
The Abb, indian ink on paper. Beardsley drew this illustration for his story
Under the Hill, published in The Savoy,No 1, January 1896
LAbb, tinta xinesa sobre paper. Beardsley va dibuixar aquesta illustraci per al seu
conte Sota el pujol, publicat a The Savoy, n. 1, gener de 1896
Heu-me aqu, doncs, l'home que arriba, el furor

del panorama artstic londinenc [] L'estiu passat
vaig trobar un mtode de dibuix i composici
completament nou, que pot suggerir el Jap, per
no s realment japonista. No hi ha paraules per
descriure la qualitat del treball. Els temes eren
fora bojos i un pl indecents...
Aubrey Beardsley, carta a G. F. Scotson-Clark,
15 de febrer de 1893
Retrat dAubrey Beardsley. Per ell mateix (1896)
ubrey Beardsley was an extraordinary character.

Every aspect of his life attracts attention for
its extreme intensity and would serve as the
basis of a dark, romantic novel were it not too
unlikely to be believed. Briefly: at nineteen he
arrived in the middle of the London art world
seemingly from nowhere, having persuaded
some of the most powerful artists, writers, gallery owners and publishers
in Britain and France that he was wholly exceptional; he then produced
a large number of brilliant and
He moved from being seemingly unique works before
recognised as a rather dying of tuberculosis. His condition
had often prevented him from
wholesome child
working during his last few years.
prodigy to standing
Otherwise his considerable oeuvre
would have been even larger. So his
accused of being
active career spanned around six
Satanic and decadent
years, or the amount of time it takes
a normal practitioner to train, and he died at the age of twenty-five,
when most careers are just beginning.
During his short life (18721898), he moved from being
recognised as a rather wholesome child prodigy to standing accused
(barely before having acquired legal adulthood) of being the
quintessence of evil, along with Satanic, decadent, immoral, and
(inevitably) homosexual, in an England where all of these things
were thought to go together. Yet none of the accusations initially
prevented him from becoming an absolute star within the English
art scene or from quickly influencing illustration, graphic design
and draughtsmanship across Europe and America. Eventually, the
accusations did come close to destroying him, but not before
tuberculosis ended his short, astounding life.
ubrey Beardsley fou un personatge extraordinari.

Tots i cadascun dels aspectes de la seva vida
destaquen per una intensitat extrema, i podrien
servir d'argument d'una novella romntica obscura,
si no fos que resultarien poc crebles. Resumint: als
dinou anys va aparixer al centre del mn artstic
de Londres, aparentment sense venir d'enlloc,
havent persuadit alguns dels artistes, escriptors, galeristes i editors
ms poderosos de Gran Bretanya i de Frana de la seva excepcionalitat.
Aleshores va comenar a produir
un gran nombre d'obres brillants
Va passar de ser
i
singulars, fins que va morir de
considerat com una
tuberculosi. Si no fos perqu la
criatura prodigi a ser malaltia li va impedir treballar en
acusat de ser satnic els darrers anys, la seva obra hauria
estat encara ms extensa. Aix, la
i decadent
seva activitat va durar uns sis anys,
l'equivalent al temps que triga un professional normal a formar-se, i va
morir als vint-i-cinc anys, l'edat en qu tot just s'inicien la majoria de
carreres.
Al llarg de la seva curta vida (1872-1898) va passar de ser
considerat com una mena de criatura prodigi a ser acusat (poc abans
de deixar de ser legalment un infant) d'encarnar la quinta essncia del
diable, de ser satnic, decadent, immoral i, com no podia ser altrament,
homosexual, en una Anglaterra on tots aquests trets es consideraven
indissociables. Aix no obstant, cap d'aquestes acusacions va evitar
d'entrada que esdevingus una estrella rutilant dins l'escena artstica
anglesa, ni que la seva influncia es fes sentir rpidament en la
illustraci, el disseny grfic i el dibuix a tot Europa i Amrica. A la
llarga, les acusacions van estar a punt de destruir-lo, per no abans que
la tuberculosi acabs amb la seva curta i increble vida.
A Portrait of Aubrey Beardsley. By Himself (1896)
Aubrey Beardsley
The Rage of Artistic London
Siegfried, Act II, an illustration of Wagners opera in pen and ink on

paper, was published in the first issue of The Yellow Book, in April 1893
Sigfrid, Acte II, dibuix en ploma i tinta sobre paper illustrant lpera de Wagner,
va ser publicat al primer nmero de The Yellow Book, labril de 1893
Behold me, then, the coming man, the rage of

artistic London [] Last summer I struck for
myself an entirely new method of drawing and
composition, something suggestive of Japan, but
not really japonesque. Words fail to describe the
quality of the workmanship. The subjects were
quite mad and a little indecent
Aubrey Beardsley, letter to G. F. Scotson-Clark,
15 February 1893
Public Domain
Aubrey Beardsley
El furor del panorama artstic londinenc
LIMELIGHT
63
Portrait of Aubrey Beardsley in 1893, by Frederick Hollyer

Retrat dAubrey Beardsley el 1893, de Frederick Hollyer
62
PROTAGONISTES
Detail of the portrait Jacques-mile Blanche made of Beardsley in 1895
The drawing Isolde was first reproduced in colour lithography as a

supplement to the October 1895 issue of the magazine The Studio
The Climax is one of the best-known of Beardsleys 18931894 illustrations for

Oscar Wildes play Salome
El dibuix Isolde va ser reprodut per primer cop en litografia en color com a
suplement per al nmero doctubre de 1895 de la revista The Studio
El clmax s un dels dibuixos ms coneguts dentre els que Beardsley va fer els anys
1893-1894 per a lobra Salom dOscar Wilde
Detall del retrat que Jacques-mile Blanche va fer de Beardsley el 1895
Pie de foto ingls

Peu de foto Catal
Beardsley va nixer a Brighton el 1872,

a la costa meridional d'Anglaterra. La seva
famlia no era especialment acabalada,
per s suficientment per garantir a Aubrey
i la seva germana una educaci i un futur
prsper. Beardsley va experimentar amb
l'art a l'escola i en classes nocturnes,
abans de fer diversos treballs d'oficina
a Londres. Sempre va continuar pensant
i comprometent-se amb l'art, sobretot
amb el dibuix. La seva seguretat innata i
potser el seu tarann seductor i desconcertant
li van donar accs als cercles artstics, i aix va

arribar a conixer algunes de les figures ms
destacades de l'poca, entre les quals es
comptaven el pintor prerafaelita Edward
Burne Jones a Londres, i el pintor simbolista
Puvis de Chavannes a Pars. Cap al 1892,
prcticament sense cap formaci, la seva
carrera llampec va prendre el vol i no
decauria fins a la seva mort. De cam cap al
seu trgic final, tamb va cofundar i dirigir
una de les publicacions ms importants de final
de segle, la revista The Yellow Book.
Fidei Defensor. Degas, an example of Beardsleys explorations into caricature.

Pen, Indian ink and graphite on paper, 1893
Fidei Defensor. Degas, un exemple de les incursions de Beardsley en la caricatura.
Ploma, tinta xinesa i grafit sobre paper, 1893
This illustration depicting the audience attending a staging of Wagners opera

Tristan and Isolde was reproduced in The Yellow Book, vol. III, October 1894
Pen and ink on paper drawing for a chapter heading in Thomas

Mallorys Le Morte Darthur, published by J. M. Dent in 1893
Aquest dibuix, que mostra el pblic assistent a una representaci de lpera wagneriana
Tristany i Isolda, va ser reprodut a The Yellow Book, vol. III, octubre de 1894
Dibuix de ploma i tinta sobre paper per a un captol del conte

Le Morte Darthur de Thomas Mallory, publicat per J. M. Dent el 1893
65
Portrait Gallery, London

tional
Na
LIMELIGHT
Beardsley was born in Brighton, on the south coast of
England, in 1872. His family was not especially wealthy, but
prosperous enough to guarantee Aubrey and his sisters education,
and the prospect of prosperity. Beardsley toyed with art at school
and in evening classes, before taking a number of clerical jobs
in London. All the time he continued to think about and engage
with art, and especially drawing. His innate confidence and
perhaps his beguiling, bothersome demeanour gained him access
to artistic circles. In this way, he eventually met some of the most
prominent figures of his day, including the Pre-Raphaelite painter
Edward Burne-Jones in London, and the Symbolist painter Puvis
de Chavannes in Paris. By 1892, virtually without training, his
whirlwind career took off and did not slow until his death. On
the way to his tragic end, he also jointly founded and led one of
the most important publications of the fin de sicle, the magazine
The Yellow Book.
64
PROTAGONISTES
Colour lithograph poster advertising two plays at the Avenue

Theatre of London in March 1894
Litografia en color anunciant dues obres que es representaven a
lAvenue Theatre de Londres el mar de 1894
Tan important com les mateixes imatges de Salom s potser que,

grcies al fet que eren illustracions d'una revista nova i de gran difusi,
circulaven internacionalment a certa velocitat, i per tant el seu impacte
era molt ms immediat i ampli que, per exemple, el d'un edifici o el d'una
pea de joiera o de mobiliari d'un propietari particular. El que resulta
tamb interessant s que en molts pasos, incloent Blgica, Alemanya i el
Regne Unit, l'Art Nouveau s un estil lineal molt potent, basat ms en la
lnia i els seus efectes dinmics que en cap altra cosa. El dibuix s clau per
a la lnia, i en aquest aspecte Beardsley ens va dotar de tot un llenguatge.
No hi ha dubte que la vida de Beardsley va acolorir el seu art
d'una manera particular, i el pblic en general va connectar l'aparent
decadncia de la seva vida amb la seva imatgeria, tot i que aquesta no
era en absolut la intenci de l'artista. I encara ms, l'Art Nouveau implica
frescor, i sovint es relaciona amb adjectius com jove, modern, en moviment,
frentic, enrgic i, potser, ertic. Hi ha excepcions importants, sens dubte
aquests conceptes no s'apliquen a la descripci d'Antoni Gaud o d'mile
Gall, per tot i aix, els trets de l'obra d'Aubrey Beardsley sn sens dubte
sinnims de moltes de les caracterstiques de l'estil Art Nouveau.
Poster advertising No 30 of the magazine The Studio, September 1895. Lithograph on paper
Cartell anunciant el n. 30 de la revista The Studio, de setembre de 1895. Litografia sobre paper
The Dancers Reward, another dramatic scene in Beardsleys 18931894 illustrations for Oscar Wildes play Salome
La recompensa de la ballarina, una altra escena dramtica de les illustracions que Beardsley va fer els anys 1893-1894 per a lobra dOscar Wilde Salom
Sovint s'ha dit, i aix ho penso jo tamb, que Aubrey Beardsley

va crear un dels primers exemples autntics de pur estil Art Nouveau, i,
de fet, les seves illustracions per a la Salom d'Oscar Wilde de 1893 es
compten clarament entre les primeres imatges plenament realitzades en
el que tots considerem l'estil Art Nouveau pur. En alguns dels treballs per
a Salom hi trobem la presncia de la lnia tensa, sinuosa, asimtrica que
es coneixeria com a coup de fouet. Aquest fenomen tensional, nervis,
apareixia en aquella poca en l'arquitectura de Victor Horta, en el
grafisme de Peter Behrens, en l'art txtil de Herman Obrist, i va confegir
una forma distintiva a l'estil com a fenomen internacional. Treballs
acadmics recents han plantejat la qesti sobre la primera aparici del
coup de fouet, i sobre quina s exactament la seva simbologia. Val a dir
que el seu poder com a forma deriva principalment de la seva capacitat
d'expressar alhora un sentit de modernitat i d'internacionalitat. En la
generaci posterior, la geometria informal de l'Estil Internacional va
succeir la lnia coup de fouet en aquest sentit, per el 1900, no tenia
rivals: era el que atorgava a l'Art Nouveau la seva potncia paneuropea.
Tal com el mateix Beardsley va suggerir, els seus orgens els podem trobar
en gran mesura en la resposta d'una jove generaci de dissenyadors a la
lnia i la forma japoneses.
66
PROTAGONISTES
The quarterly literary periodical The Yellow Book was published from 1894 to 1897. Aubrey Beardsley was its first art director until 1895. He frequently made the cover
images, like here in the very first issue of April 1894
La revista literria trimestral The Yellow Book es va publicar entre 1894 i 1897. Aubrey Beardsley en va ser el primer director dart fins al 1895; solia fer-ne la imatge de les cobertes, com
aqu, en el primer nmero, que va sortir labril de 1894
It has often been argued, not least by myself, that

Aubrey Beardsley created one of the very first pure
examples of Art Nouveau. Indeed, his illustrations for Oscar
Wildes Salome, created in 1893, are clearly among the
earliest fully resolved images in what we all consider to
be the pure Art Nouveau style. Fully on display in some
of the Salome works is the taut, asymmetric, swirling line
that became known as the whiplash, or rather the coup de
fouet. This tensile, nervous, phenomenon appeared around
that time in the architecture of Victor Horta, the graphic
art of Peter Behrens, the textile art of Herman Obrist and
gave the signature shape to the style as an international
phenomenon. Recent scholarship has pondered on where
exactly the whiplash form came from in the first instance,
and what exactly it represents symbolically. Suffice it to say
that its power as a form derives principally from its ability
to convey both a sense of modernity and internationality. A
generation later, the informal geometry of the International
Style succeeded the whiplash line in this respect, but in
Lysistrata Defending the Acropolis, a scene from Beardsleys illustration
Aristophaness
Pieofde
foto ingls play Lysistrata. This book was first published in 1896, but the illustration
corresponds to a higher-quality edition Leonard Smithers published in 1929
Peu de foto Catal
Lescena Lisstrata defensant lAcrpolis, dins de lobra Lisstrata dAristfanes, illustrada per Beardsley. El llibre es va publicar per primer cop el 1896, per aquestes illustracions
corresponen a una versi de millor qualitat publicada el 1929 per Leonard Smithers
1900, it had no rivals: it was what gave Art Nouveau its panEuropean potency. As Beardsley himself suggested, its origins
can be found largely in the response of a young generation of
designers to Japanese line and form.
As important as are the Salome images themselves is
perhaps the fact that since they were illustrations in a new
and widely read art magazine, they circulated internationally
with some speed, and so impacted far more immediately
and widely than, say, a building, or a privately owned piece
of jewellery or furniture. What is also interesting is that in
many countries, including Belgium, Germany and the United
Kingdom, Art Nouveau is a powerfully linear style, based
more on line and its dynamic effects than on anything else.
Drawing is key to line, and Beardsley provided us with a
complete language in this regard.
There is no doubt that Beardsleys life coloured his art in
a particular way, and the wider public connected the apparent
decadence of his life to his imagery, even when this was far
from the artists intention. Not least, Art Nouveau implies
Public Domain
LIMELIGHT
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Pie de foto ingls
Ips
um
something fresh, and is often understood as young, as

something modern, in motion, frenetic, energetic and
perhaps erotic. There are major exceptions, of course
this is not the way to describe Antoni Gaud or Emile Gall
but nevertheless, the flavour of Aubrey Beardsleys work is
synonymous with much in the Art Nouveau style.
There is a grand irony here, in that the English, unlike
the Scots, did not produce anything like an Art Nouveau
movement or school, but rather, odd individuals and
companies developed a version of the style. While London was
a major centre for design in the last quarter of the nineteenth
century, the city largely shied away from Art Nouveau.
Nevertheless, the Aesthetic Movement, in which Beardsley was
a recognised participant alongside Oscar Wilde and James
McNeill Whistler, and the Arts and Crafts movement were
major contributors to the formation of Art Nouveau. Coming
from that milieu, Beardsley helped create the style, before
moving on to other things.
The Examination of the Herald, illustration of a scene in Aristophaness play Lysistrata
Peu de foto Catal
La inspecci del missatger, illustraci duna escena de lobra dAristfanes Lisstrata
The Peacock Skirt was another of the illustrations Beardsley created in 1894 for Oscar Wildes play
Salome. This is a portfolio version published in 1907. Line block print on Japanese vellum
La faldilla de pa va ser una altra de les illustracions fetes per Beardsley el 1894 per a lobra Salom dOscar
Wilde. Aquesta s una versi publicada el 1907, feta amb estampaci sobre vellut japones
Resulta irnic el fet que els anglesos, a diferncia dels escocesos, no van produir res
semblant a un moviment o una escola Art Nouveau, sin que van ser artistes o empreses
individuals els qui van desenvolupar una versi d'aquest estil. Si b Londres fou un centre
del disseny important durant el darrer quart del segle XIX, va evitar en gran mesura l'Art
Nouveau. Aix no obstant, el moviment esteticista, en qu s'inclou Beardsley, juntament
amb Oscar Wilde i James McNeill Whistler, i el moviment Arts and Crafts, van contribuir
amb fora a la formaci de l'Art Nouveau. Provinent d'aquest entorn, Beardsley va ajudar a
crear l'estil, abans d'avanar per altres camins.
Potser la cita que destaquem en les primeres planes d'aquest article expressa fora
b qui era Beardsley. Les seves paraules sonen com les d'una persona forta, un xic arrogant;
en realitat, les informacions que ens arriben ens el presenten com un home estudis, educat
i considerat. Per aquestes paraules ens mostren que l'obsessionava la lnia, que adorava
el Jap i que l'interessava la decadncia, el talent, els aspectes contradictoris i foscos de la
conscincia humana. Era conscient que havia irromput en l'escena aparentment del no-res.
Va ser, sens dubte, un home extraordinari i un pioner de l'Art Nouveau.
Perhaps the quotation highlighted earlier in this

article conveys much of what Beardsley was about. His
words do read as though they come from a loud, somewhat
over-confident person: in fact he is widely reported to
us as being a studious, polite and considerate man. But
these words show us that he was obsessed with line, that
he loved Japan and that he was interested in decadence,
in skill, in the troublesome, dark aspect of human
consciousness. He understood that he had exploded onto
the scene apparently from nowhere. He was, in fact, an
extraordinary man and a pioneer of Art Nouveau.
The Toilet of Lampito, another scene in Aristophaness play Lysistrata

La higiene de Lampito, una altra de les escenes de lobra dAristfanes Lisstrata
Following a major exhibition on Beardsley at the Victoria & Albert Museum in 1966, there was a revival of interest in his work.
This wallpaper, a collage of book covers and other illustrations by him, was issued by Arthur Sanderson & Sons in 1967
Desprs duna gran exposici sobre Beardsley al Museu Victoria & Albert el 1966, es va produir un renaixmenet de linters per la seva obra.
Aquest paper pintat, un collage de portades de llibre i altres illustracions seves, va ser editat per Arthur Sanderson & Sons el 1967
LIMELIGHT
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70
PROTAGONISTES
Dr. Jordi Falgs

Coordinador del projecte de Casa Vicens, Barcelona
Casa Vicens was designed by Antoni Gaud in 1883

La Casa Vicens va ser dissenyada per Antoni Gaud el 1883
El 1883, quan tenia trenta anys i en feia cinc

que havia acabat els estudis darquitectura, Antoni
Gaud va tenir finalment loportunitat de desplegar
el seu geni creatiu en la concepci duna residncia
unifamiliar grcies a lencrrec de Manuel Vicens
de fer-li una petita casa destiueig als afores de
Barcelona. La Casa Vicens, que es va acabar el
1888, s considerada la primera obra mestra de
Gaud i una prefiguraci de la seva trajectria pel
seu carcter innovador i modern. Aqu Gaud va
utilitzar per primera vegada nombrosos elements
estructurals, decoratius i simblics que acabarien
definint el seu llenguatge arquitectnic.
Des de fa uns mesos la Casa Vicens sest
restaurant per obrir-la al pblic convertida en
casa museu, previsiblement el 2016. Amura
Capital, un vehicle inversor promogut i gestionat
pel Grup MoraBanc, va adquirir ledifici el 2014
amb la voluntat de restaurar-lo i permetre que els
visitants puguin contemplar linterior de la casa i
passejar pel seu jard. Grcies a lactual projecte
de restauraci la visita permetr conixer la casa
gaireb tal com larquitecte la va entregar al seu

client, malgrat que algunes parts de ledifici i
de la decoraci original es van alterar o perdre
fa dcades. Al llarg del segle XX tamb es va
perdre bona part del gran jard que envoltava
la casa, per el que queda tamb es restaurar
per mostrar la importncia que la flora local va
tenir per a Gaud en el disseny de la majoria dels
elements decoratius de la casa.
L'edifici va ser ampliat el 1925 per larquitecte
Joan B. Serra, amb el vistiplau de Gaud, i aquesta
part ara servir per donar cabuda a diferents serveis
de la casa museu: sala dexposicions, auditori,
servei educatiu i acollida dels visitants. La reforma
i restauraci ha estat confiada als arquitectes Elas
Torres, Jos Antonio Martnez Lapea i David Garca,
que estan al capdavant dun equip de restauradors
i artesans que treballa per recuperar lesplendor de
les pintures, els forjats, la fusteria, les cermiques i
els esgrafiats concebuts pel jove Gaud.
www.casavicens.org
el llibre
el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre | el llibre
Lechner, a Creative Genius (Lechner, un geni creador) s una

publicaci que acompanyava l'exposici del centenari del Museu
d'Arts Aplicades de Budapest dedicada a dn Lechner (18451914). Es tracta d'un lbum ms que d'un catleg, si b a l'apndix
hi trobem la llista de les obres originals exposades. Una selecci
equilibrada de plnols i fotografies abasta tota l'obra de l'arquitecte.
El mateix es pot dir del text de Jzsef Sisa, un assaig que atorga
gran valor a aquest llibre i que esdev a ms el millor text acadmic
escrit en angls sobre Lechner fins avui. Amb gran habilitat, l'autor
ha incorporat detalls rellevants de la histria poltica i artstica
del segle XIX, assenyalant, per exemple, nous edificis asitics que
podrien haver influt en l'arquitecte. Tant el contingut com la
brevetat d'aquest llibre reclamen un major reconeixement d'aquest
geni hongars, que des de 2008 s'espera a la llista indicativa del
Patrimoni de la Humanitat de la UNESCO.
SISA, Jzsef, 2014 / Lechner, a Creative Genius
Museu d'Arts Aplicades Institut d'Histria de l'Art, Centre de Recerca d'Humanitats, Acadmia Hongaresa de les Cincies, Budapest
152 pg., 22 x 28 cm, 301 illustracions en color i en blanc i negre. Publicat en hongars i en angls
Disponible en rstica / HUF5900 (20 aprox.)
Per a ms informaci: imm.hu/lechner
able to appreciate the house almost exactly

as the architect delivered it to his client,
despite certain parts of the building and
original decoration having been altered or
lost decades ago. A substantial portion of
the large garden surrounding the house was
encroached upon as the twentieth century
advanced, yet what remains will be restored
to show the significance that local flora
held for Gaud when designing most of the
houses decorative elements.
The house was enlarged in 1925 by the
architect Joan B. Serra with Gauds approval,
and this section will in future serve to house
the museum houses different services:
exhibition hall, auditorium, education centre
and visitors reception area. The restoration
and reform was entrusted to the architects
Elas Torres, Jos Antonio Martnez Lapea
and David Garcia, who head a team of
restorers and craftspeople working to restore
the splendour of the paintings, ironwork,
cabinetwork, ceramics and sgraffiti conceived
by young Gaud.
ality of Saint-Gille
nicip
s,Br
Mu
us s
els
company financed and managed by the

MoraBanc Group, purchased the building
in 2014 with the intention of restoring it so
that visitors might enjoy the houses interior
and stroll through its garden. Thanks to the
current restoration project, visitors will be
www.hortamuseum.be
Commemorative plaque of the
2014 Europa Nostra Award
Gauds First House

Will Open to Visitors
Dr Jordi Falgs
Project Coordinator at Casa Vicens, Barcelona
In 1883, when Antoni Gaud was

thirty years old, five years after graduating
as an architect, he finally got the chance to
display his creative genius. The commission
came from Manuel Vicens to design a small,
single-family summer home on the outskirts
of Barcelona. Casa Vicens, completed in
1888, is considered Gauds first masterpiece,
foreshadowing his career with its innovative
and modern character. Gaud used numerous
structural, decorative and symbolic elements
for the first time, many that would eventually
define his architectural language.
For several months, Casa Vicens has
been undergoing restoration in order to open
to visitors as a museum house, scheduled
for 2016. Amura Capital, an investment
Museum into a neighbouring building. In

2016, all the administrative offices will be
housed elsewhere, so that the whole of this
historic site will be dedicated to receiving
visitors. Art Nouveau and contemporary craft
exhibitions will be held in an exhibition
room that conforms to international lighting
and security standards.
The Horta Museum is one of four
buildings in Brussels that are on the
UNESCO World Heritage List and
plays its part in promoting
the city as a European Art
Nouveau capital.
Placa commemorativa del premi

Europa Nostra 2014
Antoni Gaud, 1883. Detail of Casa Vicens faade

Antoni Gaud, 1883. Detall de la faana de la Casa Vicens
La primera casa de Gaud sobrir al pblic
The Muse Horta, designed by Victor

Horta in 1898, has joined the Europa Nostra
Network. The Award was presented to
the Horta Museum in Vienna in 2014, in
recognition of the meticulous restoration
of its buildings, carried out by the architect
Barbara Van der Wee.
Established by the Municipality of
Saint-Gilles in 1969, the museum has the aim
of preserving Victor Hortas home and studio,
and opening them to the general public.
During a process that lasted twenty-five
years, the buildings architecture and interior
decoration masterpieces of European Art
Nouveau gradually regained their original
appearance thanks to the collaborative work
of many great artisans, who since then have
applied their skills to other buildings dating
from the same period.
The Museum holds Hortas archives

(photos and manuscripts), deposited by the
Jean and Rene Delhaye Foundation, as well as
a substantial library dedicated to Art Nouveau
in Europe, and is regularly visited by students
and researchers from all over the world. For
the last two years, thanks to the support of
the Brussels-Capital Region, the Museum has
held creative workshops for children aged
six to ten. During these events, they
can experience the arts and
crafts used by Horta in his
designs techniques such
as mosaic work, stained
glass and decorative
wallpaper while being
shown how to use their
observations of the natural
world to create ornamental
designs. Plans are currently
in the pipeline to extend the
www.casavicens.org
the book | the book | the book | the book | the book | the book | the book | the book | the book | the book | the book | the book | the book | the book | the book | the book | the book | the book
Lechner, a Creative Genius is a publication which

accompanied the Budapest Museum of Applied Arts
centennial exhibition dedicated to dn Lechner (18451914).
It is an album rather than a catalogue, though you will find a
list of exhibited original works in the appendix. The wellproportioned selection of plans and photos covers his entire
oeuvre. The same could be said about Jzsef Sisas essay, an
article that gives the book great merit and is furthermore the
best academic text on Lechner in English to date. The author

skilfully incorporates into his summary relevant details from
nineteenth-century political and art history, pointing out, for
example, new Asian buildings which probably influenced the
architect. Both this books content and its unfortunate brevity
call for increased recognition of this Hungarian genius, who
has been languishing on the Unesco World Heritage Centres
Tentative List since 2008.
SISA, Jzsef, 2014 / Lechner, a Creative Genius
Museum of Applied Arts Institute of Art History, Research Centre for the Humanities, Hungarian Academy of Sciences, Budapest
152 pp., 22 x 28 cm, 301 colour and b/w illustrations. Text in Hungarian and English
Available in paperback / HUF5900 (approx. 20)
For more information: www.imm.hu/lechner
the book
Autoritats durant la cerimnia de lliurament del premi Europa Nostra
Muse Horta
Brussels
c
Ni
www.hortamuseum.be
Authorities at the Europa Nostra award ceremony
Europa Nostra Award for Muse Horta
i
o la
experimentar amb les arts aplicades que Horta va

utilitzar en els seus dissenys, com el mosaic, el
vitrall i el paper pintat, i aprenen tamb a posar
la seva observaci del mn natural al servei de la
creaci de dissenys ornamentals. Actualment s'est
treballant en un projecte per ampliar el Museu
amb un edifici contigu. El 2016, totes les oficines
s'installaran en un altre lloc per tal que l'edifici
complet es pugui dedicar a rebre els visitants. Les
exposicions sobre arts aplicades
modernistes i contempornies es
realitzaran en un espai expositiu
acord
amb
els
estndards
internacionals d'illuminaci i de
seguretat.
El Museu Horta s un dels quatre
edificis de Brusselles inclosos en la
llista del Patrimoni de la Humanitat
de la UNESCO, i contribueix a fer de
la ciutat una capital de l'Art Nouveau
europeu.
Pol Viladoms
El Museu Horta, dissenyat per Victor Horta

el 1898, ha entrat a formar part de la xarxa Europa
Nostra. El premi fou atorgat al Museu Horta l'any
2014 a Viena, en reconeixement de la meticulosa
restauraci de l'edifici realitzada per l'arquitecta
Barbara Van der Wee.
El Museu fou inaugurat l'any 1969 per
l'Ajuntament de Saint-Gilles amb l'objectiu de
preservar la casa i estudi de Victor Horta i obrir-los
al pblic. Al llarg d'un procs que ha durat 25 anys,
l'arquitectura i la decoraci interior, obres mestres
de l'Art Nouveau europeu, van anar recuperant
gradualment el seu aspecte original, grcies a la
collaboraci de diversos artistes magnfics, que, a
partir d'aquesta experincia, han continuat aplicant
la seva mestria a altres edificis de la mateixa poca.
El Museu alberga els arxius d'Horta

(fotografies i manuscrits), dipositats per la
Fundaci Jean i Rene Delhaye, aix com una
notable biblioteca dedicada a l'Art Nouveau
europeu. Estudiants i investigadors de tot el mn
solen visitar-lo regularment. En les darreres dues
dcades, grcies al suport de la Regi BrussellesCapital, el Museu ha acollit tallers creatius per a
infants entre 6 i 10 anys. En aquests tallers, poden
Nastassia Nicolaij Municipality of Saint-Gilles,Brussels
Muse Horta
Brusselles
Pol Viladoms
Europa Nostra premia

el Museu Horta
73
endeavours
Na
sta
ssi
a
72 Iniciatives
Edvard Munchs Grand Showing in Madrid

coupDefouet
Madrid
alliberar Munch de molts dels estereotips als quals

sha vist sotms i presentar-lo com un creador que
va contribuir a canviar el curs de la histria.
Lexposici oferir una anlisi de les
estratgies artstiques de qu es va valer el pintor
per convertir les seves composicions en una
perdurable veritat simblica de la condici humana.
El projecte expositiu que presenta el Museu
Thyssen vol contribuir a encimbellar Edvard Munch
com un dels pares del moviment modern i examinar
la seva llarga i prolfica obra en el seu conjunt. La
mostra posa especial mfasi en la seva fascinant
temtica entorn de l'home contemporani i en la
presentaci que Munch fa de la figura humana en
diferents escenaris (la costa, lhabitaci del malalt,
labisme, lhabitaci verda, el bosc, la nit, lestudi
de lartista) per revelar la radicalitat del seu
llenguatge plstic.
Edvard Munch, Evening, 1888. Oil on canvas (75 x 100.5 cm)
The Museo Thyssen-Bornemisza

of Madrid, in collaboration with Oslos
Munchmuseet (Munch Museum), is organising
a large exhibition dedicated to Edvard Munch,
which can be visited from 6 October 2015 to
17 January 2016.
The show, boasting more than eighty
of the painters works, aims to introduce
Spanish viewers to the most dramatic, tragic
facet of his art, one with which he always
closely identified. Such an intimacy was due,
perhaps, to Goyas influence on his work and
also on the sway that Munch himself held
over certain symbolist painters such as Ramon
Casas and Santiago Rusiol and even the
young Picasso. This exhibition aspires to
reveal the lesser-known aspects of the creative
force of this grand master from the turn of the
nineteenth and twentieth centuries.
www.museothyssen.org
Edvard Munch, Capvespre, 1888. Oli sobre llen (75 x 100,5 cm)
III Concurs fotogrfic Italian Liberty

Si, tal com afirmava Dostoievski, "la bellesa
salvar el mn", aquell que la coneix ha de ser tamb
capa de transmetre-la. Aix ho van creure, a cavall
entre els segles XIX i XX, grans illustradors com
Alphonse Mucha o arquitectes com Gaud i Horta, que
ens van deixar obres que aprecien fins i tot aquells
que no sn conscients de qu s "la bellesa".
Amb aquesta premissa, el concurs fotogrfic
Italian Liberty vol ser una oportunitat nica per
despertar en tots la passi per la bellesa i els valors
de qu el Liberty ha estat sempre portador.
Qualsevol persona pot participar al concurs:
joves i menys joves, professionals i aficionats, infants
i grups escolars de qualsevol nivell, associacions,
ens pblics i privats, italians i estrangers.
Desprs del gran xit de les edicions
anteriors, en aquesta tercera hi pot participar qui
vulgui explicant el Liberty a Itlia tant a travs de
fotografies (mxim 30) com de vdeo (1 vdeo).
En aquesta edici s'ha afegit, a ms, una

nova categoria: El mn Art Nouveau, que neix per
explicar les obres Liberty presents fora d'Itlia. Es
poden presentar 20 fotografies dedicades a obres Art
Nouveau estrangeres. Hi haur vint finalistes premiats:
12 per a la categoria fotogrfica Italian Liberty, 3 per
al vdeo i 5 per a la categoria El mn Art Nouveau.
L'anterior edici va comptar amb ms
de 700 participants i es van rebre ms de 8.000
fotografies. En la cerimnia de lliurament dels
premis, celebrada al Grand Hotel Da Vinci, a
Cesenatico, dotze persones van ser guardonades. El
primer premi se'l va endur Cristina Ortolani, amb
una imatge del Palazzo della Vittoria de Tor.
El concurs ha estat ideat pel Dr. Andrea
Speziali, expert en l'estil Liberty, i organitzat
per l'empresa Aitm Art. La inscripci s gratuta
i romandr oberta fins al 31 doctubre de 2015.
Per a ms informaci podeu visitar el web:
www.italialiberty.it/concorsofotografico o b escriure
a: info@italialiberty.it.
www.italialiberty.it
coupDefouet
Turin
Poster of the III Italian Liberty Photo Competition

Cartell del III Concurs fotogrfic Italian Liberty
el llibre
Una Stagione del Liberty a Riccione (Un perode Liberty a Riccione)

s un llibre centrat en un moment especial de la histria dels primers
anys vint del segle XX. La recerca, avalada per un ampli ventall de
material fotogrfic, fa referncia principalment a l'arquitectura de les
villes d'estiueig de les famlies benestants de l'poca.
El llibre presenta la histria de la ciutat des dels contextos arquitectnic i
artstic, on conflueixen totes les investigacions dutes a terme per l'autor,
que inclouen documents cadastrals, fotografies i postals d'poca, a ms

del testimoni de persones coneixedores dels fets.
Andrea Speziali documenta la seva recerca al voltant de la Villa
Antolini aix com de la vida i obra de larquitecte Mario Mirko
Vucetich, amb materials tamb indits, i s'endinsa en el perode a
cavall entre els segles XIX i XX, en qu les villes i els seus jardins
doten Riccione d'una personalitat prpia.
SPEZIALI, Andrea, 2010 (nova edici, 2015) / Una Stagione del Liberty a Riccione
Maggioli editore, Santarcangelo
166 pg., 17 x 24 cm, 250 illustracions en color i en blanc i negre. Editat en itali
Disponible en rstica / 30
Per a ms informaci: www.riccioneinvilla.it
Edvard Munch, Noies al moll, ca. 1904. Oli sobre llen
3rd Italian Liberty Photo Competition
Andrea Speziali
coupDefouet
Tor
Edvard Munch, Girls on a Pier, ca. 1904. Oil on canvas
If Dostoevsky was right that Beauty will

save the world, then whoever beholds beauty
must likewise be capable of transmitting it. This
is what great illustrators such as Alfons Mucha
or architects like Gaud and Horta believed at the
turn of the nineteenth century. And they left us
works which can be appreciated even by those
who are unaware of what constitutes beauty.
On this premise, the Italian Liberty
Photo Competition aims to offer a unique
chance to awaken in everybody a passion
for the beauty and values which Liberty
architecture has always conveyed.
Anybody can participate in the contest:
the young and not-so-young, professional or
enthusiast, children and school groups at any
level, associations, public and private bodies,
whether Italian or foreign.
After the great successes of previous years,
anybody who wishes to depict Italian Liberty

through photos (a maximum of thirty) or video
(one video) can participate in this third contest.
Furthermore, a new category has been
added this year: The Art Nouveau World, which
aims to explain Liberty works situated outside
Italy. Twenty photos can be submitted depicting
foreign Art Nouveau works. Twenty finalists will
win prizes: twelve in the Italian Liberty photo
category, three in video and five in The Art
Nouveau World category.
Last year over 700 participants entered
and more than 8,000 photos were received. In
the prize-giving ceremony, held at the Grand
Hotel Da Vinci, in Cesenatico, twelve people
were awarded prizes. Winner of the first-prize
was Cristina Ortolani, with an image of the
Palazzo della Vittoria de Tor.
The competition was the inspiration of
Dr Andrea Speziali, an expert on Liberty style,
and is organised by the company Aitm Art.
Registration is free and will remain open until
Alessandro Morelli
El Museu Thyssen-Bornemisza de Madrid,

amb la collaboraci del Museu Munch dOslo,
organitza una gran exposici dedicada a Edvard
Munch que es podr visitar del 6 doctubre de
2015 al 17 de gener de 2016.
La mostra, amb ms de 80 obres del pintor,
vol acostar al pblic espanyol la faceta ms trgica
i dramtica de lart de Munch, que li s molt
prxima. Una proximitat deguda, tal vegada, a la
influncia que Goya va tenir en la seva obra i a la
influncia que Munch va exercir en alguns pintors
simbolistes com ara Ramon Casas o Santiago
Rusiol i, fins i tot, en el jove Picasso. Aquesta
exposici pretn tamb mostrar els aspectes ms
desconeguts de la fora creadora daquest gran
mestre de final del segle XIX i principi del XX.
Les ltimes publicacions i les recents
exposicions de Pars, Zuric i Oslo han aconseguit
The latest publications and recent

exhibitions in Paris, Zurich and Oslo have
managed to free Munch from many stereotypes
to which he had been subjected, and present
him as a creator who helped to change the
course of history.
The show will offer an analysis of the
artistic strategies on which the painter relied to
enable his compositions to reflect the everlasting
symbolic truth of the human condition.
The project that Museo Thyssen is
hosting aims to elevate Edvard Munch as one
of the fathers of the modern movement and to
examine his extensive and prolific oeuvre in
its entirety. The show places special emphasis
on his fascinating subject matter concerned
with contemporary humanity, and on the way
Munch presents the human figure in different
scenarios (the shore, the sick room, the abyss,
the green room, the forest, night, the artists
studio, etc.) to reveal the radical nature of his
plastic language.
Munch Museum / Munch-Ellingsen Group/ VEGAP 2014
coupDefouet
Madrid
Museo Thyssen-Bornemisza, Madrid
Gran mostra dEdvard Munch a Madrid
75
endeavours
Casa Campanini, Milan. Photograph by Alessandro

Morelli for the II Italian Liberty Photo Competition
Casa Campanini de Mil. Fotografia dAlessandro Morelli per
al II Concurs fotogrfic Italian Liberty
31 October 2015. For more information, visit

www.italialiberty.it/concorsofotografico, or
write to info@italialiberty.it.
www.italialiberty.it
Una Stagione del Liberty a Riccione (A Liberty Period in

Riccione) is a publication dedicated to the towns history of
the early twenties. The research, backed up by a wide range of
photographic material, mainly references the architecture of
the summer villas of well-to-do families of the epoch.
The book presents the towns history from architectural and
artistic viewpoints, through which all the research conducted
by the author is brought together, including surveying
documents, period photos and postcards, as well as eyewitness accounts from those who were alive then.
Andrea Speziali documents his research around the Villa
Antolini and the architect Mario Mirko Vucetichs life and
career. Using previously unpublished materials, he explores
the period that straddled the nineteenth and twentieth
centuries when these villas and gardens defined Riccione.
SPEZIALI, Andrea, 2010 (new edition, 2015) / Una Stagione del Liberty a Riccione
Maggioli editore, Santarcangelo
166 pp., 17 x 24 cm, 250 colour and black and white illustrations. Published in Italian.
Available in paperback / 30
For more information: www.riccioneinvilla.it
the book
74 Iniciatives
El Museu de Belles Arts de Montreal i el

Museu Rodin de Pars presenten Metamorfosis al
taller de Rodin. L'exposici mostra la intensitat
creativa de Rodin, la seva impressionant obra
escultrica, creada en solitari, amb els seus
models, o amb els seus collaboradors, fonedors i
altres collegues de professi.
El tema de la metamorfosi est directament
vinculat a la seva feina en el secret del seu taller.
La mostra, que revela la creaci en moviment
d'aquest geni de l'escultura, examina les seves
tcniques, materials, models i la seva collaboraci
Auguste Rodin, The Call to Arms, 1879. Bronze, cast
in 1899 by the atelier of Lon Perzinka in Paris
Auguste Rodin, Crida a les armes, 1879. Bronze fos el 1899
pel taller de Lon Perzinka de Pars
Auguste Rodin, The Sirens, ca. 18871888. Marble,

executed by Jean Escoula between 1889 and 1892
Auguste Rodin, Les sirenes, ca. 1887-1888. Marbre, realitzat
per Jean Escoula entre 1889 i 1892
www.mbam.qc.ca
Aquest nou projecte museogrfic inclou

la reforma de lespai Gaud De Gaud al
Modernisme, creat per apropar al visitant la
figura del Gaud ms personal, i Reus, ciutat
Modernista, un espai pensat per fomentar la
interacci del visitant.
Des de la seva inauguraci lany 2007, el
Gaud Centre ha estat un destacat nucli datracci
a la ciutat i en el decurs daquests anys sha
convertit en lespai turstic ms important de
Reus. Aquest fet no solament ha consolidat la
ciutat com a centre de turisme cultural, sin
que tamb ha tingut una forta repercussi en la
recuperaci de la seva economia, especialment en
els sectors del comer, la restauraci, lhoteleria, i
en els serveis del municipi. Amb aquesta premissa
i per tal de mantenir aquest posicionament, sha
vist la necessitat de fer un salt qualitatiu del
contingut museogrfic del Gaud Centre.
Aquesta remodelaci ha estat possible grcies
a lajut econmic del fons europeu Feder, que ha
finanat el 50% del pressupost total del projecte.
www.reuspromocio.cat
Luisa Casati, Winnaretta Singer, Victorine Meurent, Agostina

Segatori, Meg de Saint-Marceaux i fins Hlne Rochas: artistes,
models, mecenes o cortesanes, totes elles van contribuir al llanament
d'uns artistes que avui atrauen multituds i van fer nixer algunes de
les obres mestres que alberguen orgullosos els nostres museus.
SAZ, Evelyne, 2014 / Les Muses
Ouest-France, Rennes
120 pg., 22,5 x 24 cm, illustracions en color i en blanc i negre, editat en francs
Disponible en tapa dura / 26
Per a ms informaci: www.editionsouestfrance.eu
coupDefouet
Reus
In February 2015, the Centre Gaud in

Reus opened a new exhibition space called
Gaud and Modernisme in Reus". This space
was created with the aim of calling attention
to Llus Domnech i Montaners work and
his relationship to Modernisme in Reus
while improving the gallerys content and
encouraging visits to the citys Modernista
heritage.
One highlight within this museographic
renovation of the Gaud Centre is the
audiovisual presentation The Dreams of
Modernisme, which utilises innovative indoor
mapping technology. This multi-sensorial
audiovisual show transports viewers back to
the birth of Art Nouveau in Europe, guiding
them from a European vision towards Catalan
Modernisme, making special reference to
Modernista architecture in Reus and Llus
Domnech i Montaners work. He was
responsible for Casa Navs and the Institut

Pere Mata, key buildings for understanding
Modernisme in Reus.
This new museum project includes the
remodelling of the Gaud space From Gaud
to Modernisme, conceived to offer viewers
a more personal reading of Gaud. Another
renovated space, Reus, Modernista City, has
been designed to encourage interaction with
visitors.
Since opening in 2007, the Gaud
Centre has become one of the citys
favourite visitor destinations, becoming, in
these few short years, Reuss pre-eminent
tourist attraction. This fact has not merely
consolidated the city as a centre for cultural
tourism, but also had a powerful positive
effect on the citys economy, especially in
the sectors of commerce, hospitality and
municipal services. As a result of this, and
to maintain this leading position, a need was
identified to make a qualitative leap in the
Gaud Centres museum content.
This remodelling became possible thanks to

the financial assistance of the FEDER (European
Fund for Regional Development), which financed
50% of the total project budget.
www.reuspromocio.cat
Joan Capdevila/ARP
Joan Capdevila/ARP
El mes de febrer de
2015, el Gaud Centre de
Reus va inaugurar el nou
espai expositiu Gaud i
el Modernisme de Reus.
Aquest espai ha estat creat
amb lobjectiu de posar
en valor lobra de Llus
Domnech i Montaner
i la seva relaci amb el
Modernisme de Reus, aix
New audiovisual presentation The Dreams of Modernisme
com de millorar el contingut
Nova presentaci audiovisual Els somnis del Modernisme
expositiu i fomentar la visita
del patrimoni modernista de la ciutat.
dEuropea i el condueix des dun panorama
En la renovaci museogrfica del Gaud
europeu al Modernisme catal, fent especial
Centre destaca molt especialment laudiovisual
referncia a larquitectura modernista de Reus i a
Els somnis del Modernisme, que compta amb
una innovadora tecnologia mapping indoor. lobra de Llus Domnech i Montaner, autor de la
Casa Navs i lInstitut Pere Mata, obres clau per
Aquest audiovisual multisensorial transporta
entendre el Modernisme de Reus.
lespectador al naixement de lArt Nouveau
el llibre
The Montreal Museum of Fine Arts

and the Muse Rodin, Paris, present
Metamorphoses in Rodins Studio.
This exhibition reveals Rodins creative
intensity and his impressive work as a
sculptor, whether alone or with studio
models, collaborators, foundry workers
and fellow practitioners.
The theme of metamorphosis is
directly linked to the work undertaken
in the secrecy of his studio. Revealing
the creation in motion of this genius
of sculpture, the exhibition will study
his techniques, materials, models and
fellow practitioners. The plasters remain
the preferred medium of this exceptional
modeller, sensitive and direct witnesses of
his work. Yet the exhibition will examine
Gaud and Modernisme in Reus
coupDefouet
Reus
La publicaci Les Muses, en forma de llibreta d'artista, ressegueix

els destins excepcionals de 24 dones provinents d'arreu i de totes les
classes socials, que van jugar un paper decisiu en l'art i la cultura
durant l'poca en qu Pars es considerava la capital artstica del
mn, entre el Segon Imperi francs i els anys cinquanta.

Montreal
www.mbam.qc.ca
Gaud i el Modernisme de Reus
other technical aspects. For instance, ancient

bronzes will be the subject of original
scholarly research, while precious marbles,
astonishing ceramics and fragile glass paste,
as well as rare watercolours and
drawings, will reveal his creative
intensity.
The MMFA, in collaboration
with the Centre culturel canadien
in Paris, is presenting Les Bourgeois
de Vancouver, a videographic
installation that redevelops the idea of
an urban monument by decomposing
and recomposing the sculpted group,
using presentday actors. The piece tells
the story of six individuals hired by a
mysterious patron of the arts in order
to play Rodins work in the streets of
Vancouver.
The exhibition, presented until 18
October 2015, will show replicas of some of
Rodins sculptures that will be available for
special visits for blind persons.

Montreal
Rodin: Metamorphoses
The new section "Reus, Modernista City"

El nou espai "Reus, ciutat modernista"
The publication Les Muses (The Muses), in the format of an

artists book, traces the exceptional destinies of twenty-four
women from many backgrounds and social classes, who
played a decisive role in art and culture during the period in
which Paris was considered the worlds artistic capital, from
the Second French Empire to the 1950s.
Luisa Casati, Winnaretta Singer, Victorine Meurent, Agostina

Segatori, Meg de Saint-Marceaux and even Hlne Rochas:
artists, models, patrons or courtesans, they all contributed to
the launch of artists who nowadays attract multitudes and
gave birth to some of the masterpieces our museums proudly
exhibit.
SAZ, Evelyne, 2014 / Les Muses
Ouest-France, Rennes
120 pp., 22.5 x 24 cm, colour and black and white illustrations. Published in French
Available in hardcover / 26
For more information: www.editionsouestfrance.eu
the book
amb altres professionals. Els guixos sn el

mitj preferit d'aquest modelador excepcional,
testimonis sensibles i directes de la seva feina.
Aix no obstant, l'exposici examinar tamb
altres aspectes tcnics: uns bronzes antics seran
el tema d'una recerca acadmica original, mentre
que uns marbres bellssims, unes cermiques
sorprenents i una frgil pasta de vidre, aix com
aquarelles i dibuixos excepcionals, ens revelaran
la intensitat de la seva creaci.
D'altra banda, el Museu de Belles Arts de
Montreal, en collaboraci amb el Centre Cultural
Canadenc de Pars, presenta Les Bourgeois de
Vancouver (Els burgesos de Vancouver), una
installaci videogrfica que reformula la idea d'un
monument urb descomponent i recomponent
el grup escultric, amb actors d'ara. Explica
la histria de sis individus contractats per un
misteris mecenes de les arts perqu interpretin
les obres de Rodin als carrers de Vancouver.
A la mostra, que es podr visitar fins al 18
d'octubre de 2015, hi haur rpliques d'algunes
escultures de Rodin disponibles per a visites
especials de persones amb discapacitat visual.
77
endeavours
Photo MMFA
Les metamorfosis
de Rodin
Photo MMFA
76 Iniciatives
Image of the goddess Hygieia, detail of Gustav

Klimts painting Medicine, 19001907
Imatge de la deessa Higea, detall de la pintura
Medicina, de Gustav Klimt, 1900-1907
www.belvedere.at
Visions del mn. La Colnia d'Artistes de Darmstadt

Institut Mathildenhhe
Darmstadt
El Museu de la Colnia d'Artistes de

Darmstadt inaugura la nova exposici permanent
Visions del mn. La Colnia d'Artistes de Darmstadt,
1899-1914. La mostra presenta nombroses obres de
la seva collecci de belles arts i d'arts aplicades,
des de l'Art Nouveau a la modernitat. Maquetes i
Patriz Huber, design of a room

Patriz Huber, disseny duna habitaci
presentacions multimdia ajuden a comprendre

millor la gran importncia de la Colnia d'Artistes
de Darmstadt i l'evoluci de l'arquitectura, l'art i el
disseny moderns a partir del 1900.
L'exposici se centra en quatre grans mostres
que van tenir lloc al Mathildenhhe els anys 1901,
1904, 1908 i 1914. Seguint l'ordre cronolgic,
Visions del mn illustra l'ampli ventall de treballs
artstics en mltiples mitjans que van definir la
Colnia d'Artistes de Darmstadt.
Tots els aspectes de la vida es trobaven
representats com a conceptes del mn modern de
l'arquitectura i el disseny a les exposicions de la
Colnia d'Artistes entre 1898 i 1914: es construen
cases completament moblades com a obres d'art
esttiques, aix com restaurants en activitat,
concerts, produccions teatrals i espectacles de llums.
A travs de ms de tres-centes obres,
Visions del mn presenta creacions dels vint-itres membres que formaven la Colnia d'Artistes
de Darmstadt, entre els quals es compten Joseph
Maria Olbrich i Peter Behrens, influents arquitectes
i dissenyadors que van crear la primera casa

de Darmstadt, i tamb l'artista decorador Hans
Christiansen. S'exposaran per primera vegada
diverses obres de la Collecci d'Art Municipal
de Darmstadt, com ara un harmnium de 1908
dissenyat especialment per al gran duc Ernest Llus,
recentment donat al museu.
La nova exposici permanent, comissariada
pel Dr. Philipp Gutbrod, es podr visitar fins al 21
de febrer de 2016. Desprs s'afegiran noves obres
d'art de la collecci del municipi de Darmstadt
a la sala del museu, l'ampliaci de la qual estar
enllestida a final de 2016.
S'ha creat una nova audioguia bilinge
(en alemany i angls) com a aplicaci per a
telfons mbils que permet als visitants explorar
l'exposici permanent i els espais exteriors del
Mathildenhhe. Tamb hi ha disponible una guia
dissenyada especialment per als infants i el catleg
de l'exposici, editat en alemany i en angls.
www.mathildenhoehe.eu
el llibre
El primer Gaud. La nau de Matar revela les claus tant histriques

com arquitectniques del primer edifici dAntoni Gaud, construt
lany 1883 per a la Sociedad Cooperativa La Obrera Mataronense.
En aquest llibre, lautor repassa la histria de ledifici des dels seus
orgens i el seu s industrial inicial fins a la redescoberta de la
nau desprs de caure en loblit durant molts anys i lencrrec de
lAjuntament de Matar a larquitecte Manuel Brullet per dur a

terme una recuperaci integral.
La publicaci tamb analitza les aportacions de Gaud a la
Cooperativa i laplicaci per primera vegada de larc parablic,
que ser un element determinant en la seva arquitectura posterior,
tant en els edificis civils com en els religiosos.
GIRALT-MIRACLE, Daniel, 2014 / El primer Gaud. La nau de Matar
Ajuntament de Matar i Triangle Postals, Matar

96 pg., 18,5 x 19 cm, illustracions en color i en blanc i negre. Edici trilinge en catal, castell i angls
Disponible en rstica / 12
Per a ms informaci: www.triangle.cat
World Concepts.
The Darmstadt Artists Colony
Institut Mathildenhhe
Darmstadt
The Darmstadt Artists Colony Museum,

is presenting the new permanent exhibition
World Concepts. The Darmstadt Artists
Colony 1899 1914. The installation features
numerous art works from its collection of
fine and applied art from Art Nouveau to
Modernism. Scale models and multimedia
presentations shed light on the outstanding
significance of the Darmstadt Artists Colony
and the development of modern architecture,
art and design since 1900.
The main focus of the exhibition is
placed on four major exhibitions that took
place on the Mathildenhhe in the years
1901, 1904, 1908 and 1914. Chronologically
organised, World Concepts illustrates the wide
array of artistic work in multiple media that
defines the Darmstadt Artists Colony.
Pump Organ designed by Albin Mller

and manufactured by Carl Arnold ca. 1908
Harmnium dissenyat per Albin Mller i fabricat
per Carl Arnold, ca. 1908
All aspects of life were represented as

modern world concepts of architecture and
design at the Artists Colony Exhibitions
between 1898 and 1914: fully furnished
houses were created as aesthetic works of art,
as were functioning restaurants, concerts,
theatre productions, and light shows.
Through more than 300 works, World
Concepts presents oeuvres of all twentythree members of the Darmstadt Artists
Belvedere, Vienna
Klimt and the Ringstrasse focuses on the charismatic

Ringstrasse painters who decorated the buildings of the Ring and
shaped the style of the epoch. Starting with the work of the painter
The Belvedere Museum is presenting the prince Hans Makart, the exhibition re-examines the career of young
show Klimt and the Ringstrasse A Showcase emerging painter Gustav Klimt, who marked both the culmination
of Grandeur to mark the 150th anniversary
and conclusion of painting during the Ringstrasse Period, and his
of the opening of the Ringstrasse one of
painters collective, the Knstler-Compagnie (Artists Company).
the most striking architectural complexes of
The exhibition will showcase works from the Carl Rahl school
Viennas historical centre and an essential part (specialising in history painting) as well as paintings commissioned
of Viennese world heritage.
to decorate the Burgtheater and the Kunsthistorisches Museum,
During the boom years of the Grnderzeit, designs for Dumbas sumptuous music room by Klimt and the
a profusion of palaces and grand public
Knstler-Compagnie, and furnishings belonging to Markart. Objects
buildings was built around Viennas magnificent owned by patrons such as Friedrich von Leitenberger and Nikolaus
boulevard, Ringstrasse, to illustrate Viennas
Dumba will be presented, as well as precious pieces from the Blochclaim to being the sole centre of the AustroBauer familys collections. The exhibition unveils a differentiated
Hungarian Empire. Building began in the 1860s view of an epoch that, using new means of industrial production
but was only largely complete by the outbreak
and reproduction, in many ways surpassed the possibilities of
of the First World War. In the more than halfcraftsmanship and sought a new canon of values in art.
century that building the Ringstrasse took a
The show can be viewed at the Lower Belvedere until 11
time now known as the Ringstrasse Period
October 2015.
Gustav Klimt, Portrait of a Woman, ca. 1894. Oil on canvas
every aspect of life, from the economy and
www.belvedere.at
politics to society and art was transformed.
Gustav Klimt, retrat de dona, ca. 1894. Oli sobre tela
Belvedere Museum
Vienna
El Museu Belvedere presenta l'exposici

Klimt i el Ringstrasse per commemorar el 150
aniversari de la inauguraci del Ringstrasse, un dels
conjunts arquitectnics ms sorprenents del centre
histric de Viena i part essencial del Patrimoni
Mundial de Viena.
Durant els anys de prosperitat del Grnderzeit,
es van construir al voltant de l'esplndid bulevard
Ringstrasse de Viena un gran nombre de palaus i
grans edificis pblics per manifestar la demanda de
Viena de ser l'nic centre de l'Imperi austrohongars.
La construcci es va iniciar en la dcada de 1860,
per no va estar prcticament acabada fins a l'esclat
de la Primera Guerra Mundial. Els ms de cinquanta
anys que va durar la construcci del Ringstrasse,
coneguts avui com el perode Ringstrasse, van
transformar tots els aspectes de la vida, des de
l'economia i la poltica a la societat i l'art.
Viennese Painters of the Ringstrasse Period
Colony. They include the influential

architects and designers Joseph
Maria Olbrich and Peter Behrens
who built his first house in
Darmstadt as well as decorative
artist Hans Christiansen. Several
works of the Darmstadt Municipal
Art Collection will be on view for the
very first time, for example a pump
organ from 1908 designed especially
for Grand Duke Ernst Ludwig and
recently gifted to the museum.
The new permanent exhibition,
curated by Dr Philipp Gutbrod, will be on
show until 21 February 2016. It will then
be extended with new art works from the Darmstadt
Municipal Collection in the enlarged museums hall, to be
completed by late 2016.
A new bilingual audio guide (in German and
English) has been launched as a smartphone app, letting
visitors explore the permanent exhibition and outdoor
site of the Mathildenhhe. Also available are a guide
especially designed for children, and the catalogue of the
exhibition, published in German and English.
The First Gaud. The Matar Warehouse reveals both the

historical and architectural keys to the first building Antoni
Gaud undertook, for the Sociedad Cooperativa La Obrera
Mataronense in 1883. In this book, the author reviews the
buildings history from its origins to its early industrial use,
the warehouses rediscovery after falling into abandonment for
many years, and the commissioning by Matar City Council of

architect Manuel Brullet to fully restore the building.
The publication also analyses Gauds contributions to the
Cooperative and his application for the first time ever of the
parabolic arch which would become such a defining element in
his later architecture, both in civil and religious buildings.
GIRALT-MIRACLE, Daniel, 2014 / The First Gaud. The Matar Warehouse
Ajuntament de Matar i Triangle Postals, Matar

96 pp., 18.5 x 19 cm, colour and black and white illustrations. Text in Catalan, Spanish and English
Available in paperback / 12
For more information: www.triangle.cat
the book
Belvedere Museum
Viena
Klimt i el Ringstrasse se centra en els

carismtics pintors Ringstrasse que van adornar els
edificis del Ring i van conformar l'estil de l'poca.
Comenant per l'obra del prncep pintor Hans
Makart, l'exposici ressegueix el recorregut del jove
pintor emergent Gustav Klimt, que va marcar tant
la culminaci com la conclusi de la pintura durant
el perode Ringstrasse, i el seu collectiu de pintors,
la Knstler-Compagnie (Companyia d'artistes).
La mostra presenta tamb obres de l'escola
de Carl Rahl (especialitzada en pintura histrica)
i inclou pintures realitzades per decorar el
Burgtheater i el Museu Kunsthistorisches, dissenys
per a l'esplendorosa sala de msica del Palau Dumba,
obra de Klimt i la Knstler-Compagnie, i mobiliari de
Markart. Tamb s'hi presenten objectes propietat de
mecenes com Friedrich von Leitenberger i Nikolaus
Dumba, aix com peces valuoses de la famlia BlochBauer. Tot plegat, una nova mirada a una poca
en qu, utilitzant els nous mitjans de producci i
reproducci industrials, es van superar en molts
sentits les possibilitats de l'artesania i es va cercar
un nou cnon de valors artstics.
La mostra es pot visitar al Lower Belvedere
fins a l'11 d'octubre de 2015.
79
endeavours
Institut Mathildenhhe, Stdtische

Kunstsammlung Darmstadt. Photo: Gregor Schuster
Belvedere, Vienna
Els pintors vienesos del

perode Ringstrasse
Institut Mathildenhhe, Stdtische Kunstsammlung

Darmstadt. Photo: Gregor Schuster
78 Iniciatives
www.mkg-hamburg.de
Els escultors de Domnech i Montaner

Lexposici Els escultors de Domnech
i Montaner: Arnau, Gargallo, Masana, que es
presenta fins al 20 de setembre a la Casa-museu
Llus Domnech i Montaner, a Canet de Mar, s una
mostra descultures en guix dalguns dels artistes
que van treballar amb Llus Domnech i Montaner
(1849-1923), models descultura aplicada a
l'arquitectura que podem trobar als seus edificis.
Lescultura aplicada a larquitectura va ser
una de les arts que ms van brillar en el Modernisme,
des d'obres descultors de la importncia dEusebi
Arnau fins a d'altres de tallers que, de forma
annima, esculpien els detalls decoratius dels
edificis modernistes.
En aquest tipus dobra, la creativitat de lartista
est al servei de la idea de larquitecte. Els escultors eren
els encarregats de fer un model en guix, tot seguint els
dibuixos de Domnech i Montaner. Seguidament, al
seu taller o en daltres d'especialitzats, es traslladava el
model a la pedra o el marbre.
DEusebi Arnau (1863-1933), lescultor preferit

de Domnech i Montaner, es presenten els plafons
decoratius de la Casa Lle Morera (1905) o les
mnsules de la Casa Sol Morales (1916). Diego
Masana (1868-1939) va treballar al Castell de
Santa Florentina (1899-1910): la llar de foc
del Sal del Tron i els capitells de la Cripta. s
tamb lautor duna part de larc del prosceni
del Palau de la Msica Catalana (1907). De Pau
Gargallo (1881-1934) hi trobem alguns models
escultrics per a lHospital de la Santa Creu i
Sant Pau (1911).
Aquests guixos tenen un doble valor,
perqu van ser conservats per Domnech i
Montaner i el dissenyador Ricard de Capmany
(1873-1947), conscients de la vlua dunes obres
en qu encara era patent la m dels escultors. Es
tracta d'un conjunt de peces que, acompanyades
duna selecci descultura modernista, ens presenten
un panorama del que va ser lestaturia a la Barcelona
del 1900.
casamuseu.canetdemar.org
Llus Domnech i Montaner House Museum

Canet de Mar
Male figure in plaster by Diego Masana, ca.1905

Figura masculina de guix de Diego Masana, ca. 1905
el llibre
En la publicaci Jugendstil in Mnchen (Jugendstil a Munic) hi

descobrim els artistes ms destacats i les seves obres a Munic. Els
colors vius, les lnies oscillants, els ornaments florals..., els Tallers
Elvira van desaparixer del paisatge urb de Munic fa ms de setantacinc anys. Per qu? Feia anys que la mgia del Modernisme s'havia
esborrat de la conscincia publica. Als anys vuitanta el Modernisme
muniqus passava desapercebut a les faanes massa envellides, amb
els alegres colors massa deslluts. Aquella vida de bellesa va durar a

penes un quart de segle. Partint del moviment Arts and Crafts, el nou
estil es va estendre per tot Europa. A Alemanya, i sobretot a Munic,
va prendre una forma prpia que es va conixer com a Jugendstil, en
referncia a l'inconfusible estil de Jugend, la llegendria revista que
esdevindria l'rgan central d'aquest concepte artstic.
MOLLENHAUER, Bernd, 2014 (2a edici) / Jugendstil in Mnchen
With its new presentation entitled Art

Nouveau, Hamburgs Museum for Art and
Industry (MKG), a museum with one of the most
significant collections in this style worldwide, offers
an innovative look at the Art Nouveau period, not
just through its permanent collection but also the
temporary show to complement it, open to visitors
from 16 October 2015 to 8 February 2016.
In contrast to the situation a century ago, when
Art Nouveau was le dernier cri, it can be seen today
not just as a mere historical stylistic era, but can open
up parallels to complex phenomena familiar to visitors
from their own experience: scarcity of resources and
issues of what materials to use, precarious working
conditions and consumer behaviour, the trade-off
between ecological and aesthetic considerations in
manufacturing processes, or the desire for stylishly
Alphonse Mucha, Nature, 18991900. Bust made of bronze

Alphonse Mucha, La natura, 1899-1900. Bust de bronze
Domnech i Montaners Sculptors
Foto V&V
Casa-museu Llus Domnech i Montaner

Canet de Mar
coupDefouet
Hamburg
elegant, prestigious interior furnishings. These are just a few

of the aspects which emerge as central motives common to
both the reform movement of the years around 1900 and the
decisions facing todays consumers.
The new presentation, which still revolves around
the 1900 Worlds Fair as an international platform for
modern design, reveals the roots of the ideas and motives
which informed Art Nouveau. It emphasises the relationship
between nature and technology while it illuminates the
most varied disciplines, ranging far beyond the Arts and
Crafts Movement. Among more than 200 pieces exhibited
are paintings, sculptures, drawings and prints, posters, books,
tapestries, examples of rational dress reform, photos and
films, as well as scientific and historical medical apparatus and
models by artists as renowned as Edward Burne-Jones, Carl Otto
Czeschka, Karl Wilhelm Diefenbach, Otto Eckmann, Loe Fuller,
Emile Gall, Karl Grser, William Morris, Alfons Mucha, Richard
Riemerschmid and Louis C. Tiffany.
www.mkg-hamburg.de
Hirschkfer Verlag, Munic

160 pg., 14,5 x 21,5 cm, illustracions en color i en blanc i negre, editat en alemany
Disponible en rstica / 16,90
Per a ms informaci: www.hirschkaefer-verlag.de
The exhibition Domnech i Montaners

Sculptors: Arnau, Gargallo, Masana, on view
at the Llus Domnech i Montaner House
Museum in Canet de Mar, Catalonia, until 20
September, is a show of plaster sculptures by
some of the artists who worked with Llus
Domnech i Montaner (18491923). They
are the models of the sculpture applied to
architecture, which can be found on his
buildings.
Sculpture applied to architecture was
one of the arts that shone most brightly in
Modernisme, from sculptors as prominent
as Eusebi Arnau to workshops which
anonymously sculpted decorative details for
Modernista buildings.
In this type of work, the artists
creativity is subordinated to the architects
idea. These sculptors were commissioned to
create a plaster model, based on Domnech i
Montaners sketches. Next, in his studio or in

a separate, specialised workshop, the model
was recreated in stone or marble.
Of the work of Eusebi Arnau (1863
1933), Domnech i Montaners favourite
sculptor, one can view the decorative panels
from Casa Lle Morera (1905) and the
corbels from Casa Sol Morales (1916). Diego
Masana (18681939) worked on the throne
room hearth and the capitals in the crypt of
the Castell de Santa Florentina (18991910).
In the Palau de la Msica Catalana he created
one section of the proscenium arch (1907).
Pau Gargallo (18811934) is represented here
by some sculptural models for the Hospital de la
Santa Creu i Sant Pau (1911).
Yet these plaster works are doubly
valuable because they were conserved by
Domnech i Montaner and the designer
Ricard de Capmany (18731947), who were
aware of the value of works in which the
hand of these sculptors was evident. These
are pieces which, accompanied by a selection
of Modernista sculpture, offer viewers a

panorama of what statuary represented in
1900s Barcelona.
Otto Eckmann. Disseny de coberta per a la revista Jugend,

fundada el 1896
Art Nouveau at the

Hamburg MKG
Plaster figure designed by Domnech i Montaner

for Palau de la Msica Catalana
Figura en guix, dissenyada per Ll. Domnech i Montaner
per al Palau de la Msica Catalana
The publication Jugendstil in Mnchen (Jugendstil in Munich)

showcases Munichs preeminent artists and their works.
Bright colours, curving lines and floral ornaments the Elvira
workshops disappeared from Munichs urban landscape over
seventy-five years ago, but its memory lives on today. Why
did it vanish? Art Nouveaus magic had long since waned in
public awareness. By the eighties, Munich Jugendstil went
unnoticed, its faades sadly aged and its lively colours faded.
Though praised to excess during the fin-de-sicle period, this

age of beauty lasted barely a quarter of a century. Stemming
from the English Arts and Crafts Movement, the new style
spread throughout Europe. In Germany, and above all
Munich, it found its own expression, which became known as
Jugendstil, a reference to the unmistakeable style of Jugend,
the legendary magazine that would serve as mouthpiece for
this artistic concept.
MOLLENHAUER, Bernd, 2014 (second edition) / Jugendstil in Mnchen
Hirschkfer Verlag, Munich

160 pp., 14.5 x 21.5 cm, colour and black and white illustrations. Published in German
Available in paperback / 16.90
For more information: www.hirschkaefer-verlag.de
the book
Otto Eckmann. Cover design for the magazine Jugend,

created in 1896
Amb la nova presentaci de la secci dedicada

a lArt Nouveau, el Museu de les Arts i la Indstria
dHamburg (MKG), un dels museus que disposa
duna de les colleccions ms importants del mn
d'aquest estil, vol plantejar una visi innovadora del
perode Art Nouveau no noms en la seva collecci
permanent sin tamb en lexposici temporal Art
Nouveau que lacompanya i que es podr visitar des
del 16 doctubre de 2015 fins al 8 de febrer de 2016.
Aquesta nova presentaci vol contrastar el
que passava un segle enrere, quan l'Art Nouveau
era l'ltim crit, amb la situaci actual, en qu es pot
considerar com un estil histric. Alhora, per, palesa
certs parallelismes amb uns fenmens complexos
que resulten familiars als visitants: l'escassetat de
recursos i les qestions al voltant de quins materials
utilitzar, la precarietat de les condicions laborals i les

conductes de consum, l'equilibri entre consideracions
ecolgiques i esttiques en els processos de fabricaci
o el desig d'un interiorisme d'estil elegant i distintiu.
Aquests sn noms alguns dels aspectes que sorgeixen
com a elements centrals comuns tant al moviment de
reforma dels volts del 1900 com al tipus de decisions a
qu s'enfronten els consumidors d'avui.
La nova presentaci, que gira encara entorn
de l'Exposici Universal del 1900 com a plataforma
internacional del disseny modern, fa visibles l'origen de
les idees i els motius que van conformar lArt Nouveau,
posant l'accent en la relaci entre natura i tecnologia
i mostrant totes les disciplines, molt ms enll del
moviment Arts and Crafts. Entre les ms de 200 peces
exposades hi trobarem pintures, escultures, dibuixos
i gravats, cartells, llibres, tapissos, vestits de reforma,
fotografies i pellcules, aix com aparells i models
mdics cientfics i histrics dartistes tan reconeguts
com Edward Burne-Jones, Carl Otto Czeschka, Karl
Wilhelm Diefenbach, Otto Eckmann, Loe Fuller, mile
Gall, Karl Grser, William Morris, Alphonse Mucha,
Richard Riemerschmid i Louis C. Tiffany.
Foto Arxiu Histric del Collegi dArquitectes de Catalunya
coupDefouet
Hamburg
81
endeavours
Photo: Thomas Goldschmidt
Art Nouveau al MKG

d'Hamburg
80 Iniciatives
AGENDA
QU
ON
QUAN
AGENDA
QUI
EXPOSICIONS
WHAT
WHERE
WHEN
83
WHO
EXHIBITIONS
Dolce vita? Del Liberty al disseny itali

(1900-1940)
Pars
Fins al 13 de setembre de 2015
Muse d'Orsay
www.musee-orsay.fr
Tracey Emin / Egon Schiele
Viena
Leopold Museum
www.leopoldmuseum.org
Els escultors de Domnech i Montaner:

Arnau, Gargallo, Masana
Canet de Mar

Hans Christiansen. La retrospectiva
Munic
Villa Stck Museum

www.villastuck.de
Alphonse Mucha: a la recerca de la bellesa
Bournemouth
Russell-Cotes Art Gallery Museum

www.russellcotes.com
El llegat de Fabiani a Ljubjlana
Ljubljana
City Museum of Ljubljana

www.mgml.si
Sargent: retrats dartistes i amics
Nova York
Fins al 4 doctubre de 2015
The Metropolitan Museum of Art

www.metmuseum.org
Klimt i la Ringstrasse
Viena
Fins a l11 doctubre de 2015
Unteres Belvedere
www.belvedere.at
Metamorfosis al taller de Rodin
Montreal
Vigeland i Munch. Rere els mites
Oslo
Edvard Munch
Dolce Vita? From Liberty to Italian

Design (19001940)
Paris
Until 13 September 2015
Muse d'Orsay
www.musee-orsay.fr
Tracey Emin / Egon Schiele
Vienna
Leopold Museum
www.leopoldmuseum.org
Domnech i Montaners Sculptors:

Arnau, Gargallo, Masana
Canet de Mar

Hans Christiansen - The Retrospective
Munich
Villa Stck Museum

www.villastuck.de
Alphonse Mucha: In Quest of Beauty
Bournemouth
Russell-Cotes Art Gallery Museum

www.russellcotes.com
Fabiani's Heritage in Ljubljana
Ljubljana
City Museum of Ljubljana

www.mgml.si
Sargent: Portraits of Artists and

Friends
New York
Until 4 October 2015
The Metropolitan Museum of Art

www.metmuseum.org
Klimt and the Ringstrasse
Vienna
Unteres Belvedere
www.belvedere.at
Muse des beaux-arts de Montral

www.mbam.qc.ca
Metamorphoses in Rodins Studio
Montreal
Montreal Museum of Fine Arts

www.mbam.qc.ca
Del 3 doctubre de 2015

al 17 de gener de 2016
Munch Museet
www.munchmuseet.no
Vigeland and Munch. Behind

the Myths
Oslo
From 3 October 2015

to 17 January 2016
Munch Museet
www.munchmuseet.no
Madrid
Del 6 d'octubre de 2015

Museo Thyssen-Bornemisza
Edvard Munch
Madrid
From 6 October 2015

to 17 January 2016
Museo Thyssen-Bornemisza
Hans Christiansen. La retrospectiva
Flensburg
De l11 doctubre de 2015

Institut Mathildenhhe / Museumsberg

Flensburg
www.museumsberg-flensburg.de
Hans Christiansen. The Retrospective
Flensburg
From 11 October 2015

to 17 January 2016
Institut Mathildenhhe / Museumsberg

Flensburg
www.museumsberg-flensburg.de
Esplendors i misries. Imatges de la

prostituci a Frana (1850-1910)
Pars
Del 22 de setembre de 2015

Muse dOrsay
www.musee-orsay.fr
Splendours and Miseries. Pictures of

Prostitution in France (18501910)
Paris
From 22 September 2015

to 20 January 2016
Muse dOrsay
www.musee-orsay.fr
Qui t por de les dones fotgrafes?

18391945
Pars

Muse dOrsay
www.musee-orsay.fr
Whos Afraid of Women

Photographers? 18391945
Paris

to 24 January 2016
Muse dOrsay
www.musee-orsay.fr
Jugendstil
Hamburg

al 8 de febrer de 2016

www.mkg-hamburg.de
Jugendstil
Hamburg

to 8 February 2016

www.mkg-hamburg.de
Visions del mn. La Colonia dArtistes de

Darmstadt, 18991914
Darmstadt
Fins al 21 de febrer de 2016
Mathildenhhe Darmstadt
World Concepts of the Darmstadt

Artists Colony 18991914
Darmstadt
Until 21 February 2016
Mathildenhhe Darmstadt
Klimt, Schiele, Kokoschka i les dones
Viena

al 28 de febrer de 2016
Unteres Belvedere
www.belvedere.at
Klimt, Schiele, Kokoschka and Women
Vienna

to 28 February 2016
Unteres Belvedere
www.belvedere.at
Alphonse Mucha: a la recerca de la bellesa
Norwich
Del 7 de novembre de 2015

al 20 de mar de 2016
Sainsbury Centre for Visual Arts

www.scva.ac.uk
Alphonse Mucha: In Quest of Beauty
Norwich
From 7 November 2015

to 20 March 2016
Sainsbury Centre for Visual Arts

www.scva.ac.uk
Xavier Gos (1876-1915)
Barcelona
Del 27 de novembre de 2015

al 31 de mar de 2016
Museu Nacional dArt de Catalunya

www.museunacional.cat
Xavier Gos (18761915)
Barcelona
From 27 November 2015

to 31 March 2016
Museu Nacional dArt de Catalunya

www.museunacional.cat
II coupDefouet International Congress

on Art Nouveau
Barcelona
2528 June 2015
Art Nouveau European Route

www.artnouveau.eu
From Research to Restoration:

Art Nouveau Heritage
Subotica
11 September 2015
Rseau Art Nouveau Network

www.artnouveau-net.eu
Turin
Aitm Art
www.italianliberty.it
II Congrs Internacional coupDefouet

sobre Art Nouveau
Barcelona
25-28 de juny de 2015
Ruta Europea del Modernisme

www.artnouveau.eu
De la recerca a la restauraci: el patrimoni

modernista
Subotica
11 de setembre de 2015
Rseau Art Nouveau Network

www.artnouveau-net.eu
OTHER ACTIVITIES
ALTRES ACTIVITATS
MEETINGS
TROBADES
III Concurs fotogrfic Italian Liberty
Tor
Aitm Art
www.italianliberty.it
Per a informaci actualitzada, entreu a www.artnouveau.eu o seguiu-nos a Facebook: www.facebook.com/artnouveauclub
III Italian Liberty Photo Competition
For updated information, please check www.artnouveau.eu or join us on Facebook: www.facebook.com/artnouveauclub
82
Salsomaggiore
Liberty

Revista Modernista Cdf-25

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25

The Return of Mackintoshs Glasgow School of Art

coupdefouet 25 | 2015 | www.artnouveau.eu

Maurizia Bonatti Bacchini

by the Giuseppe Magnaghi limited company, which had its head

n 1839, Salsomaggiores vocation as a spa town was

coupdefouet 25 | 2015 | www.artnouveau.eu

Maurizia Bonatti Bacchini

'any 1839 es va prefigurar la vocaci termal de Salsomaggiore a

Up until 1913, Salsomaggiores urban layout had been

La proposta empresarial va prendre impuls desprs de la unificaci del

Detail of the decorative ironwork applied to the Pozzo Scotti

The floral motif of the carnation in fact inaugurated a

Tower of the Villa Gilda built ca 1910. Architect unknown

coupdefouet 25 | 2015 | www.artnouveau.eu

de flors i fulles s'expressa amb un mpetu escultric i una energia naturalista

It was precisely this year that the most versatile and

coupdefouet 25 | 2015 | www.artnouveau.eu

Va ser decisiva la realitzaci del Grand Hotel des Thermes el 1898,

archivio Lorenzo Davighi

archivio Nello Bocelli

coupdefouet 25 | 2015 | www.artnouveau.eu

Detall de la marquesina de ferro forjat realitzada per Alessandro Mazzucotelli el

Va ser precisament aquest mateix any quan l'intrpret ms verstil i

Archivio Lorenzo Davighi

two beautiful paintings on a golden ground. Here, female figures

Yet it was Galileo Chini who concluded the Liberty period,

coupdefouet 25 | 2015 | www.artnouveau.eu

Detail of the wrought-iron canopy created by Alessandro Mazzucotelli for

coupdefouet 25 | 2015 | www.artnouveau.eu

City Council delegate Conseller delegat

Contributing to this issue

THE ROUTE LA RUTA

Salsomaggiore Terme: A Liberty Spa

Design and preprints

Glasgow School of Art: A Phoenix Rising from the Ashes

THE CENTRE EL CENTRE

The Mucha Foundation: Preserving Alphonse Muchas Artistic Heritage

Julin Garca Nez and Art Nouveau in Buenos Aires

Villa Lampo, Japonism on the Shores of the Adriatic

Pride of Place: The Peacocks of Budapest

Pepita Texidor: On the Fringes of Modernisme

The Urbanc Department Store, Back in Business in Ljubljana

Aubrey Beardsley, the Rage of Artistic London

ENDEAVOURS INICIATIVES .................................................................................................................

a nostra redacci s en una planta 21, enclavada en un rac

Translation and proofreading

Archivio Nello Bocelli

coupdefouet 25 | 2015 | www.artnouveau.eu

coupdefouet 25 | 2015 | www.artnouveau.eu

Detail of the Birra Poretti brewery

Detall de la faana de la Birreria Poretti.

La "m innocent encarregada dextreure

Des de coupDefouet volem agrair als nostres lectors la gran participaci al

At coupDefouet we would like to thank you, our readers, for your

El guanyadors del sorteig han estat: Estel Cervantes Martnez, de Barcelona

Endevineu la nostra coberta!

Guess Our Cover!

Participeu en el nostre concurs! Podeu identificar la imatge de la coberta

Take part in our competition: what is the cover image on

1r premi: dues nits per a dues persones en un hotel de Barcelona

First prize: two nights for two people in a Barcelona hotel

(These prizes may be sent as a gift to whomever the winner chooses.)

Envieu-nos un email identificant lobra que surt a la coberta i lautor.