In Excelsis! Lights between Gothic & Enlightenment

The exhibition commemorates the 800 years since the creation of the first living nativity scene by Saint Francis (Assisi 1181 – 1226) on Christmas Eve of 1123. This event, which took place in Greccio, Italy, marked the beginning of the tradition of creating nativity scenes, one of the most widespread and deeply rooted Catholic traditions to this day.

The exhibition, hosted by the Diocesan Museum of Barcelona and the Barcelona Cathedral, revolves around the fruitful representation over the centuries of the Holy Family, as well as the ensemble of characters and events surrounding the birth of the incarnate God. Additionally, a selection of works on Saint Francis reflects the interest that this saint has aroused in artistic creation since medieval times.

The work highlights some of the most important painters of the Renaissance, such as Pedro Berruguete or Gerard de Saint Jean, as well as Baroque artists, including Alonso Cano, Bartolomé Esteban Murillo, Luca Giordano, Antoni Viladomat, Juan Carreño de Miranda, Vicente Carducho, Francisco Bayeu, and Francisco Herrera the Elder. In sculpture, the exhibition presents for the first time the 14th-century Annunciation, composed of two sculptures conceived to adorn the staircase leading to the pulpit of the choir of the Cathedral, with attribution oscillating between Jordi Joan or Pere Ça Anglada. Also, noteworthy is the large 19th-century sculpture of Christ Child by Ramon Amadeu, which for a long time was located at the main altar of the Cathedral.

The selection of oils, sculptures, and reliefs belongs to the Montserrat Museum, the holdings of the Diocesan Museum, as well as the heritage of the Barcelona Cathedral and the Church of Santa Maria del Pi. It also includes a set of works from private collections such as the Cajasol Foundation and Rivero – Bodegas Tradición Collection. The ensemble is completed with a nativity scene on the ground floor of the Diocesan Museum as a tribute to the extensive nativity scene tradition in Catalonia, in dialogue with the paintings in the apse of Polinyà from 1122, specially illuminated to highlight the Nativity scene, in this Romanesque ensemble from the 12th century, a focal point of this part of the museum.

Crèdits

Curator: Helena Alonso
Organizers: c2c Proyectos culturales
Collaborators: Montserrat Museum, Colección Rivero-Bodegas Tradición, y Fundación Cajasol

Dialoghi Paralleli. Sancta Eulalia Nobilis Gemma. Jorge Egea and Luca FreschiEl simposio, en definitiva, pretende presentar un estado de la cuestión exhaustivo, así como realizar nuevas aportaciones y estimular la reflexión sobre uno de los períodos más decisivos de nuestra historia. De una historia a veces distorsionada y sesgada. Con frecuencia, los intereses políticos han desviado la deseable objetividad científica que siempre debería regir la investigación histórica, a la vez que proyectan sobre el pasado disputas del presente. Esta forma de proceder puede traducirse en la toma de decisiones difíciles de entender, como la división del obispado de Lleida. Sus consecuencias han desembocado en la ruptura de una unidad territorial fruto del matrimonio entre Ramon Berenguer IV y Peronella, un espacio bisagra entre Aragón y Cataluña.

Exhibition dedicated to the co-patroness of Barcelona, Santa Eulàlia. The exhibition features the sculptural works of Jorge Egea and Luca Freschi, two artists who, in their analytical research, examine classical culture, reinterpret it, and offer new and original iconographic solutions—more delicate, symbolic, and spiritual.

As part of the exhibition, the Diocesan Museum of Barcelona also displays a recently restored piece: the 18th-century Baroque sculpture of Saint Eulàlia (MDB 260). Drawing inspiration from the observation of the sculpture, Egea and Freschi present their artistic proposal.

In his initial representations of the Saint of Barcelona, Jorge Egea sought to give substance to the earthly drama of Saint Eulàlia, portraying the torments to which she had been subjected—the torment of her flesh, the dream of death. Egea carefully examines what is narrated in the ancient Passio with the desire to restore the form and the volume to the wonderful memories dedicated to her, aiming to convey the reality of those events that, if solely entrusted to written words, ran the risk of not fully emerging—the so-called tragic beauty.

On the other hand, Luca Freschi follows a path like Egea’s, combining a realistic representation of the Saint of Barcelona with a more symbolic one. The artist departs from classical figuration to focus on a more evocative dimension.

The exhibition will coincide with another show by the same artists that will soon take place at the European Museum of Modern Art (MEAM).

Matisse. Art in Balance

The exhibition brings together eighty-five artworks (lithographs, drawings, pochoir or linocuts, etc.) by one of the most important creators of modern art: Henri Matisse (Le Chateau-Cambrésis 1869 – Nice 1954). The artist’s spirituality, homogeneous in all his works during his mature period, can be appreciated in them.

The artistic period covered by the exhibition, which began around the time of the Second World War and runs until the artist’s last days, is marked by a great spirituality and the joie de vivre which Matisse wishes to reflect; an explosion of joy and peace in his spirit. Special emphasis is placed on one of the most important works of his last artistic period: the Matisse Chapel in Vence, on the Côte d’Azur, a unitary project in which he was involved in the architectural development and its decoration.

The exhibition is completed by a video on this chapel and a series of photographs that belonged to its author Hélène Adant, which were used to illustrate in 1951 The Rosary Chapel of the Dominican Sisters of Vence, Matisse’s book on this piece, about which he himself acknowledges: “For me, this chapel is the culmination of a lifetime of work and the flowering of a great, sincere and difficult effort […]. A part of this human expression […] will remain alive, capable of bringing together the past and the future of the plastic tradition”.

When people help each other. Guilds in BarcelonaEl simposio, en definitiva, pretende presentar un estado de la cuestión exhaustivo, así como realizar nuevas aportaciones y estimular la reflexión sobre uno de los períodos más decisivos de nuestra historia. De una historia a veces distorsionada y sesgada. Con frecuencia, los intereses políticos han desviado la deseable objetividad científica que siempre debería regir la investigación histórica, a la vez que proyectan sobre el pasado disputas del presente. Esta forma de proceder puede traducirse en la toma de decisiones difíciles de entender, como la división del obispado de Lleida. Sus consecuencias han desembocado en la ruptura de una unidad territorial fruto del matrimonio entre Ramon Berenguer IV y Peronella, un espacio bisagra entre Aragón y Cataluña.

People tend to group together according to tastes, interests and also needs, which can be caused by an infinite number of variables. Some of them are generated by trades. When people help each other is a retrospective look at the importance of the guilds in Barcelona from various point of view, such as devotional, professional, mutual aid… It also evokes the trail they have left in different parts of the city, where we can still see and feel their presence, nowadays very much migrated. This exhibition also aims to use this look at the city’s past as a starting point to understand the present. The twenty-first century society continues to generate inequality and vulnerability, and that is why people continue to organise themselves on the basis of horizontal solidarity and mutual aid.

FREE ENTRANCE

Crèdits

Organisers: Museu Diocesà i Catedral de Barcelona
Collaborators: Departament de Cultura de la Generalitat de Catalunya

Miró. Mystique and avant-garde

The exhibition about the artist, made up of 55 works and the audiovisual “Je rêve d’un grand atelier” (I dream of a great workshop), offers a reflection on the importance of asceticism and mysticism in the creative process of Joan Miró through a rich dialogue between his works (oils, gouache, watercolors and lithographs) and some Romanesque works that are part of the collection of the Museu Diocesà.

The artist goes towards his way to transcendence through his readings of sacred texts (he created sculptures with an open Bible) and ascetic and mystical literature, moreover the interest during the historical avant-gardes for the knowledge of another reality through esotericism. In addition to his readings, Miró was decisively influenced by the Romanesque and Gothic iconography of Catalonia.

Some of the works on display are also part of the series of etchings on the work Canticle of the Sun by Saint Francis of Assisi, created by Miró in 1975 under the title “Càntic del Sol”.

Crèdits

Curated by J. Óscar Carrascosa
c2c Proyectos Culturales Production

Llavors (Seeds)

The Holy Spirit, who calls all men to Christ by the seeds of the Lord. (Vat II AG 15).

The Pastoral Delegation of Faith and Culture of the Archdiocese of Barcelona and O_LUMEN propose an art tour that connects beauty, integral human development and education as acts of hope. A dialogue between Christian spirituality and contemporary culture based on everyday experiences: grief and joy, uncertainty and changes, the pandemic and community, losses and encounters, dignity and beauty, rebirth and hope. It is a temporary exhibition of seven works by the artist Vicente Molina, which can be visited in three spaces: at the Museu Diocesà, at Càritas in Plaça Nova and at the Faculty of Communication of Blanquerna

Vicente Molina (Madrid, 1956), artist and priest, positions himself in plastic and ideological asceticism. That is why he limits the use of means, and why he uses ephemeral supports such as rehabilitated waste cartons. These are fragile materials that are symbolic of human frailty, deterioration and mutations, expressed through light brushstrokes. He works in a schematic, effectual and restrained-gesture language that, emptying the human figure and the objects, leaves only what is essential.

Crèdits

Organized by: Pastoral Delegation of Faith and Culture of the Archdiocese of Barcelona and O_LUMEN