In commemoration of the 10th anniversary of its opening to the public, the Museum of Modernism of Barcelona is preparing an exceptional exhibition where the most outstanding stained glass displays that are part of the collection, some of them never shown before. The exhibition will take a tour of the stained glass from the end of the 19th century to the mid-20th, paying special attention to the constructive technique of this decorative art.
From the mid-19th century, in Catalonia there is a progressive recovery of stained glass art that will be at its peak in the modernist period, with a stamp that will last until well into the 20th century. The relevance that the art of stained glass would make a great profusion of companies that were dedicated to their production emerged, such as that of Eduald Ramón Amigó, Antoni Rigalt and Blanch, Maumejéan Hermanos, Camaló, Espinagosa or Antoni Bordalda, many of them present at this exhibition.
One of the most significant changes in the stained glass world in this period will be the leap of this art of ornamentation of religious spaces to domestic spaces. This fact produced a renewal and modernization of the remaining topics, as these pieces were incorporated into unusual spaces until then. We will see a predominance of creations based on floral and plant designs, with important productions in the landscape. The allegorical female figures also take center stage, although religious-themed stained glass windows will continue to be produced. In reference to these various typologies, the exhibition will be organized in several areas; one dedicated to the floral and plant world, one of the main motifs of modernism and a second to figurative themes, both allegorical and religious, emphasizing the representation of Saint George and the Virgin of Montserrat.
The other important innovation will be the one that took place in the technique. The stained-glass windows will become aware of the value of studying and recovering old formulas of stained-glass production, as well as in the search for new procedures, linked with the incorporation of new technologies coming from abroad.
Of all these new techniques in the exhibition we will highlight and deeper into the Cloisonné Glass, a technique invented in France, but patented in England and introduced in Catalonia thanks to the workshop of Francesc Vidal I Jevellí, particularly by his son Francesc Vidal who traveled to London. to learn this new procedure. The technique, of great beauty, but at the same time of great complexity, consists in adhering on a flat surface copper filament that shape the drawing. These copper cavities are made of spherical or crushed glass of various sizes and shades. The exhibition will be able to contemplate several pieces executed in this technique given that it has a particularly dedicated field.
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