{"id":1630,"date":"2017-08-24T06:00:07","date_gmt":"2017-08-24T04:00:07","guid":{"rendered":"https:\/\/jordidenadal.com\/?p=1630\/"},"modified":"2017-09-14T12:04:12","modified_gmt":"2017-09-14T10:04:12","slug":"from-barcelona-to-bilbao","status":"publish","type":"post","link":"https:\/\/jordidenadal.com\/en\/exhibitions\/from-barcelona-to-bilbao\/","title":{"rendered":"Seven for seven: From Barcelona to Bilbao."},"content":{"rendered":"

1. Back to work.<\/strong><\/p>\n

I am reviewing these notes, which I wrote some days ago for this week\u2019s post, after six days of extraordinary events in my city and my country. One of the attacks\u2019 objectives was to break up our way of life, and it would be too easy to pretend nothing has changed.\u00a0 But, even if they have hit hard, some good is coming out of it, thanks to the stubborn and generous efforts of so many. We are healing the wound, and perhaps these notes, which are business as usual, are not out of place.<\/p>\n

2. MNAC\u2019s list.<\/strong><\/p>\n

I just realized an interesting fact. In 2009 the Museu Nacional d\u2019Art de Catalunya celebrated its 75th<\/sup> anniversary with an exhibition called Guests of Honour<\/em><\/a><\/strong>, <\/em>bringing into the museum a group of fine works the museum wished were in its collection. For most of them this was just impossible, since they were already in other museums. For others, still in private hands, there was still hope, and in fact, today two of them are hanging in its walls: The Darcawi Holy Man of Marrakesh<\/em><\/a><\/strong>, a watercolour by Josep Tapir\u00f3 acquired in 2013, and Pere Serra\u2019s Crucifixion of Sant Peter<\/em><\/a><\/strong> (c. 1400, tempera on wood), which was part of the Gallardo donation<\/a><\/strong> of 2015.<\/p>\n

\u00a03.\u00a0<\/strong>Fidel Aguilar (1894-1917).<\/strong><\/p>\n

\"\"
Fidel Aguilar, <\/em>Head, 1916<\/em><\/figcaption><\/figure>\n

One of the works in the MNAC\u2019s exhibition was this Head <\/em>by Fidel Aguilar of 1916, now in a private collection. It has been exhibited again, until two weeks ago, in the retrospective, short (Aguilar died with only 22 years) but very comprehensive, in the Casa Pastor of Girona (A Shooting Star: Fidel Aguilar (1894-1917<\/em><\/a>)<\/strong>. Its fine catalogue is by Eva V\u00e0zquez and Jordi Falg\u00e0s. In both the central essay of the book and the central room of the exhibition they draw parallels between the works of Aguilar and his friend Enric Casanova, on the basis of their common influence by Archaic Greece\u2019s sculpture \u2013 they were following the trend set by Aristides Maillol some years (as seen in the Maillol and Greece<\/em><\/a><\/strong> exhibition in the Museu Mar\u00e9s in Barcelona last year).<\/p>\n

4. Enric Casanovas (1882-1948).<\/strong><\/p>\n

\"\"
Enric Casanovas, <\/em>Eros (1911)<\/em><\/figcaption><\/figure>\n

After Aguilar\u2019s, perhaps it is time for a Casanovas\u2019s retrospective \u2013 the last one was in 1984 in Barcelona, with Teresa Camps as its curator and writer of its catalogue<\/a><\/strong>. In 2008, Susanna Portell presented Enric Casanovas: escultor i amic<\/em><\/strong>,<\/a> (\u201cEnric Casanovas, and sculptor and a friend<\/em>\u201d) in the Fontana d\u2019Or in Girona, which focused in his relationships with other artists. More recently, both Camps and Portell edited Les cartes de l\u2019escultor Enric Casanovas<\/em><\/a><\/strong> (\u201cThe Letters of Enric\u00a0 Casanovas, Sculptor\u201d<\/em>, Universitat Aut\u00f2noma de Barcelona, 2015).<\/p>\n

5. Pere Jou (1891-1964).<\/strong><\/p>\n

\"\"
Photo: Viena Editors<\/em><\/figcaption><\/figure>\n

A member of Aguilar\u2019s and Casanova\u2019s generation, Pere Jou has also received his share of research recently. Last year, Ignasi Dom\u00e8nech published his PhD dissertation, which is a biography and catalogue raisonn\u00e9 of his work: \u00a0L\u2019escultor Pere Jou, 1981-1964. Forma i mat\u00e8ria<\/em><\/a><\/strong>, <\/em>\u00a0(\u201cThe Sculptor Pere Jou, 1891-1964. Form and matter\u201d, <\/em>2016, 334 p\u00e0gs; the original of the dissertation here<\/a><\/strong>.<\/p>\n

6. Freedom works.<\/strong><\/p>\n

\"\"
Photo: Galleria Borghese<\/em><\/figcaption><\/figure>\n

The reform<\/strong><\/a> of the Italian museums introduced two years ago, which gave them more autonomy and new directors (some of them foreigners), continues to deliver. Minister Franceschini proudly announced a global increase of 7% in visitors for the first half of 2017, reaching a record 50 million – Il Giornale de l\u2019Arte<\/em><\/a> <\/strong>features the case of the Galleria Borghese<\/a><\/strong>, which introduced a new ticketing system. Furthermore, Franceschini\u2019s policy of allowing hiring non Italian directors has been recently uphold by the State Council, the highest administrative court in Italy, in the case over the Colosseum\u2019s administration brought by the Major of Rome (more at Il Fatto Quotidiano<\/em><\/a><\/strong>).<\/p>\n

7.The Zugaza\u2019s factor.<\/strong>\u00a0<\/strong><\/p>\n

\"\"
Photo: Deia<\/em><\/figcaption><\/figure>\n

Miguel Zugaza is performing as his best in his second round as director of the Museo de Bellas Artes in Bilbao<\/a><\/strong>. Their current exhibition<\/a><\/strong>, of the excellent collection of Alicia Koplowitz (until October 23th) is an enlarged version of the one showed in the Jacquemart-Andr\u00e9 in Paris. His is also talking about an expansion of the museum (article at El Pa\u00eds<\/em><\/a><\/strong>).<\/p>\n","protected":false},"excerpt":{"rendered":"

1. Back to work. I am reviewing these notes, which I wrote some days ago for this week\u2019s post, after six days of extraordinary events in my city and my country. One of the attacks\u2019 objectives was to break up our way of life, and it would be too easy to pretend nothing has changed.\u00a0 […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[15,29,42],"tags":[],"acf":[],"yoast_head":"\nSeven for seven: From Barcelona to Bilbao. - Jordi de Nadal | Fine Arts<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/jordidenadal.com\/en\/exhibitions\/from-barcelona-to-bilbao\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Seven for seven: From Barcelona to Bilbao. - Jordi de Nadal | Fine Arts\" \/>\n<meta property=\"og:description\" content=\"1. Back to work. I am reviewing these notes, which I wrote some days ago for this week\u2019s post, after six days of extraordinary events in my city and my country. 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