El pintor y su guía (1891-01/1892-12) by Jaume Morera GalíciaMuseu d'Art Jaume Morera
From the studio to plein air
“For many years I stroked the project of penetrating into the Sierra to admire it in all its glory and try to steal its secrets. The snowy peaks [...] exerted on me such power of attraction that I was not able to remove me to the sharp desire to close the gap.” (Jaume Morera).
Guadarrama (1891-01/1897-12) by Jaume Morera GalíciaMuseu d'Art Jaume Morera
"In that group of woodcutter ladies, only one showed eagerness to please me. It was a homely and fairly ugly slender lass, who disappeared silently to return loaded with bushes and flowers which offered me without pronouncing a word. She rarely spoke [...]. Her friends called her «Bland». Poor thing!" (Jaume Morera)
Cabeza de Hierro (1891/1897) by Jaume Morera GalíciaMuseu d'Art Jaume Morera
Picos de Najarra. Guadarrama (1891/1897) by Jaume Morera GalíciaMuseu d'Art Jaume Morera
In search of light and scenes concordant with his artistic interests, Jaume Morera became interested in the winter at Sierra de Guadarrama. The discovery of the snowy landscapes allowed him to incorporate a romantic rooted drama to his paintings, which became quite a distinguishing feature.
Capilla griega. Entrada al Santo Sepulcro (Jerusalén) (1927/1927) by Enric Simonet LombardoMuseu d'Art Jaume Morera
The discovery of the other ones
"Christian readers will wonder what my feelings were when entering [...] I can not say. So many things were offered to my spirit that [...] I stayed half an hour kneeling in the small hall of the Holy Sepulchre, unable to stop staring at the stone. "(Chateaubriand)
Zapatero moro (1933/1933) by Miquel Viladrich VilaMuseu d'Art Jaume Morera
In 1932 Viladrich made a trip to Morocco. The result was a series of 30 paintings of Sephardic themes and crafts, marked by the artist's taste for realism and meticulous detail, combined with a symbolist and primitive air at the same time.
Sagrada Familia (1905/1905) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
"The Sagrada Família ... It is the best creative work of architecture of the last 25 years. It is the spirit made stone" (Louis Sullivan)
Les Rambles (Barcelona) (1910/1910) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
"La Rambla is wonderful. It is one of the few streets of Barcelona where I feel entirely fine." (Josep Pla)
Baldomer Gili Roig in Barcelona's Reial Cercle Artístic (Casa Lleó Morera) (1911/1911) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
Group picture at Barcelona's Sala Parés (1910/1910) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
This group portrait shows some of the participants of an exhibition held at Barcelona's Sala Parés in 1910. Among them Santiago Rusiñol, the fourth figure from the left.
La Roma dels Sants Pares (1909/1909) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
Destination of art scholarship holders
"The contemplation of sublime beauty absorbs me ... I've reached the point where celestial sensations are experienced [...]. If only I could forget! I had palpitations; [...] my life flowed along!" (Stendhal)
Villa Falconieri's garden (1900/1900) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
Erected in the 16th century, one century later the Villa was acquired by Orazio Falconieri, who commissioned its remodelling to Antonio da Sangallo and Borromini. The gardens date of the 18th century, and in 1900 Gili i Roig represented them during his stay in Rome, which he combined with several visits to Frascati.
Roman Forum (1900/1904) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
"... And tourists take pictures of themselves where you and I used to have breakfast; those are the good things of being eternal ..." (Manel)
Man in front of the Arch of Titus (Rome) (1900/1904) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
"I finally reached the capital of the world! I see all my youthful dreams coming true ... Only in Rome one can understand Rome!" (Goethe)
Piazza del Popolo (Rome) (1900/1904) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
"[...] I carried out trips to all the cities of Italy. [...] Touring museums and galleries, I visited excavations, monuments, and libraries trying to comprehend and love everything without letting anyone or anything drag me down." (Baldomer Gili i Roig)
Baldomer Gili i Roig while painting "Abisme" (1904/1904) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
Abisme (1904/1905) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
This artwork —an example of Gili i Roig's symbolist stage— won Joan Puig Llusà's decorative panels contest in 1905. Years later, the track of the painting was lost until it was found at Palau Novella and the Buddhist community who currently lives there donated it to the museum.
En Montmartre (1908/1908) by Xavier Gosé RoviraMuseu d'Art Jaume Morera
La Belle Époque, closely
"However bad things here in Paris might be, it will not be worse than in Barcelona. [...] These things are achieved only on the basis of work [...] and resilience. So I do and will do before returning to Spain, where there's only ignorance and artists lack of protection." (Xavier Gosé)
De Marigny (1909/1909) by Xavier Gosé RoviraMuseu d'Art Jaume Morera
Grand Prix / En las carreras (1911-01/1911-12) by Xavier Gosé RoviraMuseu d'Art Jaume Morera
Gosé's works are graphic reports of Paris during the Belle Époque, featuring the bourgeoisie's friendly scenes but also the most decadent sights of that universe, personified in young girls who visited the most luxurious cafes and hotels in their search for wealthy dandies.
Arianne (1913/1913) by Xavier Gosé RoviraMuseu d'Art Jaume Morera
"Paris is a city of amusements and pleasures, where four-fifths of its inhabitants die on spleen." (Nicolas Chamfort)
Au revoir (1912-01/1912-12) by Xavier Gosé RoviraMuseu d'Art Jaume Morera
Esquisse (1913/1913) by Xavier Gosé RoviraMuseu d'Art Jaume Morera
Sur la terrasse (1913/1913) by Xavier Gosé RoviraMuseu d'Art Jaume Morera
Vie Au Grand Air frontpage (1913/1913) by Xavier Gosé RoviraMuseu d'Art Jaume Morera
Untitled (1963/1963) by Josep Iglesias del Marquet OlomíMuseu d'Art Jaume Morera
United Kingdom and the United States
Following Josep Iglésias del Marquet's footsteps
"These postcards of the American series come from a banal cliché and from a vast part of reality. The other day was Marilyn, Pop-Art, and the American flag. Today it has been the dollar and later on the Indians, and other everyday things." (Josep Iglésias del Marquet)
Untitled (1971/1971) by Josep Iglesias del Marquet OlomíMuseu d'Art Jaume Morera
Cadaqués / Marine (1912/1912) by Antoni Samarra TuguesMuseu d'Art Jaume Morera
The discovery of the closest beauty
"[...] My job as a sculptor does not let me devote myself to drawing and painting as much as I should [...]; in my stuff you will see good faith: some works are the impressions of the moment [... ], others are a little more elaborated, perhaps more philosophised ... " (Antoni Samarra)
Santa Florentina's castle yard (1912/1912) by Antoni Samarra TuguesMuseu d'Art Jaume Morera
Juncosa de les Garrigues (1914/1914) by Antoni Samarra TuguesMuseu d'Art Jaume Morera
Religious event in Ponts (1913/1913) by Antoni Samarra TuguesMuseu d'Art Jaume Morera
El claustre inefable (Sant Cugat del Vallès) (1920/1920) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
Vinaixa. General view (1924-01/1924-12) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
Vinaixa's bridge (1924/1924) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
Platja del Port Bo (Calella de Palafrugell) (1905/1925) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
"The trend of Palafrugell natives to the sea is very old, permanent, steady. Calella, Llafranc, Tamariu, Aigua-Xellida, Aiguablava and Fornells are not mere geographical locations [...] they are forms of our spirit, pieces of our intimate personality." (Josep Pla)
Platja del Canadell (Calella de Palafrugell) (1905/1925) by Baldomer Gili i RoigMuseu d'Art Jaume Morera
Landscape (Àger) by Albert Vives IglesiasMuseu d'Art Jaume Morera
Albert Vives began painting in the 50s, fighting traditional art and initiating a synthesis of forms that led him to Informalism. Afterwards he returned to figurative art through the landscape, a genre he would not abandon until his late days.
Gósol (Lleida). Aerial view (1960/1960) by Antoni Sirera GenéMuseu d'Art Jaume Morera
In the late 50s Ton Sirera began a work based on aerial photography and macro-photography. These images became milestones in the Catalan Informalism, where Sirera entered almost paradoxically as photography used to be a "realistic" means of representation.
Untitled (urban landscape) (1944/1944) by Francesc Charles PardellMuseu d'Art Jaume Morera
Western Catalonia's capital city seen by their artists
After the Spanish Civil War, Charles Pardell was among the first to open his workshop in Lleida, where in 1943 he made his first solo exhibition. His restless spirit led him to Barcelona, and from then on he attended many contests, being awarded several times.
View of Canyeret (1960/1960) by Antoni Garcia LamollaMuseu d'Art Jaume Morera
" Canyeret is a neighbourhood about to disappear [...] at the Seu Vella hill [...]. Formerly it was a farming neighbourhood, emerged after the systematic destruction of the city by Philip V of Spain. Humble huts and houses were made [...] with reeds and mud, so it was called Canyeret ... " (Josep Vallverdú)
Canyeret (1950/1950) by Josep Benseny PiñolMuseu d'Art Jaume Morera
Josep Benseny was a key player in the late 40s art renovation in Lleida. As a result of a complete break with the past and in the absence of the avant-garde leaders, his work and his figure became a natural reference in the completely deserted local art scene.
Lleida's Plaça de l'Ereta (1999/1999) by Alfons LópezMuseu d'Art Jaume Morera
The Ereta Square took its shape in the 13th century, at the Ereta of Santa Cristina. In the 14th century the religious name disappeared, and in the 18th century the Marquis of Blondel remodelled it, adding the fountain. After the Spanish Civil War the place was renovated and currently is a local cultural asset.
Paeria's porches (1999/1999) by Alfons LópezMuseu d'Art Jaume Morera
"My Lleida is not yours. Moreover, now that I see it from the distance, it reveals not as hard and way clearer." (Màrius Torres)
Museu d'Art Jaume Morera
Carrer Major 31 i Avinguda Blondel 40, baixos
+34 973 700 419