Sagrada Familia: Gaudí’s Unfinished Masterpiece
The Sagrada Familia: Gaudí’s Masterpiece
Antoni Gaudí’s Expiatory Temple of the Holy Family (Barcelona, 1882)
Modernist Architecture
The expiatory temple of the Holy Family in Barcelona is a complex work. Enclose an evolutionary process of modernism gaudiano, since he took over the work, and raised in the Gothic style by architect Francisco de Paula del Villar.
The crypt, apse and above all the external facade of birth is what ended Gaudí. On the structural basis of the four towers, completed for the crosses aimed at the four cardinal points as used to be the architect. Speaking of modernism in architecture is talk of a term that overlaps the criterion of ART Nouveau. Arguably, this is a decorative style, based on a curvaceous beauty, lush, colorful and floral at once was a style and fashion. In a word, an art of design. In the field of architecture demands the collaboration of mosaítas, glaziers, carpenters and sculptors. Architects who linked to this movement: Gaudi, Guimard, Domenech Montaner, Van de Velde, not only projected but designing their buildings and decorative elements to the furniture of the houses built.
It comes a fanciful architecture, decorative print, fond of ornaments based on organic motifs, especially floral and zoomorphic, the colorful exuberance, broke with the classical rules and an enormous imagination. Therefore, it can be said to be dematerialized and marginalizing overlapping architectural structures. An architecture that seeks pleasure of beauty and wellbeing. And all through the joint where the prevailing sense of taste and harmony to the base of ornamental light, delicate and unstable, and does not reject the technical innovations of the century, but the features, such as the use of iron. Gaudí was much more than a modernist, was an architect of genius, full of magic, able to mix with a creative sense elements of different origin. Ahead of its time, so that he criticized sharply in his time, eventually had to be regarded the forerunner of organic architecture, and their works are played imaginary animals often organic U General, which is camouflaged in a appearance that mimics nature, if they are added directly reliefs and sculptures of plants and animals. Equally original plants and the solution of their supports and casings that are resolved with formal elements novel also uses different materials to complement the stone, like Iron and ceramic.
Gaudí was the real master of the works, which planned and executed absolutely everything and lives in the work itself and almost obsessed by it.
Gaud’s repertoire is very broad in Catalonia and beyond, but certainly his most spectacular achievement and the monumental unfinished Sagrada Familia in Barcelona.
The Sagrada Familia is a temple whose construction initiated Jose Maria Bocabella as promoter and F. Paula Villar as an architect, who started the project in 1866. Notwithstanding the differences with board members caused the resignation of Villar, being designated A. Gaudí for the completion of the building after 1886. Since then the temple designed by Gaudi is slow and deliberate and sometimes suffers stoppages because economic problems. In 1926, Gaudí’s death (hit by a tram) is a disappointment to the constructive process, which will be compounded by civil war, which among other things involves the destruction of part of the finished work and the models made by the author. In fact 76 to 19 definitely not finished with all the passion facade towers, performing in recent years turning over the vaults of the aisles, the transept and apse. Still, as long as it keeps pace with construction of recent years is not expected that the Holy Family can be completed before 2030.
Its structure would include a plant basilica in a Latin cross, with four aisles and a more central. The cruise, in turn consists of three naves, presenting in his arms two frames: the facades of the nativity and the passion that complement the main front entrance to the nave, which is known as a front of glory, not yet complete. But this description must be added the number of technical inputs and decorative features of the actor, especially a unique and original. So no lack of organic touch to the point that it viewed as a magical forest of trees and foliage that emerge as light for the believer helical towers of the temple, which in turn seem to sand sculpting or logs drilled by giant nests termitas.Los vegetable capitals, pillars sloping helical paraboloid vaults, creating all sort of shapes that resemble a network of bones. Windows, circular windows, tracery and other decorative motifs are capricious designs of complete fantasy, and not missing as in all his work a varied range of material: in this case Murano glass, ceramics, tiles, etc. ..
The temple also consists of a cloister surrounds the temple and this acts as a space that isolates it from the outside. At the height of the apse in the cloister will open the chapel of the Assumption of the Virgin and on each side of it a sacristy. Also, the sides of the main facade has yet to build a baptistery to her left and right paths chapels dedicated to the Eucharist and penance.
The project also envisages the construction of twelve bell towers (one for each apostle), four more for the evangelists, one dedicated to the Virgin and the largest, 170 m, height crowned with the typical cost four arms designed by Gaudí, symbol of Jesus Christ.
These towers have parabolic profile inside a spiral staircase around an area where you have to place the tubular bells, Gaudí studied for years and that will sound compressed air and percussion.
Clearly the deep Christian symbolism that the entire construction. Thus, all ornamental program follows a cycle of strong iconographic Christian content and supplemented with mixed religious issues. No details are missing purely organismic, like many lizards around the walls and towers throughout the temple, if not, mathematical games, as in the facade of the passion in which is inscribed in a square, 16 figures that allow 310 different combinations always sum 33: the age of Jesus at the time of his death.
The Yellow Christ
Author: Paul Gaugin
Date: 1889
Museum: Albright-Knox Gallery, Buffalo, NY
Features: 92x73cm
Material.Óleo on canvas
Estilo.Postimpresionista
This is one of the works of Gaugin was conducted during the fall of 1889, instead of Brittany where he moved after leaving Pont-Aven.Se polychromed inspired by a seventeenth century church found in Trémalo. Christ becomes the protagonist of the scene, with that yellow color and the contour lines well marked, following the technique of cloisonné enamels and inspired by the stained glass. With Christ are three Breton women, suggesting that we have a vision produced by the devotion of women. In the background, a figure jumps a fence, indicating a desire to escape, in the minds of the artist. Primitive, with women, and the symbolic, attempt to transmit a message as real and marginalize him. The fall color is typical Breton, with the colors orange and yellow mixed with green, combined with Yellow Christ.
Gaugin represented the myth of the bohemian and primitivism. It embodies the need to unite art and life. His paintings contain an ethical component. He rejects academic valuing exotic, Romanesque art and all the trends that were out of the ordinary.
Gauguin was born in París.Su father was a journalist and was free to emigrate with his family to Peru after the coup of Napoleon III. In the file, no father, family relapse until the autumn of 1854, which returned to France, settling in Orléans. In 1861 he moved to Paris where Mother works as a dressmaker. Paul is preparing to join the nautical school but stopped and joined the Navy at age 17. On his return to Paris in 1822 became a stockbroker, which gets work in a good income that allow you to collect and start painting while he marries the young Danish Mette Gad, with whom he had five children. His first artistic master Camille Pissarro will by which enters the Impressionist group. In 1882, many brokers are goodbyes, including Gaugin, who begins to think of living in his painting. The economic difficulties, was transferred in 1883 at Rouen. In 1886 decided to move to Paris with his eldest son, leaving the rest of the family in Denmark. In the same year he moved to Pont-Aven, which radically changed his painting, leaving Impressionism and starting a more personal exchange with a deeper color and greater symbolism. But Gauguin moved to Panama, where they work in the channel that is being built. Returning to France, settled in Britain. Here again experience a change in his manner of painting through the influence of Oriental art. At such times as the vision paints works after the sermon, the Yellow Christ or the beautiful Angela. Breton’s stay was interrupted by a brief stint with Van Gogh in Arles, relationship that went roughly handled, but retained the friendship. His new dream is to go to Tahiti. Will make a living doing portraits but decided to leave civilization and live with a young Tahitian. Primitivism and symbolism mark his painting, as seen in I greet you, Mary, the woman with the flower, Land O delightful entertainment. In 1893 he returned to Paris where he hopes the recognition of their talent and economic success, but this does not happen in June 1895 and moved back to Pacific, desperate, ill, alcoholic and sólo.Las marquesas will be your new destination and there will His most famous works: never more, riders, young fan, Barbarian stories, where did we come from, what we are, where do we go? O and the gold of their bodies, which makes its intention to break with the realist tradition. Gauguin began a campaign for indigenous people and having difficulties with the authorities in Tahiti, he leaves the island and moved to Atuan, where he tries to isolate a very young girl and a cabin; die, apparently of a heart attack. It was in Britain, where he became interested in religious themes. Naturally attracted by Catholicism, and then the study of religion and myth Maori when he moved to Tahiti, left the imagery to practice syncretism and identify with the betrayed Christ on Golgotha. The Yellow Christ is the first witness of the spiritual and artistic guidance. The Trémalo chapel, on the outskirts of Pont-Aven, houses a wooden crucifix painted in the seventeenth century served as a model for this obra.A Gauguin was struck by the delicacy and sweetness of the suffering Christ, arms outstretched silhouette formed the starting point for a masterpiece. The Yellow Christ, conducted in autumn 1889. Picture of grief and mystery, the Christ of the chapel is under Gauguin’s brush in a glowing god and symbolizes the new direction of his art, mystical, violent, barbaric.Mirbeau, journalist and art critic was the first to be excited about this ordeal in which ^ the Christ, which Papua divinity, roughly carved from a tree trunk by a local artist, the Christ pathetic and barbaric, they are yellow embadurado ^. The yellow color was then the fetish of the artist.
This work is another example of cloissoné: large areas of flat color outlined in blue or black. The drawing and shapes are very simplified. The color is applied, with no connection with nature, but rather with the expressive needs of the artist. The yellow indicates Christ’s suffering and humanity of the figure, conveying an overwhelming sense of drama.
The composition is based on the photo ^ ^ Court of the kneeling women open in an arc around the Christ. In the background red trees contrast with the hills and meadows of a greenish yellow.
The Christ and the figures surrounding him are not in the center of the composition, but a little to the left, leaving an empty space on the right. It has been suggested that it is an invitation to the spectator to go to occupy his knees, a place with incomplete arch around Christ rural women. Just before leaving Tahiti, questioned the extent of their sense of vocation causes so many sacrifices and sufferings, Christ Chapel Trémalo reappeared in his work. It can be seen a closeup of the same, in the form of painting within a painting, behind a portrait of the artist, and his presence gives a metaphorical meaning in the face of the painter. Gaudí was included in the Wagnerian tradition, which gave the art as a mission, necessary for the salvation of mankind. Gauguin’s work, which opened new horizons in later generations aesthetic with the incorporation of the primitive and its unique use of color, exerted an influence on artists of the Symbolist movement, Expressionists and Fauves.