Displaying 73 - 83 of 83
Painting
Pintura que porta part de la Història de Roma MNAC/MAC 68174-CJT. Sèrie de Roma provinent de la Casa Clarós (posteriorment coneguda com a Casa Serra o Can Serra). Es trobava entre Riera de Sant Joan i Sant Pere més Alt; Construïda per Llorenç Clarós, la casa i les pintures van acabar en mans d'un hereu: Eusebi Serra i Clarós (i aleshores es va passar a dir Can Serra). Filla d'Eusebi Serra, Flora Serra i Casanoves, es va casar amb Manuel Bertrand i Salsas. El fill del matrimoni fou Eusebi Bertrand i Serra, qui va reconstruir les sales en una casa de la Bonanova (en un titular de diari diu que la casa fou restaurada per la Lliga Regionalista amb motiu de la “Solidaritat”). Es tracta de la sèrie de la història de Roma, composta per 9 teles; Les pintures són sobre tela i recreen la història llegendària de la fundació de Roma pels germans Ròmul i Remus.
Painting
Pintura que porta part de la Història de Roma MNAC/MAC 68174-CJT. Numitor, rei d'Alba Longa, una ciutat mítica del Laci, va ser derrocat pel seu germà Amuli. L'usurpador va matar la descendència masculina de Numitor alhora que va obligar l'única filla d'aquest, Rea Sílvia a fer-se vestal per tal que el vot de castedat imposat pel seu sacerdoci li impedís tenir fills que disputessin el tron al nou rei. Tanmateix Rea Sílvia es queda embarassada del déu Mart i dóna a llum bessons, Ròmul i Rem. Amuli, empresona la noia i ordena llançar els dos infants al riu Tíber, on a la seva vora una lloba sent el seu plor i els salva, els alleta fins que el pastor Fàustul els troba i els porta a casa seva, on ell i la seva esposa Larència els criaran com si fossin fills seus. Els bessons quan es fan grans acaben esbrinant la seva autèntica identitat i els seus orígens, llavors prenen venjança contra Amuli i restitueixen el reialme a Numitor. Després de ser reconegut el seu llinatge reial, els germans decideixen fundar una nova ciutat allà on havien estat trobats. Però immediatament va sorgir la disputa per quin dels dos germans donaria el nom a la ciutat i en seria el rei, puix que no se sabia quin dels dos era el primogènit. Així que la decisió es va deixar a la voluntat dels déus per mitjà de la consulta dels auguris. Primer va semblar que afavorien Rem, perquè va ser el primer a veure sis voltors, però tot seguit Ròmul en va veure el doble. Ròmul, doncs, es va proclamar rei i va traçar els límits sagrats de la nova ciutat al voltant del Palatí. Rem, sense acceptar la seva derrota, va desafiar la naixent autoritat del seu germà saltant el solc que assenyalava el traçat de la futura muralla i aquest el va matar travessant-lo amb una llança. Així, Roma, tal com Ròmul va anomenar la ciutat tot just fundada a partir del seu propi nom, va néixer amb un fratricidi. Era el 21 d'abril del 753 a.C.
![image for: Francesc Pla Duran dit "El Vigatà" - Paisatge amb port i velers - Entre 1790-1800](https://www.museunacional.cat/sites/default/files/styles/resize_500x500/public/images/art_piece/first_gallery/81393/068745-000_134228.jpg "Francesc Pla Duran dit "El Vigatà" - Paisatge amb port i velers - Entre 1790-1800")
Painting
In 1778 Carlos III of Spain issued the decree by which the ban was lifted on Catalonia's trading with the Americas. This marked a turning point in the life of the Catalan bourgeoisie, whose power rose considerably in the last quarter of the eighteenth century. Part of the profits they made from industry and commerce was invested in the construction and decoration of their own houses. The main salon of one of these homes, most probably built on the outskirts of Barcelona, was decorated with Pla's series of paintings devoted to the life of the Virgin. Of the complete series of seventeen canvases, twelve are preserved at the Museum. In 1987 Santiago Alcolea Gil made the paintings known, the indisputable work of Francesc Pla, otherwise known as 'el Vigatà', one of the artists most in demand when it came to painting the interiors of Catalan bourgeois mansions. His style broke away from the academic canons of the period, his flowing, quick, vigorous brushstrokes having affinities with the Rococo.The Visitation narrates the visit that Mary paid to her cousin Elizabeth and includes popular details that enhance the realistic nature of the scene, such as the pouch and water bottle that St Joseph carries, accompanied by his mule, and the basket of chickens borne by the maidservant.
![image for: Francesc Pla Duran dit "El Vigatà" - Naixement de la Mare de Déu - Cap a 1780](https://www.museunacional.cat/sites/default/files/styles/resize_500x500/public/images/art_piece/first_gallery/35079/202168-000_148364.jpg "Francesc Pla Duran dit "El Vigatà" - Naixement de la Mare de Déu - Cap a 1780")
Painting
In 1778 Carlos III of Spain issued the decree by which the ban was lifted on Catalonia's trading with the Americas. This marked a turning point in the life of the Catalan bourgeoisie, whose power rose considerably in the last quarter of the eighteenth century. Part of the profits they made from industry and commerce was invested in the construction and decoration of their own houses. The main salon of one of these homes, most probably built on the outskirts of Barcelona, was decorated with Pla's series of paintings devoted to the life of the Virgin. Of the complete series of seventeen canvases, twelve are preserved at the Museum. In 1987 Santiago Alcolea Gil made the paintings known, the indisputable work of Francesc Pla, otherwise known as 'el Vigatà', one of the artists most in demand when it came to painting the interiors of Catalan bourgeois mansions. His style broke away from the academic canons of the period, his flowing, quick, vigorous brushstrokes having affinities with the Rococo.
Painting
In 1778 Carlos III of Spain issued the decree by which the ban was lifted on Catalonia's trading with the Americas. This marked a turning point in the life of the Catalan bourgeoisie, whose power rose considerably in the last quarter of the eighteenth century. Part of the profits they made from industry and commerce was invested in the construction and decoration of their own houses. The main salon of one of these homes, most probably built on the outskirts of Barcelona, was decorated with Pla's series of paintings devoted to the life of the Virgin. Of the complete series of seventeen canvases, twelve are preserved at the Museum. In 1987 Santiago Alcolea Gil made the paintings known, the indisputable work of Francesc Pla, otherwise known as 'el Vigatà', one of the artists most in demand when it came to painting the interiors of Catalan bourgeois mansions. His style broke away from the academic canons of the period, his flowing, quick, vigorous brushstrokes having affinities with the Rococo.The House at Nazareth depicts an ordinary day in the life of the Holy Family: Joseph and the child Jesus busy in the carpentry workshop and Mary occupied in her daily chores in an atmosphere of harmony symbolised by five angels, two of whom play musical instruments. J.Y.
Painting
In 1778 Carlos III of Spain issued the decree by which the ban was lifted on Catalonia's trading with the Americas. This marked a turning point in the life of the Catalan bourgeoisie, whose power rose considerably in the last quarter of the eighteenth century. Part of the profits they made from industry and commerce was invested in the construction and decoration of their own houses. The main salon of one of these homes, most probably built on the outskirts of Barcelona, was decorated with Pla's series of paintings devoted to the life of the Virgin. Of the complete series of seventeen canvases, twelve are preserved at the Museum. In 1987 Santiago Alcolea Gil made the paintings known, the indisputable work of Francesc Pla, otherwise known as 'el Vigatà', one of the artists most in demand when it came to painting the interiors of Catalan bourgeois mansions. His style broke away from the academic canons of the period, his flowing, quick, vigorous brushstrokes having affinities with the Rococo.