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III. 'Noucentisme'(s)

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  • III.25. Avant-garde(s)

In many aspects, the avant-garde was a continuation of bohemia, although it can be distinguished by its critical awareness of the role of the artist in intellectual work and in the collective production of its day. In its most radical versions, it saw the artist as a producer and a leader of masses, but there were also avant-gardes whose principal concerns were limited to an internal renovation of art itself. Nevertheless, away from the main centres of the European avant-garde –Paris, Berlin, Moscow–, in cities like Barcelona, the avant-garde revealed itself in more restrained and eclectic attitudes and its radicalism was replaced by an overall aspiration for modernity.

III.23. ‘Noucentisme’ and Mediterraneanism [1]

III.24. Galeries Laietanes [2]

III.25. Avant-garde(s)

III.26. Realism(s) [3]

III. 27. Modern life 1. Photography, film., advertising [4]

III.28. New art and Surrealism(s) [5]

III.29. Modern life 2. Experimentalism and the people’s media [6]

III.30. Monumental decorative art [7]

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Otho Lloyd, Añoranza, sense data

Josep de Togores, Printània, 1922

Juan Gris, Aux courses de Longchamp, 1913

Manuel Hugué, Torero, 1913

Olga Sacharoff, Un casament, 1919-1923

Pere Daura, Verticals, 1929

Pablo Gargallo, Gran ballarina, 1929

Juli González, Personatge dempeus, cap a 1935

Joaquim Torres-García, Uruguai, 1939


Links
[1] https://www.museunacional.cat/en/iii-noucentismes [2] https://www.museunacional.cat/en/iii-noucentismes-0 [3] https://www.museunacional.cat/en/iii-noucentismes-2 [4] https://www.museunacional.cat/en/iii-noucentismes-3 [5] https://www.museunacional.cat/en/iii-noucentismes-4 [6] https://www.museunacional.cat/en/iii-noucentismes-5 [7] https://www.museunacional.cat/en/iii-noucentismes-6