{"id":10294,"date":"2017-06-08T12:03:24","date_gmt":"2017-06-08T11:46:48","guid":{"rendered":"http:\/\/blog.museunacional.cat\/?p=10294"},"modified":"2017-06-08T12:40:13","modified_gmt":"2017-06-08T12:40:13","slug":"what-you-need-to-know-about-els-dolcos-indrets-de-catalunya-attractive-places-in-catalonia-by-pere-torne-esquius","status":"publish","type":"post","link":"https:\/\/blog.museunacional.cat\/en\/what-you-need-to-know-about-els-dolcos-indrets-de-catalunya-attractive-places-in-catalonia-by-pere-torne-esquius\/","title":{"rendered":"What you need to know about ‘Els dol\u00e7os indrets de Catalunya’ (Attractive Places in Catalonia), by Pere Torn\u00e9 Esquius"},"content":{"rendered":"
Elena Llorens
\nEduard Vall\u00e8s<\/h6>\n

\"\"<\/a><\/p>\n

It is a fact that in Catalan art history books there are always a few lines set aside for Torn\u00e9 Esquius in the chapter about Noucentisme<\/em>. This is so due largely to the impact \u2014and subsequent spread\u2014 of his album Dol\u00e7os indrets de Catalunya<\/em><\/a>, which saw the light in Barcelona at the end of 1910 under the auspices of the Noucentista <\/em>establishment. Because of the quality with which it was printed at the Oliva press in Vilanova i la Geltr\u00fa and the limited nature of the run (500 copies), this album came into being with the aim of becoming a bibliophile\u2019s piece<\/strong>, a status it still enjoys today. The poet Joan Maragall writing the foreword unquestionably contributed to increasing its prestige.<\/p>\n

What are the \u201cdol\u00e7os indrets\u201d?<\/h3>\n

This album contains 39 plates with the ink drawings that Torn\u00e9 made of different places in Catalonia printed on them<\/strong>, a delicate series with which the artist made an \u201cinventory\u201d of the Catalan landscape and architectural heritages in their popular and religious aspects: from village streets, domestic interiors of cottages or exteriors of farmhouses to oratories, sanctuaries, church interiors or boundary crosses, to mention but a few examples. It is a faithful portrayal of Catholic, rural Catalonia at the beginning of the 20th<\/sup> century <\/strong>which, in the hands of the Noucentistes<\/em>, eventually personified the ideal Catalonia to which they aspired.<\/p>\n

\nhttps:\/\/blog.museunacional.cat\/wp-content\/uploads\/DOL\u00c7OS-IMDRETS-FINAL.m4v<\/a><\/video><\/div>\n
Video with all the pages of the book\u2019s illustrations, available at the museum\u2019s library<\/a><\/h6>\n

Are the \u201cdol\u00e7os indrets\u201d Noucentista<\/em>?<\/h3>\n

Despite the fact that Noucentisme<\/em><\/a> is neither a school nor an artistic style, this album has always been thought of as a paradigm of Noucentista<\/em> aesthetics. We now know, however, that Torn\u00e9 Esquius made these delicate ink drawings in the first years of the century, in about 1903 (and thus seven years before they were compiled in album format), at the height of Modernisme,<\/em> when the term Noucentisme<\/em> had not yet been invented by Eugeni d\u2019Ors<\/a>.<\/p>\n\n\n\n
\"\"<\/a><\/td>\n\"\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
El Carmel shrine (Barcelona)<\/h6>\n

Who says that the originals of the \u201cdol\u00e7os indrets\u201d do not exist…?<\/h3>\n

The original drawings had always been given up for lost. The research done for the exhibition Torn\u00e9 Esquius<\/em> has enabled us to find 15 of them and expose them to the public light for the first time.<\/strong> This is without doubt an important event and, at the same time, a unique opportunity to be able to gauge the degree of fidelity with respect to the originals printed by Oliva of Vilanova in this album.<\/p>\n\n\n\n
\"\"<\/a><\/td>\n\"\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
The sanctuary of the Mare de D\u00e9u de N\u00faria (Girona)<\/h6>\n

Are the \u201cdol\u00e7os indrets\u201d real places?<\/h3>\n\n\n\n
\"\"<\/a><\/td>\n\"\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
The Can Gl\u00f2ria farmhouse, in the district of Horta in Barcelona<\/h6>\n

To date, no one has identified these places. What\u2019s more, nobody has even thought about whether they were real or not. Thanks to the exhibition at the museum<\/a> and the catalogue<\/a> that accompanies it, we now know that these places are not the product of Torn\u00e9\u2019s imagination but that he worked on the ground<\/strong>, reproducing with almost photographic fidelity the scene he beheld. To be precise, and thanks to old photographs, we can say for sure that the artist\u2019s pen immortalized the sanctuary of El Carmel in Barcelona (\u201cattractive place\u201d No. 1), the Can Gl\u00f2ria farmhouse, in the district of Horta in Barcelona (No. 8), the sanctuary of the Mare de D\u00e9u de N\u00faria, in El Ripoll\u00e8s (No. 15), and the Romanesque church of Sant Jaume in Queralbs, also in El Ripoll\u00e8s (No. 27).<\/p>\n\n\n\n
\"\"<\/a><\/td>\n\"\"<\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n
The Romanesque church of Sant Jaume in Queralbs (Girona)<\/h6>\n

As curators of the exhibition Torn\u00e9 Esquius: Poetics of the Everyday<\/em>, just as we hope to discover some of the works whose whereabouts are still unknown, we also issue a call to identify some of these \u201cdol\u00e7os indrets\u201d that we have been unable to recognize<\/strong>. Therefore, from this week onwards, via the museum\u2019s Twitter account, we shall be encouraging you, by showing some of these drawings, to see if, by joining forces, we can name them.\u00a0If you are curious, you can follow the hashtag\u00a0#Dol\u00e7osindrets<\/a>.<\/p>\n

Do you feel like taking part?<\/p>\n

Eduard Vall\u00e8s and<\/h6>\n","protected":false},"excerpt":{"rendered":"

Elena Llorens Eduard Vall\u00e8s It is a fact that in Catalan art history books there are always a few lines set aside for Torn\u00e9 Esquius in the chapter about Noucentisme. This is so due largely to the impact \u2014and subsequent spread\u2014 of his album Dol\u00e7os indrets de Catalunya, which saw the light in Barcelona at…<\/p>\n","protected":false},"author":55,"featured_media":10268,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[15,2],"tags":[368,538,395],"class_list":["post-10294","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-collection","category-general-en","tag-drawing","tag-illustration","tag-modern-art","author-elena-llorens"],"jetpack_featured_media_url":"https:\/\/blog.museunacional.cat\/wp-content\/uploads\/Cap\u00e7alera-02.jpg","jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p4tWCI-2G2","_links":{"self":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/10294","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/users\/55"}],"replies":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/comments?post=10294"}],"version-history":[{"count":7,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/10294\/revisions"}],"predecessor-version":[{"id":10303,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/posts\/10294\/revisions\/10303"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media\/10268"}],"wp:attachment":[{"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/media?parent=10294"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/categories?post=10294"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blog.museunacional.cat\/en\/wp-json\/wp\/v2\/tags?post=10294"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}