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<\/a><\/p>\nIn 1905 a series of 25 postcards were published of the most important artists of the time, according to its author Francesc Serra Dimas<\/a>, who portrayed them in a personal and intimate environment.\u00a0 Among the characters portrayed it is worth highlighting Llu\u00efsa Vidal<\/a>. In 1915, a second series of 35 new images came to light.\u00a0 Even though the goal of Serra was not commercial, it got press coverage and even ended up being projected in the cinema. Gone were the words of Serra when he conceived the project and requested facilities to some of those who had been his models: \u00abI’m not guided by any commercial interest with this; the only wish I have is that the names and figures reach the general public, and this doesn\u2019t seem to me to be a bad way of achieving it.\u00bb These words were aimed at the members of the Penya Par\u00e9s, of which he formed part, to defense his idea when faced with the skepticism of Modest Urgell, Joan Brull and Isidre Nonell, amongst other artists.<\/p>\n In 1954 he gathered together some of these portraits, and others unpublished, and he published them in the form of a book: Our artists, Graphic, documentary and anecdotic reportage<\/em>, Barcelona, 1954. From among the 37 artists portrayed and commented on by Serra in this publication, there is only one woman:<\/strong> our artist.<\/p>\n Francesc Serra, Portrait of Llu\u00efsa Vidal in her studio<\/em>, 1904<\/a><\/p><\/div>\n And who was Llu\u00efsa Vidal? To start with, let\u2019s see what Francesc Serra himself said in the comments he wrote for this publication.<\/p>\n \u00abShe was the favourite disciple of the major artist Mas y Fondevila, under whose tutorship she learnt to draw and paint. She was a singular case: the only woman who, at the beginning of the 20th century, would dedicate herself with enthusiasm to such a difficult and complicated task, managing to do so well, and in a moment in which all the girls from the wealthy families entertained themselves by playing the piano. She was an exception.<\/p>\n \u00bbShe did various portraits, in pencil and oil, of Barcelona ladies with a notable presence, with soft colours and impeccably drawn. She also liked painting open air themes; \u201cGirls leaving the church on the day of their First Communion\u201d, \u201cDancing the Sardana\u201d, etc., reflecting exquisite and refined personal sensibility. Her name has amply well-earned the merit of figuring in the history of Catalan painting.<\/p>\n \u00bbLuisa Vidal was a person of exquisite kindness and charming courtesy: she liked to talk of painting without making any personal allusions that were not flattering.<\/p>\n \u00bbIn the fullness of youth and filled with enthusiasm death would overcome her.\u00a0 She didn\u2019t lack talent or sensibility.\u00bb<\/p>\n<\/a>