Museu Nacional d’Art de Catalunya, Barcelona, Spain

The National Art Museum of Catalonia (catalan: Museu Nacional d’Art de Catalunya) is the national museum of Catalan visual art located in Barcelona, Catalonia, Spain. Situated on Montjuïc hill at the end of Avinguda de la Reina Maria Cristina, near Pl Espanya, the museum is especially notable for its outstanding collection of romanesque church paintings, and for Catalan art and design from the late 19th and early 20th centuries, including modernisme and noucentisme. The Museum is housed in the Palau Nacional, a huge, Italian-style building dating to 1929. The Palau Nacional, which has housed the Museu d’Art de Catalunya since 1934, was declared a national museum in 1990 under the Museums Law passed by the Catalan Government. That same year, a thorough renovation process was launched to refurbish the site, based on plans drawn up by the architects Gae Aulenti and Enric Steegmann, who were later joined in the undertaking by Josep Benedito. The Oval Hall was reopened in 1992 on the occasion of the Olympic Games, and the various collections were installed and opened over the period from 1995 (when the Romanesque Art section was reopened) to 2004. The Museu Nacional d’Art de Catalunya (Museu Nacional) was officially inaugurated on 16 December 2004. It is one of the largest museums in Spain.

The Museum is housed in the Palau Nacional (1929), with spectacular views over Barcelona. The MNAC (Museu Nacional d’Art de Catalunya) offers a fascinating artistic journey: from the best Romanesque collection of mural paintings in the world, to Gothic, Modern and 20th-century Art. The collection includes works by El Greco, Velázquez, Fortuny, Gaudí, Ramon Casas, Julio González and Dalí, amongst others.

Built for the International Exhibition in Barcelona, the Palau Nacional has borne witness to the history of this city. Strategically located on the side of the mountain of Montjuïc, it overlooks the city, which lies at its feet. Originally planned by Josep Puig i Cadafalch and built by Pere Domènech i Roura, Eugeni P. Cendoya and Enric Catà, it is clear example of the Beaux-Arts style of architecture.

Through its collections, the museum tries to give a global discourse on Catalan art from the 11th century to the present day. In some cases, such as the collections of Gothic, Renaissance and Baroque, this discourse is also made For comparison with works of art from other origins

The collection is divided into the following concepts: Romanesque art, Gothic art, Renaissance and Baroque art, modern art, drawing, engraving and poster, photography and numismatics. In addition, the collection has the Library of History, Art and the General Archive

The museum’s collection has gradually been formed over the years, with the aim of recovering and representing the bulk of Catalan artistic heritage, both from purchases of private collections (Casellas in 1911, Alexandre de Riquer in 1921, Plandiura in 1932 And Muntadas in 1956) as donations (Enric Batlló (1914), Legado Cambó, Legado Espona (1958), Legend Domènec Teixidó, Legado Bertran (1970), Legacy Fontana (1976), Girbau SA)

Regarding the permanent exhibition, it is divided into the following sections: Romanesque, Gothic, Renaissance and Baroque, Legacy Cambó, Thyssen-Bornemisza Collection, Carmen Thyssen-Bornemisza Collection, Modern Art, Drawings, etchings and posters, photography and numismatics The proposed route to analyze and understand in the best way possible the way the collections are presented, begins with the room next to the lobby, where you can find the oldest Romanesque paintings, mural paintings and other forms of painting (basically on wood) , Sculpture and decorative arts This presentation surrounds the Great Hall and attends to a chronological perspective that passes – once the Romanesque art collection has been visited – for gothic works, then in another area where the transition can be clearly seen From the Gothic to the Renaissance and finally a third that exposes the baroque works. The circuit continues on the first floor, where the works of art from the nineteenth century are located and It boasts towards 20th century art

During the course of 2009, a digitalisation of the collection began, in order to be able to offer virtual visits to the museum’s collection On March 12, 2010, the creation of the portal was published, from which the first 1900 works can be observed Digitalized and some gigaphoto of the most important works, such as La Vicaria de Fortuny or Pantocràtor de Sant Climent de Taüll

Romanesque (11th to 13th centuries):
The Romanesque Art Collection is one of the most important and emblematic of the Museum for the exceptional series of mural paintings that it contains. In fact, its uniqueness has no parallel in any other museum in the world. Much of these paintings, From small rural churches in the Pyrenees and from other places of the Old Catalonia, were known and valued since the first years of the 20th century, especially after the Pyrenean expedition (1907) of a mission of the Institut d ‘ Estudis Catalans, who subsequently published Catalan murals. Years after it was discovered that a group of foreign financiers and antiquarians had most of the paintings bought in the United States in the United States. Although there was no time in Spain Laws prohibiting the expatriation of works of art, the Board of Museums carried out an effective rescue intervention, start-up and transfer to the Museum of Barcelona (1919-1923), then at the Parc de la Ciutadella, eg To protect this Romanesque heritage, art of a total singularity that has been seen as a symbol of the birth and formation of Catalonia

The route of the Romanesque art galleries is basically chronological and stylistic, and shows the different artistic tendencies of Romanesque art in Catalonia, with works that basically belong to the 11th, 12th and 13th centuries.

The itinerary starts with the mural paintings of Sant Joan de Boí, close to the Franco-Aragonese tradition, and continues with the sets of Italian influence that dominate the pictorial scene since the end of the 11th century, connected without a doubt to the ‘Impulse of the Gregorian reform, with examples such as the murals of Sant Quirze de Pedret, Santa Maria d’Àneu or Sant Pere del Burgal

One of the masterpieces of the collection is the paintings of the apse of Sant Climent de Taüll, with the famous Pantocràtor or Crist in Majesty, undoubted masterpiece of the 12th century and a tangible proof of the creative strength of Catalan painting. At his On the side, it is worth noting the whole of Santa Maria de Taüll, the most important example of an interior of a Romanesque church completely painted, which has preserved much of this decoration

The end of the route focuses on the Paintings of San Pedro de Arlanza and those of the chapter room of Sixena With regard to these last ones, it is one of the most magnificent pictorial sets in the renovating style of 1200 in Europe and that is He retains the Museum after the serious fire that he suffered in 1936 during the Civil War

The tour also shows other techniques that distinguish Catalan art, such as painting on the table or sculpture in wood, and others that complete the aesthetic vision of Romanesque art, such as goldsmithing or sculpture In stone

The painting collection on a table, unique in Europe, is also a singular part of Romanesque painting, both for the quantity and the antiquity of the Catalan works that are conserved – also due to the interest in the Romanesque art since the end of the century XIX- as for the quality and technical diversity that show Fronts such as the call of the Apostles or the Seu d’Urgell, those of Alós d’Isil, Avià or Cardet can be considered paradigms of an original pictorial technique And of great artistic interest On the other hand, the sculpture of wood sculpture offers a broad and complete view of the Romanesque, with outstanding works in different types such as the Virgen de Ger, the Batlló Majesty or the carvings of the Descent of ” Erill la Vall

We must also mention the examples of stone sculpture, among which are some pieces of Ripoll and a large group of works from the sets of the city of Barcelona, ​​with the refined marble capitals of the old hospital of Sant Nicolau Finally, the collection has an important sample of enamels, mostly produced in Limoges, such as the Cube of Mondoñedo

Between the month of December of 2010 and June of 2011 the rooms of the Romanesque collection remained closed, due to works of maintenance and renovation of the museographic discourse During this time the illumination, the conditions of preventive conservation, As well as the most worn parts of the pavement They re-inaugurated on June 29, 2011, in an act presented by Narcís Serra

Gothic (late 13th – 15th century):
The gothic art collection includes works from the late thirteenth century until well into the 15th century. The origin of the works is mostly from the Catalan territory, although to a lesser extent, there are works from the territory of the former Crown of Aragon, like Aragó, Mallorca and Valencia, showing the historical moment of maximum Catalan territorial influence. The most representative authors of this period are Pere Serra, Lluís Borrassà, Jaume Huguet, Bernat Martorell and Bartolomé Bermejo, among others. Regarding In the style, you can find works that show the appearance, development and culmination of the style, as well as works from different European stylistic currents such as the international gothic, the linear expression, the Italian ancestry And the flamenco ancestry

Quantitatively, it stands out the set of pictorial altarpieces, paintings in the temple of egg and oil, along with a sample of the mural painting, jewelry, sculpture and enamel of the time All the works shown were Restored before the re-opening of the collection in the summer of 1997

The origins of the formation of the Gothic art collection of the MNAC date back to the beginning of the nineteenth century, when the recovery and conservation movement of the Catalan heritage complex began, which was badly damaged as a result of the burning of convents of 1835 in Spain in The context of the First Carlist War that culminates in the confiscation of Mendizábal. Small movements and institutional initiatives such as the collection of archaeological specimens from the convents destroyed in the convent of San Juan, promoted in 1837 by the Real Academia de Bones Lletres Set Years later, the convent became the first historical museum of Barcelona Among the collected objects, there were a total of 24 Gothic tombs. The creation in 1867 of the Provincial Museum of Antiquities, directed by Antoni Elias de Molins and located in the chapel Of Santa Agata, incorporated the funds of the Academy of Good Letters

With the emergence of the Renaixença cultural movement, the phenomenon of private collecting began to be widespread in Catalonia. One of the most important was the collection of art critic Francesc Miquel i Badia, the owner of Sant Jordi and the princess

In the Municipal Museum of Fine Arts of Barcelona, ​​created in 1891 and located at the Palacio de las Bellas Artes, the gothic background was still scandalous despite having featured works such as the four portraits with the images of the kings of Aragon, the work of Gonçal Peris Sarrià and Jaume Mateu, donated by Pau Milà i Fontanals at his death in 1883, or two tables originated in the monastery of Vallbona de les Monges and arts of the object such as the Sant Càndid urn, a piece from the monastery of Sant Cugat Del Vallès, or the well-known Virgin of the Councilors of Lluís Dalmau that occupied a pre-eminent place The constitution of the Municipal Board of Museums and Fine Arts marked a change in direction in the museum policy very sensitive to the increase of funds Gothic art Highlights the notorious activity of Joaquim Folch i Torres as commissioner of the Board of Museums in this impulse

For the inauguration of the new Museum of Art and Archeology, in 1915, located in the lateral wings of the arsenal of Ciutadella, now the headquarters of the Parliament, was already featured the tables of the altarpiece of Sant Vicenç de Sarrià by Jaume Huguet , One of the sides of the altarpiece called Cardona, work related to the Master of Baltimore acquired in 1906 to Celestí Dupont, or the tables of the altarpiece San Juan Bautista by Pere Garcia de Benavarri, acquired in the Marquès i Català family In the field Sculptural, Josep Pascó had bought sixty specimens of alabaster and stone sculptures from Poblet and Salvador Babra, some sculptural images from Gerb

It would be just before 1920 when the acquisition of ecclesiastical property was intensified. In 1919, Sant Antoni Abat was acquired, attributed to Jaume Cascalls to the rector of the village of La Figuera; Most of the tables in the altarpiece of Sant Esteve de Granollers from the workshop of Vergós and Joan Gascó; The altarpiece of the Mare de Déu de Sigena by Jaume Serra; Or the organ sarges of the Cathedral of La Seu d’Urgell In the 1920s, key pieces such as the Sant Jordi table and the princess and the altarpiece of San Agustín de la confrancia de los Blanquers were added to the museum By Jaume Huguet

With the inauguration, in 1934, of the Museum of Art of Catalonia in the National Palace, one of the most significant stages for the history of the formation of the Gothic art collection was completed. Of the total of 1869 works, in the section Gothic, a group of more than forty gothic tables was exhibited and an outstanding number of sculptures and architectural fragments from the Provincial Museum of Antiquities of Barcelona, ​​the bottom of which was finally incorporated into the museums of the Board, between 1932 And 1933

But the most important growth of the period comes from the acquisition of 7 million pesetas from the 1869 collection of works Lluís Plandiura i Pou in 1932, who had to sell it for economic problems. Among the gothic pieces stand out the Maradona de Sallent de Sanaüja ; The three fragments of the altarpiece of Tortosa, by Pere Serra; The altarpiece of the Saint Johns of Santa Coloma de Queralt; The altarpiece of Sant Esteve, by Jaume Serra; The paintings from Estopanyà; The series of eight funerary tables from the tomb of San Andrés de Mahamud (Burgos) and the tombstone of Margarita Cadell

There were no major incorporations until 1949 with the legacy of Francesc Cambó, mostly with Renaissance and Baroque works, which contributed the tables of the Master of Madonna Cini and the golden chalice with the shield of Queen Maria De Luna, wife of King Martí l’Humà, one of the best goldsmith productions in the international Gothic style that the MNAC conserves

With the addition, in 1950, of some works by the Muñoz collection – the former Bosch and Catarineu collection – entered the altarpiece of Santa Bàrbara de Gonçal Peris Sarrià, an extraordinary example of the Valencian international gothic. In the same collection, Scene of the Crucifixion of Sant Andreu, work of Lluís Borrassà, and the Table of Sant Miquel Soriguerola

In 1950, he enriched the content of the Gothic section the legacy of Apelles Mestres with two magnificent mercies, belonging to the choir stalls of the cathedral of Barcelona, ​​by the work of Pere Sanglada. In the same year the sarcophagi, originally from the Monastery of Santa María de Matallana (Valladolid) and which constitute a singular manifestation of peninsular funerary sculpture

A new significant income was the acquisition in 1956 of the collection that had been gathered since the end of the last century by the Count of Santa Maria de Sants, Maties Muntadas (1854-1927), which marked a sensible increase in the funds of Gothic art, Especially painting It is worth highlighting works by the Maestro de Retascón, the Maestro de la Porciúncula, Fernando Gallego, Bernat Despuig or Ramon Solà II, as well as others already existing in the museum’s collection such as the painters Jaume Huguet, Bernat Martorell or Pere Garcia de Benavarri The collection of Flemish paintings stands out from the Muntades collection, which is a very significant contribution of the art made in Flanders during the 15th and 16th centuries.

The acquisition in the 1960s of several murals and cloakroom elements, from various Barcelona palaces on the Montcada Street, contributed a profane character that was barely represented in the collection where religious themes predominate

In the year 1970 the legacy Bertrand was added that enriched the area of ​​medieval sculpture in wood. In 1976, the donation took place, by Mrs. Pilar Rabal, the widow of Pere Fontana, of the collection gathered for her Husband, thirteen tables that expanded the collection within the current Catalan international gothic, with names that are quite representative of Guerau Gener, Jaume Ferrer II or Pere Teixidor

Due to its special significance, the deposit of the Generalitat de Catalunya in 1993, of three sarges from the Cathedral of La Seu d’Urgell, stands out; An income that complements the whole acquired in the first decade of the century. Also, the date of the Torelló collection of the year 1994 meant incorporating a painting by Jacomart. A year later, the designation of the Torres collection meant the entrance From the Martyrdom of Santa Llúcia by Bernat Martorell

Renaissance and Baroque (15th-18th centuries):
The Renaissance and Baroque Art Collection is a valuable heritage that – unlike the great national museums of Europe, which started from the great royal and noble collections – in Catalonia, was formed from the recovery of local heritage and The later donations and acquisitions of private collections The storyline of the beginning and the end of the museographic discourse focuses on two historical moments of Catalan art -the dissemination, in the first half of the 16th century, in the Renaissance fashion, and The 18th century painting, with the figure of Antoni Viladomat-, along with Spanish, Flemish and Italian works from the 16th, 17th and 18th centuries

The itinerary begins in the Netherlands in the 16th century, where religious fervor and the detail of everyday life are mixed, as can be seen in a series of quality tables and leaflets for private use. At the beginning of the In the Renaissance period, in Catalonia, the Gothic forms of the Flemish Root lived together with other new solutions, represented by works such as the San Candido de Ayne Bru or the Sant Blai de Pere Fernández, who have the humanistic sentiment and the seal of the ” Leading art that was made in Italy The Altarpiece of Saint Eloi of the argenters, by Pere Nunyes, maintains the tone of the new language, the same used by the sculptor Damià Forment for the group of the Dormition of the Virgin Mary Toward the end From the century, Hispanic painting has works of great beauty, such as the Christ with the Cross and San Pedro and San Pablo, of El Greco, in which modernity of color is present, as a result of the lessons learned in Venice. Contemporarily, the Ecce homo, by Luis de Morales, conveys the feeling Devotional of the counter-reform

The seventeenth century begins with frescoes by the Chapel Herrera, by Annibale Carracci and collaborators, who decorated the Roman church of Sant Jaume dels Espanyols, and continues with paintings by other Italian artists such as the genovese Gioacchino Assereto or the Neapolitan Massimo Stanzione And Andrea Vaccaro But, above all, the works of the masters of the Spanish Golden Age, such as the Martyrdom of St. Bartholomew, by the Valencian Josep de Ribera, called “Lo Spagnoletto”, San Pablo, by Diego Velázquez, or The Immaculate Conception and various dead natures of Francisco de Zurbarán Returning to Catalonia, the image of Sant Gaietà, by the sculptor Andreu Sala, echoes the great art of Bernini

In the 18th century, the set dedicated to the Life of Sant Francesc, by Antoni Viladomat, who decorated the cloister of the convent of Framenors in Barcelona, ​​constitutes the only series of monastic life preserved entirely in a museum. On the other hand, Francesc Pla’s daring work, called «El Vigatà», represents the pictorial freedom in the interior decoration of the houses of the new mercantile and industrial class, precursor of art that was to be developed in the nineteenth century

This collection, which reflects the taste of a part of our civil society for Renaissance and Baroque art, welcomes, exceptionally in comparison with the rest of the MNAC, the art produced in Catalonia and also in Spain , As well as in Italy and Flanders, which allows an overview of the evolution of European art at the time, to which they contribute two important later contributions, the Cambó legacy and the Thyssen-Bornemisza collection

Legacy Cambó

The Cambó legacy is a collection of works by the particular collection of the Catalan politician and patron, Francesc Cambó, of significant importance, as it integrates European painting from the fourteenth century to the beginning of the nineteenth century. It constitutes the most disinterested contribution of value that the MNAC It has received throughout its history and has more enriched the Renaissance and Baroque background. There are represented as diverse artistic movements as the Italian Quattrocento and the masters of the Cinquecento, such as Sebastiano del Piombo or Ticià, through the Spanish painting of the Century Gold to the Rococo

It is a repertoire with its own identity that embraces the history of European painting from the fourteenth century to the beginning of the 19th century. These are works that mark the gothic period of the Renaissance, which speaks of the perfection of the Italian Quattrocento, of the Sensuality of the great Venetian masters of the Cinquecento, of the economic boom of the Netherlands in the 16th and 17th centuries, without forgetting the greatness of the Spanish Golden Age, until reaching the fullness of the European Rococo. Among the artists represented at the MNAC Thanks to this magnificent collection, there are names of universal relevance, such as Sebastiano del Piombo, Tiziano Vecellio and Giandomenico Tiepolo, great painters, all of them, from Italy; Peter Paulus Rubens and Lucas Cranach, exponents of Flemish school art; Jean-Honoré Fragonard and Maurice Quentin de la Tour, who represent the French Rococo, and, finally, Francisco de Goya, the renovating genius that closes the chronological arch that embraces the Cambó Legacy

Thyssen-Bornemisza collection
When the Thyssen-Bornemisza Collection is located in Madrid, in Villahermosa Palace, and the State formalizes the purchase in 1993, a part of this collection -72 paintings and 8 sculptures, mainly religious themes, although also Includes landscape and portraits destined for Barcelona In 1993, the permanent exhibition of these works was inaugurated in one of the wings of the Pedralbes monastery, which was authorized for this museum function by the Town Hall. In 2004, the Foundation signed up with it MNAC an agreement for which the Thyssen-Bornemisza Collection of Barcelona was permanently exhibited at the MNAC, in order to reinforce the contents of the Catalan museum and to make a better dissemination of the works. This collection includes a collection of paintings And sculpture that presents a global vision of European art from the Gothic to the Rococo. Among the works that are part of this collection are the tables of Rimini and Tadeo Gaddi, Trecento artists; And the works of Francesco del Cossa as a magnificent example of the Quattrocento Del Cinquecento have works by Fra Angelico, Rubens, Battista Dossi or Ticià, and the Settecento stand out works by Tiepolo, key artist of the Italian Rococo, Ceruti or the vedutista Canaletto

Modern Art (nineteenth and twentieth centuries):
The MNAC’s Modern Art Collection was created as a result of the Universal Exhibition of 1888, when the Barcelona City Council installed the then small collection of modern art, at that contemporary moment, at the Palacio de las Bellas Artes La The collection expanded considerably with the acquisitions that the City Council itself did in the exhibitions of fine arts. The current modern art collection brings together a collection of the best Catalan art from the beginning of the nineteenth century until the 40s of the 20th century. The route is ‘Starts with the artists who followed the postulates of neoclassicism, romanticism and realism. Among the neoclassics, the painter Josep Bernat Flaugier and the sculptor Damià Campeny stand out. Regarding Romanticism, mention should be made of the Nazarenes, such as Claudi Lorenzale, Who worked especially on the portrait, and Lluís Rigalt, who inaugurated the tradition of Catalan landscaping; This will continue, already in the age of realism, with Ramon Martí Alsina, introducing in Catalonia the ideas of Courbet, and with Joaquim Vayreda, founder of the School of Olot, among others A separate chapter deserves Marià Fortuny, the best Catalan painter of the nineteenth century, who triumphed internationally with the genre painting and who pointed out advanced approaches in his latest productions. Also present are painters who opted for anecdotal realism, such as Romera Ribera and Francesc Masriera, As well as the “luministes” of the School of Sitges, inheritors of the fortunian tradition; While in sculpture the brothers Vallmitjana stand out as the best representatives of the realistic tradition. The 19th century collection also includes a sample of historical photography with works by AADisdéri, Jean Laurent, Le Jeune and Charles Clifford, among others, with images From various places of the Spanish geography

One of the mainstays of modern art collections is modernism, a movement of great artistic and cultural importance in Catalonia. In painting, the current one that identifies itself more is the one of renovating character led by Ramon Casas and Santiago Rusiñol, who in His Parisian works incorporated certain aspects of French Impressionism Another current is the symbolist, represented by the paintings of Alexandre de Riquer and Joan Brull and also observed in some photographs of the pictorialist Pere Casas Abarca. Of the same importance It is the presence of artists from the second generation of modernists, such as Isidre Nonell, Marià Pidelaserra, Ricard Canals, Hermen Anglada Camarasa, Nicolau Raurich or Joaquim Mir, who, since the twentieth century, brought Catalan painting to one of the Its brighter moments

Spanish painters like Julio Romero de Torres, Joaquim Sorolla, Ignacio Zuloaga, Darío de Regoyos and José Gutiérrez Solana, photographer Ortiz Echagüe and the French artists Boudin, Sisley and Rodin are also present. Regarding the modernist sculpture it is worth highlighting the creations By Miquel Blay and Josep Llimona, with a clear influence from Rodin The collection of modernist decorative arts shows some exceptional sets of interior design by Josep Puig i Cadafalch, Gaspar Homar and Antoni Gaudí, respectively, from the houses Amatller, Lleó Morera And Batlló, from Passeig de Gràcia in Barcelona; As well as remarkable artwork of the object in forging, ceramics, glass and jewelry, not forgetting the sets of furniture of Joan Busquets and the architect Josep Maria Jujol

The other movement widely represented in the MNAC is Noucentisme, which embodies the search for their own essences and Mediterranean architecture. The classical compositions of Joaquim Torres-García and Joaquim Sunyer are represented, with strangely influential cezannianas, and sculptural knots by Josep Clarà And Enric Casanovas Complete this movement with the sculptures by Manolo Hugué and the paintings by Xavier Nogués, with a marked popular accent. By 1920, there appeared a new generation of artists who had to face the dilemma of following the figurative tradition or doing The avant-garde jump Some of these, such as the painters Josep de Togores and Francesc Domingo i Segura, made a production with their own voice in the context of international inter-wars Realism, like Torres-García himself, Rafael Barradas Or Salvador Dalí, found Dalmau Galleries the ideal place to exhibit their most innovative production

Undoubtedly, one of the main hallmarks of the collection is the important work set by Marià Fortuny, of whom more than 1500 drawings and 50 prints are conserved, which make this fund a reference obliged to reconstruct the itinerary Creative from this nineteenth-century artist. Of this same period, more than 30 drawings by the painter of history Eduardo Rosales, acquired in 1912, that are related to the Testament of Isabel la Católica and the Death of Lucretia, two of Its most paradigmatic historical compositions

The collections of the Cabinet also have a huge representation of Modernist and Noucentista works. Specifically, the Cabinet’s collection includes more than 600 modernist posters of prominent Catalan and foreign artists, among them the ones from Ramon Casas. This artist highlights the famous Series of “Charcoal Portraits”, an authentic iconographic gallery of the personalities of the moment in Catalonia, given by the same author in 1909 Among the nineteenth-century authors, it is worth mentioning the remarkable collection of the work of Isidre Nonell, with more than 150 compositions

It is worth mentioning the collection of posters of this same period, which was largely acquired by the Museum in Lluís Plandiura in 1903. More than 500 posters, including a notable presence of foreign authors, are a legacy of incalculable heritage value And exemplify, cartelism in Catalonia

Finally, despite being an unequal background, it is necessary to refer to the representation of avant-garde movements. In this sense, the sculptor Juli González is one of the most well-represented artists, thanks to the donation of more than 150 drawings that goes in 1972 Make her daughter Roberta On the other hand, the presence of two great creators of contemporary art, such as Dalí or Miró, is almost testimonial

Regarding the formation of the collections of the Cabinet of Drawings and Engravings, it is worth highlighting two fundamental acquisitions of the Board of Museums: in 1911, the collection of literary and artistic critic Raimon Casellas and, ten years later, that of modernist artist Alexandre Of Riquer

The photography collection has more than 6,000 copies. The oldest works are dated in the 19th century, but you can see works of different movements such as pictorialism, new objectivity, photojournalism, to neorealism and the contemporary period

The collection has been created, despite some of its own acquisitions, thanks to a collection of donations and deposits from collectors and artists themselves (Colita, Joan Fontcuberta, Pere Formiguera, Carles Fontserè, Emili Godes, Josep Lladó, Oriol Maspons, Kim Manresa , Josep Masana, Otto Lloyd, Antoni Arissa, Josep Maria Casals i Ariet, Toni Bernad)

Among the exhibited works are some on deposit of the Fund of Art of the Generalitat of Catalonia, with works by Antoni Campañà, Pere Català Pic, Francesc Català Roca, Joan Colom, Manel Esclusa, Francesc Esteve and Soley, among others , And works also in the repository of the Photographic Association of Catalonia, with photos of Claudi Carbonell and Joan Porqueras, for example. In May 2012 the museum opened a monographic room with 24 works by Agustí Centelles and another with a selection of Photographers of the Catalan photographic avant-garde until the civil war

The Numismatic Office of Catalonia, created in 1932, has a collection that exceeds 134,000 copies. The fund is the result of a long procurement process, for purchase, donation, legacy or deposit, which began during the first half of the century XIX and still continues

The collection of coins consists of almost 100,000 pieces, among which the main numismatic series are represented, with specimens manufactured from the 6th century BC to the present day. The most important and emblematic currencies are, without a doubt, the ones emitted in Catalonia, with Large numbers of extraordinary peculiarities and unique pieces. Collections begin with old-time broadcasts, among them, the minted ones in the Iberian Peninsula, with significant pieces such as those of the Greek colonies of Empúries and Rhode or the treasure of 897 silver fractions found in the nephew of Emporion. From the passage of the ancient world to the medieval one is the visigoda coin collection, with emissions from workshops in the Catalan territory, such as Barcino, Tarraco or Gerunda. From the Christian series of The medieval west, many of the European kingdoms are present, although the Catalan currency fund and the Crown of Aragon are the most outstanding, with specimens that show, not On the other hand, the historical and economic evolution of these territories For example, the economic growth of the 13th century is documented by the beginning of the minting in Barcelona of silver Croats in the name of Pere II. From the emissions of modern times And contemporary it is necessary to indicate the mintings of three periods as significant as they are those of War of the Reapers, War of Succession and War of the French

The collection of medals consists of more than 9000 pieces, ranging from the first copies manufactured in Italy during the second half of the 15th century to the present day. The main part of the collection is made up of the pieces produced in Spain, Of renowned artists and printers, who created medals of a very remarkable quality. Thus, there is a good representation of medals made by masterpieces of the 18th century as important as Tomás Francisco Prieto or Gerónimo Antonio Gil. At the end of the 19th century, especially From the Universal Exhibition of Barcelona in 1888, they were incorporated into the creation of medalists, modernist sculptors, which gave way to a splendid period of the art of the medal, especially in Catalonia, as reflected in the collection From the Cabinet The most important figure was that of Eusebi Arnau, but also created pieces of great quality sculptors such as Parera, Blay, Lemon or Gargallo

The central core of the paper-value collection, which covers a wide range of different types of documents, is the bank note fund, with 4100 specimens. The Spanish series contains the Bank of Spain’s emissions since 1874 Up to the present and the paper-value series issued by the Generalitat de Catalunya and the Catalan municipalities during the Spanish Civil War

The Cabinet also has custody of different types of pieces that have great interest in its connection, directly or indirectly, with the numismatics. These funds include, among others, manufacturing tools, monetary pesals, balances, jetons, hacks, tokens , Stamps, decorations and various document collections

The formation of this fund began thanks to a donation by Josep Salat to the Board of Commerce of Barcelona at the beginning of the nineteenth century. Later, the Board of Commerce gave this fund to the former Provincial Museum of Antiquities After From several locations, he settled for a few years at the Palau de la Virreina and finally at the MNAC

The collections of the cabinet are complemented by the most important library of this subject in the state, with more than 6000 copies that deal with different aspects of numismatics

Sala Sert:
Josep Maria Sert (1874-1945) was one of the most valued muralist painters of his time. His mural painting assimilated the tradition of the great Venetian masters. He should remember, among many others, his murals for the Rockefeller Center or the Waldorf Astoria Hotel Of New York; The decoration of the Geneva Nations Society, without forgetting Vic Cathedral and numerous mansions in Paris, Buenos Aires, Venice or London. Precisely, in this last city in 1921, Sert commissioned the decoration of the room Ball of the residence of Sir Philip Sassoon, a prominent figure in the political, cultural and financial world of the British society, Sert covered the rectangular room (85 m2 and 6,5 meters high) with wooden panels painted in the ‘ Oil, in black and silver tones, with a style that revives Baroque illusionism with connotations of art deco The scene, entitled Caravanes de Oriente, includes giant camels, palm trees with baroque sources, ruins of a Greek temple and Human crowds moving towards an ideal city The work was completed in the sky, on which he painted clouds and a heavenly hole Mort Sassoon in 1939, the residence was demolished The panels, except the roof, were saved and went Acquired after different vicissitudes You, for the Barcelona City Council On the occasion of the new installation in the museum, the restoration was restored, following the restoration of the murals