Galereya Dalmau - Galeries Dalmau

Jan Metzinger, 1910–11, Deux Nus (Ikki yalang'och, ikkita ayol), tuvaldagi yog ', 92 × 66 sm, Gyoteborg san'at muzeyi, Shvetsiya. Birinchi kubistik namoyishda, 1911 yil 41-xonada namoyish etilgan Salon des Indépendants, Parij. Exposició d'Art Cubista, Galeries Dalmau, Barselona, ​​1912 yil
Frensis Pikabiya, v. 1921-22, Optofon I, encre, aquarelle et mine de plomb sur papier, 72 x 60 sm. Galeries Dalmau-da qayta ishlab chiqarilgan, Pikabiya, ko'rgazma katalogi, Barselona, ​​1922 yil 18-noyabr - 8-dekabr

Galereya Dalmau edi san'at galereyasi yilda "Barselona", Ispaniya, 1906 yildan 1930 yilgacha (shuningdek Sala Dalmau, Les Galeries Dalmau, Galeriya Dalmau va Galeries J. Dalmau nomi bilan tanilgan). Galereya tomonidan tashkil etilgan va boshqarilgan Symbolist rassom va tiklovchi Xosep Dalmau i Rafel [taxminan ]. Maqsad targ'ib qilish, import qilish va eksport qilish edi avangard badiiy iste'dod. Dalmau Ispaniyada avangard san'atini yo'lga qo'yganligi uchun munosib.[1][2]

1912 yilda Galeries Dalmau birinchi e'lon qilingan guruh ko'rgazmasini taqdim etdi Kubizm dunyo bo'ylab,[1][3] tomonidan munozarali namoyishi bilan Jan Metzinger, Albert Gliiz, Xuan Gris, Mari Laurensin va Marsel Dyuchamp. Galereyada kashshof ko'rgazmalar namoyish etildi Fovizm, Orfizm, De Stil va mavhum san'at bilan Anri Matiss, Frensis Pikabiya va Pablo Pikasso, ham jamoaviy, ham shaxsiy ko'rgazmalarda. Dalmau nashr qildi Dadaist ko'rib chiqish 391 Picabia tomonidan yaratilgan,[4][5] va qo'llab-quvvatladi Troxos tomonidan Xosep Mariya Junoy i Muns [taxminan ].[6][7][8]

Dalmau Ispaniyada Xuan Gris asarlarini namoyish etgan birinchi galereya, birinchi bo'lib Albert Glizening, Frensis Pikabiya asarlarining yakka tartibdagi ko'rgazmalarini o'tkazgan. Joan Miro, Salvador Dali va Anxel Planells. Shuningdek, bu tebranishlarni namoyish etgan birinchi galereya edi.[9]

Galereya mahalliy avangard rassomlar, Kataloniya san'ati sahnasida yangi tendentsiyalar va namoyonliklarni namoyish etdi, shuningdek Kataloniya san'atini chet elga eksport qilmoqda, masalan, birinchi ko'rgazmani targ'ib qilish kabi ko'rgazma-almashinuv loyihalari orqali. Joan Miro Parijda (1921). Innovatsion san'at sohalarining qiyinligi va marginalligi, ularning madaniy tarqalishi va har qanday uslubiy formuladan tashqari taraqqiyot mezonidan xabardor bo'lgan Dalmau ushbu tajribalarni galereya dasturlash markaziga aylantirdi. Dalmau Iberiya yarim orolida avangard san'atini joriy qilganligi uchun e'tirof etilgan. Dalmau faoliyati va galereyadagi ko'rgazmalari tufayli Barselona innovatsion va eksperimental g'oyalar va uslublarning muhim xalqaro markaziga aylandi.[10]

Fon

Xosep Dalmau

Xosep Dalmau i Rafel, 1910 yil
Xosep Dalmau, c.1996
Josep Dalmau i Rafel, 1900 yil, avtoportret (Autorretrato), tuvalga moyli, Museu Comarcal de Manresa

Tug'ilgan Manresa, 1867, Xosep Dalmau o'zini rassomlikka bag'ishladi. 1884 yilda u Barselonaga ko'chib o'tdi Modernisme rassom Joan Brull. Dalmau rasmlari Kataloniyadagi bir nechta salon ko'rgazmalariga kiritilgan. 1899 yilda (8-28 iyul) unga o'zining birinchi va yagona shaxsiy ko'rgazmasi taqdim etildi Els Quatre Gats, modernizm davrida rassomlar uchun mashhur uchrashuv joyi. U hayoti davomida o'z asarlarini namoyish etishda davom etdi.[11][12]

O'ttiz yoshida u hijrat qildi Parij u erda olti yil yashagan va o'qigan rasmlarni saqlash Belgiyaning Bryugge va Gant shaharlarida.[11]

1906 yilda tiklash bo'yicha o'qishni tugatgandan so'ng, Dalmau Barselonaga qaytdi. U texnik restavrator sifatida ishlagan Museu de Barcelona. 1914 yilda u murakkab ishini tikladi Maria Fortuny, Tetuan jangi, 1862–64.[13] 1915 yilda u muzeylar kengashi uchun qurbongohlarni qayta tikladi Junta de Museus de Catalunya.[11][14][12]

Dalmau 1906 yilda 1910 yilda davom etgan o'zining birinchi ko'rgazma zaliga aylangan 10 yoshli Carrer del Pi antiqa buyumlar galereyasini ochdi. Korxona asosan antiqa buyumlar bilan shug'ullangan va keyinchalik zamonaviy san'at bo'limi bilan kengaygan. Zamonaviy san'atning birinchi hujjatli ko'rgazmasi 1908 yilda bo'lib o'tdi Xosep Mompu va Denkaus [taxminan ] va ba'zi yapon nashrlari.[15] Keyingi yili Dalmau shahrida Joan Colom i Agustí va Isidre Nonell.[11]

Dalmau avangard san'atini Barselonaga, umuman, Ispaniyaga olib kirganligi uchun katta ahamiyatga ega. Uning ko'rgazmalari xalqaro rassomlarni targ'ib qilishda kataloniyalik rassomlarni Ispaniyadan tashqarida san'at olami bilan bog'lab turardi.[12][16]

Les Galeries Dalmau

Galereya Dalmau, Xoakin Torres-Garsiya ko'rgazma, 1912 yil, Carrer de Portaferrissa, 18, Barselona
Galeriyalar Dalmau, Xoakin Torres-Garsiya ko'rgazmasi, 1912 yil, Karrer de Portaferrissa, 18 yosh, Barselona

1911 yil o'rtalarida galereya kengayganligi haqida e'lon qildi. Bu antiqa buyumlar bozorida, ayniqsa, Frantsiyadan import va eksport orqali olingan daromad tufayli amalga oshirildi. Shuningdek, u zamonaviy va. Ko'rgazmasi mablag'lari hisobidan amalga oshirildi eski usta o'tgan yili Barselona shahar kengashi tomonidan uyushtirilgan portretlar va rasmlar, unda Dalmau o'zining qadimiy asarlari bilan antiqa sotuvchi sifatida qatnashgan. El Greco, Feliu Elias (aka Joan Saks) va ikkita asar Fransisko Goyya, Manuel Godoy portreti, qiymati 15000 ga teng pesetalar va Retrato de niño, 8000 peseta.[11]

Da joylashgan yangi muassasa Gotik kvartal 18 yoshli Karrer de Portaferrissa eski ustalar ko'rgazmalari, zamonaviy san'at va yangi san'atni birlashtirish maqsadida "Galeries Dalmau" nomi bilan suvga cho'mdi. Dalmau shaharning madaniy ufqini kengaytirib, Barselona shahriga chet el avangard san'atini olib kirishga tayyor edi.[11]

Galereyaning ko'rgazma maydoni uyning ichki hovlisida joylashgan bo'lib, shisha shiftli, fotostudiya yoki sanoat omboriga xos bo'lgan. U osmon nuri orqali kirib kelayotgan yorug'likni tartibga soluvchi tishli mexanizmga ega edi. Bo'shliq shiftga etib bormagan yog'och bo'linmalar bilan bo'linib, ikki yoki uchta o'zaro bog'liq joylarga va bitta ofisga bo'lingan. Gallereyaga kirish noma'lum ta'mirlanmagan eski usta landshaftlari va natyurmortlar bilan bezatilgan uzun yo'lak orqali o'tdi.[11]

Keyingi yillarda bu kashshof ko'rgazmalar namoyish etiladigan platformaga aylandi Fovizm, Orfizm, De Stil va mavhum san'at Frensis Pikabiya bilan, Kis van Dongen, Xoakin Torres-Garsiya, Anri Matiss, Juliet Roche, Jorj Braque, André Derain, Ogyust Xerbin, Fernand Léger, André Lhote, Gino Severini, Lui Valtat, Feliks Vallott, Xans Arp, Mariya Blanchard va boshqalar ham jamoaviy, ham yakka ko'rgazmalarda.

San'atshunos Faliks Fans galereya haqida shunday yozadi:

Uy bozoridagi qiyinchiliklarni engish uchun Dalmau zamonaviy Kataloniya san'atini tashqi bozorlarga olib chiqdi. Ushbu strategiya Birinchi Jahon urushi davrida Barselonaga ko'plab avangard rassomlarning kelishi bilan birga Galereya Dalmauning zamonaviy qiyofasini mustahkamlashga xizmat qildi. Diler ilg'or san'at dunyosidagi ko'plab yoshlarga yo'l ochdi, masalan, Joan Mironing dastlabki faoliyatiga hal qiluvchi ta'sir ko'rsatdi.[16]

Tanlangan ko'rgazmalar

1912 yil: Pikasso, Torres-Garsiya

1912 yilda ketma-ket ikkita ko'rgazma bo'lib o'tdi: Xoakin Torres-Garsiya, rassomi Noucentista davr; va Pablo Pikasso, uning rasmlari Moviy davr (1912 yil fevral - mart).[17][18][19]

1912 yil: Exposició d'Art Cubista

Tomonidan rasmlar Anri Le Fokonyer, 1910-11, L'Abondance, Haags Gemeentemuseum; Jan Metzinger, 1911, Le goter (Choy vaqti), Filadelfiya san'at muzeyi; Robert Delaunay, 1910-11, La Tour Eyfel. Nashr etilgan La Veu-de-Kataloniya 1912 yil 1-fevral
Jan Metzinger, c.1911, Natural morte, Compotier et cruche décorée de cerfs; Xuan Gris, 1911, Kafe ichidagi odam uchun o'qish; Mari Laurensin, c.1911, Testa ab plechs; Avgust Agero, haykaltaroshlik, Bust; Xuan Gris, 1912, Gitara va ko'zoynaklar, yoki Banjo va ko'zoynaklar. Nashr etilgan La Veu-de-Kataloniya, 1912 yil 25-aprel
Tomonidan rasmlar Albert Gliiz, 1910-11, Paysage, landshaft; Xuan Gris (rasm); Jan Metzinger, c.1911, Natural morte (Compotier et cruche décorée de cerfs). Katalonning El Correo birinchi sahifasida nashr etilgan, 1912 yil 25-aprel
Tomonidan rasmlar Xuan Gris, Bodegon; Avgust Agero (haykaltaroshlik); Jan Metzinger, 1910-11, Deux Nus, ikki yalang'och, Gyoteborg san'at muzeyi; Mari Laurensin (akril); Albert Gliiz, 1911, Paysage, landshaft. La Publicidad, 26 aprel 1912 yilda nashr etilgan

1912 yil 20 apreldan 10 maygacha Xosep Dalmau Ispaniyada birinchi marta,[2] uning yangi makonida, Kubistlarning badiiy asarlari repertuari, 18-yoshli Carrer de Portaferrissa joylashgan. Bu kubizmga bag'ishlangan butun dunyo bo'ylab birinchi ko'rgazma edi.[1] Ba'zi rasmlar 1911 yilda namoyish etilgan Salon d'Automne Parijda. Ushbu salon haqidagi yangiliklar allaqachon Evropaga tarqalib ketgan va yangi san'at haqida ko'plab maqolalar yozilgan edi. Kataloniyada, Evgeniy d'Ors 1912 yil 1-fevralda Dalmau shousidan ikki oy oldin salon haqida "Pägines Artístiques de" da chop etilgan "Pel cubisme a l'estructuralisme" haqida yozgan. La Veu-de-Kataloniya ", bu doirada Ors kubizmni vaqtinchalik bosqich, ong yoki qurish uchun oqilona shogird sifatida tasvirlagan"strukturalizm "Ushbu maqola Joan Saks, Joaquim Folch i Torres va Joaqin Torres-Garsiya o'rtasida tortishuvlarni, mulohazalarni va munozaralarni keltirib chiqardi.[11](39-bet)

Parijda kubist 1911 yil Salon d'Automne Natijada kubizmni ikkinchi marta keng jamoatchilik e'tiboriga etkazgan ommaviy janjal. Birinchisi, kubistlar tomonidan namoyish etilgan uyushgan guruh edi Salle 41 1911 yil Salon des Indépendants. Kubistlarning rasmlari allaqachon namoyish etilgan edi 1910 yil Salon d'Automne (tomonidan Jan Metzinger, Robert Delaunay, Anri Le Fokonyer va Fernand Léger ), lekin guruh bayrog'i yoki nomi ostida emas.[1][20] Frantsiyadan tashqarida kubizmni o'z ichiga olgan birinchi ko'rgazma munosabati bilan "kubizm" atamasi birinchi marta ishlab chiqilgan: Bryussel Indépendants-da, 1911 yil iyun.[21] Va endi Frantsiya chegarasidan tashqarida ikkinchi ko'rgazma bo'lib o'tdi; birinchi bo'lib kubizmga bag'ishlangan.[22]

Bu kubistlar san'atining Barselonadagi ko'rgazmasiga asos bo'lgan edi. Xosep Dalmau Parijga 1911 yilgi Salon d'Automne-ni ko'rish uchun borgan edi.[23] Shuningdek, u 3 rue Tronchet d'Art ancien et d'Art zamondoshi galereyasida kubistlar ko'rgazmasiga tashrif buyurdi (u erda 1911 yil 20 noyabr - 16 dekabr), u erda bir qancha kubistlar, shu jumladan Metzinger bilan uchrashdi. Dalmau ko'rgazmasi 26 rassomning 83 ta asarini, shu jumladan Salon kubistlarini o'z ichiga olgan Salle 41.[24] Keyinchalik u "Dependantlar" da qatnashgan 1912 yil Salon des Indépendants (Mart-may).

Merse Vidal, muallif L'exposició d'Art Cubista de les Galeries Dalmau 1912 yil Dalmau tashabbusi tasodifiy emas edi, deb yozadi. "Kubistlarning Barselonadagi taqdimoti kataloniyalik rassomlar va tanqidchilar ushbu yangilikni birinchi marta eshitgan paytlaridan boshlab qiziqishidan oldin bo'lib o'tdi."[23]

Ning ochilishi Exposició de Arte Cubista Les Galeries-da Dalmau 1912 yil 20-aprel kuni soat 18.00 da boshlangan.[25] Kirish qat'iy shaxsiy taklifnoma bilan amalga oshirildi. Jak Nayralning Glizz bilan aloqasi uni kubistlar ko'rgazmasi uchun muqaddima yozishiga olib keldi,[1] to'liq tarjima qilingan va gazetada ko'paytirilgan La Veu-de-Kataloniya.[26][27] Ilgari Jak Nayral (Jak Huot taxallusi) bilan birlashdi Aleksandr Mercereau, Gleizes, Metzinger va Le Fauconnier plastik san'atiga bag'ishlangan sharh nashr etishni rejalashtirmoqda.[28] Bosh muharriri sifatida Eugène Figuière [fr ] nashrlar, u soyabon nomi ostida seriyalar sifatida chiqara boshladi Tous les artskubizmga oid dastlabki ikkita seminal kitobni nashr etgan: Du "Kubisma" (1912) Metzinger va Glizz, va Les Peintres Cubistes, Méditations Esthétiques (1913) tomonidan Giyom apollineri.[1] Dalmau katalogidagi muqaddimasida Nayral shunday yozadi:

rassom endi xizmatkor taqlidlarga yopishib olmasligi kerak, badiiy quvonch tashqi ko'rinishning aniq takrorlanishiga rioya qilish natijasida hosil bo'lmaydi, balki u bizning sezgirligimiz va aql-idrokimiz o'zaro ta'siridan kelib chiqadi, rassom bizni shunchalik chuqurroq olib boradi noma'lum, u qanchalik ko'p iste'dodga ega bo'lsa. O'zini yaxlitligi va bitta zarbasi bilan ochib bermaydigan, lekin asta-sekin va bosqichma-bosqich ochib beradigan ko'p sonli jumboq - xuddi kitoblarni varaqlab o'qiganimiz kabi.[1][25]

Keyin Nayral Metzingerning 1910 yildagi kontseptsiyasini keltirib o'tdi, ularning urinishlari "total image" ni amalga oshirish (mavzuni keng doirada aks ettirish uchun mavzuni ko'p nuqtai nazardan tasvirlash),[29] "bizning instinktimizga plastik ongni" berish va yanada chuqur haqiqatga - "faqat aql anglaydigan haqiqat" ga olib borish.[1][25][29]

Aynan lirik she'riyat ... bu chuqur his-tuyg'ularni ifodalashga to'g'ri keladi. Yo'q, bu ham emas: eng yuksak va hayratlanarli xudbinlik quvonchining evaziga, ilohiy sirni his qilishni, sof go'zallik tafakkuri bizning chuqurligimizdan kelib chiqadigan buyuk noma'lum bilan aloqani tahlil qilishga urinmaslik yaxshiroqdir. qalblar.[1][25]

Ko'rgazmadan oldin, undan keyin va undan keyin ommaviy axborot vositalarida keng qamrovli materiallar (Galeries Dalmau) Evropada modernizmni rivojlantirish va targ'ib qilishda kuch sifatida.[12]

Kubistlar rassomlari Jan Metzinger, Albert Gliz, Marsel Dyuchamp, Xuan Gris, Mari Laurensin, Avgust Agerodan iborat bo'lib, ular Anri Le Fukonnier va Fernand Légerning asarlari bilan katalogning qo'shimcha qismida keltirilgan.[25]

Jan Metzinger kubistlarning eng vakili hisoblangan. U a Uchun o'qing "Le Goter " (1911),[30] Dalmaudagi kubistlar shousi uchun reklama plakatiga va ikkita rasmga bosilgan, Natural morte (Compotier et cruche décorée de cerfs) (1910-11) va Deux Nus (Ikki yalang'och, ikkita ayol) (1910-11). Albert Glizz ko'rgazmada namoyish etildi Paysage (Landshaft, Les Maisons) (1910-11), Le Chemin, Paysage à Meudon, Paysage avec personnage (1911), Jak Nayral portretini o'rganish, nomli rasm El-anova yana uchta nomlanmagan asar. Marsel Dyushamp ko'rsatdi La sonat (Sonata) (1911) va Zinadan tushayotgan yalang'och, № 2 (1912) birinchi marta namoyish etildi.[12] Xuan Gris tomonidan namoyish etilgan Yo'q, to'rtta nomlanmagan yog'lar va beshta rasm. Mari Laurensin ikkita akvarel, ikkita moy, ikkita rasm va oltita chizilgan rasmlarni namoyish etdi. Avgust Agero, taqdim etdi Inson haykali, Ayol haykali, Insonning büstü, Jeune fille a la rose, sarlavhali taomlarni o'z ichiga olgan bir qator Adam va Eva (mis plastinka) va beshta rasm. Le Fokonnier ko'rgazmasida namoyish etildi Portret d'un Poet va Bretaniyaning ikkita manzarasi. Ko'rgazmada Fernand Leger uchta rasm chizgan.

Yilda nashr etilgan Dalmau ko'rgazmasiga ishora qiluvchi kubik karikaturasi Esquella de La Torratxa, 1912 yil 3-may
Yilda nashr etilgan Dalmau ko'rgazmasiga ishora qiluvchi kubik karikaturalari El Noticiero Universal, 1912 yil 25-aprel

Matbuot keng qamrovli bo'lsa-da, har doim ham ijobiy emas edi. Gazetalarda maqolalar e'lon qilindi Esquella de La Torratxa[31] va El Noticiero Universal[32] matnlar bilan bog'langan bir qator karikaturalar bilan kubistlarga hujum qilish, asarlar oldida turgan konusga o'xshash odamlarni ko'rsatish. Boshqa birida Odam Ato va Momo Havo qo'pol kub shaklida tasvirlangan (Agero ushbu mavzuga oid haykalni taqdim etgan). Boshqalar hali ham rasmlarni kubikli yozuvlar yoki kubokga o'xshash hayvon boshi bilan molbertida rassom deb talqin qilishgan; hammasi kamsituvchi yozuvlar bilan.[32] Boshqalar asarlarni masxara qilib, ularni "iyeroglif" deb atashgan. San'atkorlar orasida reaktsiyalar bir-biriga xilma-xil bo'lib, munozaraga sabab bo'ldi Nuketistlar. Evgeniy d'Ors Dyuchamni ko'rgan Yalang'och zinadan tushish sifatida "achinarli holat, behushlik va yo'nalishni buzish".[11][33] Boshqa maqolada u Dyuchampga murojaat qilgan Yalang'och "dahshatli" sifatida, chunki rassom boshqa kubistlarning sa'y-harakatlariga zid keladigan shakl va haqiqatning shahvoniy ko'rinishini rad etdi.[34][35] Keyingi yil Zinadan tushayotgan yalang'och, № 2 da namoyish etildi Qurol-yarog 'namoyishi bu erda u cheksiz janjal mavzusiga aylandi.[36][37][38]

San'atshunos Xayme Brixuega Dalmau kubistlar shousi haqida shunday yozadi: «Shubhasiz, ko'rgazma jamoatchilikda katta shov-shuvga sabab bo'ldi va ular uni katta shubha bilan kutib olishdi.[39][40] Keyinchalik kubizm 20-asrning eng nufuzli badiiy harakatlaridan biriga aylandi;[41][42] voqealarga ta'sir ko'rsatmoqda Futurizm, Suprematizm, Dada, Konstruktivizm, De Stil va Art Deco.[43] konstruktivizm esa Pikassoning alohida elementlardan haykal qurish texnikasi ta'sirida bo'lgan.[44]

Matbuotda namoyish etilgan va / yoki takrorlangan tanlangan asarlar

1912 yil: Exposició d'art polonès

Bu 1912 yil may va iyun oylarida Frantsiyada yashovchi polshalik rassomlarning Dalmau shahrida o'tkazilgan katta ko'rgazmasi edi.[45][46]

1913–1915 yillar: g'avvoslar rassomlari

1913-1915 yillarda galereyada mahalliy rassomlarning bir qator ko'rgazmalari bo'lib o'tdi, masalan Dario de Regoyos (1913–14), Xosep Aragay va Blanchart [taxminan ] (1913), Pere Torné i Esquius [taxminan ] (1913–14), Laura Albéniz Jordana [taxminan ] (1914), Gustavo de Maeztu (1914), Selso Lagar [taxminan ] (1915).[9]

1915–16: Kis van Dongen

Kis van Dongen Galeries Dalmau-da 1915 yil 26-dekabr - 1916-yil yanvar o'rtalarida namoyish etildi.[47] Ushbu shaxsiy ko'rgazma Sala Dalmau devorlariga etib borgan payt van Dongen Kataloniyada allaqachon tanilgan edi. Eugeni d'Ors o'z ishi haqida gazetada yozgan edi El Poble Català (1905 yil 19-avgust) va Joan Saks (Feliu Elias) allaqachon unga "Nova" jurnalida (7.04.1914) o'z maqolasini bag'ishlagan edi. Van Dongenning etti asari namoyish etildi: Tanger, Vacances, Cousine, Le chrysanthéme, Intérieur, Malika Salomé Andreeif portreti va Danseuse orientale.[48]

Yilda Vell i Nou 1915 yil 15-dekabrda yozilishicha, rassom "Parij osti dunyosidagi illatning jahannamini va hayotning buzuqligini yoqimli tabassum bilan izohlagan" va La Veu-de-Kataloniya 11 dekabr o'zining "eng ilg'or rasm maktablari orasida eng muhim o'rin egallagan" asarini esladi. Ko'rgazma tomonidan yaxshi qabul qilindi L'Esquella de la Torratxa, 1916 yil 14-yanvar va jurnal Tema, Vilanova i la Geltru tomonidan, 5 yanvar, JF Rafols van Dongenning ishi haqida batafsil ma'lumot yozgan bo'lsa-da, ammo biroz sustkashliksiz emas, chunki u "mo'min ayolning turiga xosligi, bo'yanish va beparvoligi bilan oshib ketgan" "Vell i Nou" da Roma Jori shunday yozgan edi: "ramziy ma'noga ega shoirlar va impressionist rassomlar o'rtasidagi ittifoqdan Van Dongen o'zining ishonchli vakillaridan biri bo'lgan ushbu rasm tug'ildi".[49]

1916 yil: Serj Charxun, Helene Grunxof

Ko'rgazmasi Serj Charxun va Helene Grunxof 1916 yil 29-apreldan 14-maygacha bo'lib o'tdi.[50] Charxun 1912 yilda Parijga kelishidan oldin Moskvadagi akademiyalarda o'qigan va u erda Jan Metzinger va Le Fokonnier bilan kubizmni o'rgangan. Akademiya de La Palet.[51][52][53][54] Parijda u haykaltarosh Helene Grunhoff (yoki Helena Grünhoff) bilan uchrashdi (1880-?), U o'n yil birga yashagan. 1915 yilda, Birinchi Jahon urushi boshlanishi bilan Charxun va Grunxof Malorka va Barselonada boshpana topdilar.[55][56] Ikkalasi 1917 yilda Galeries Dalmau-da yana namoyish etildi.[57]

Albert Gliiz, 1912-13, Les Joueurs de football (Futbolchilar), tuvaldagi yog ', 225,4 x 183 sm, Milliy san'at galereyasi, Vashington DC Galeries Dalmau, 1916 yil
Albert Glizz, 1915 yil, Broadway, bortdagi moy, 98,5 x 76 sm, shaxsiy kollektsiya. Galma Dalmau, Barselona, ​​1916 yil, n. 11 yoki 12, sarlavhali Broadway Nyu-York, 1915. Galeries Dalmau, 1916 yil

1916 yil: Albert Gliiz

1916 yilga kelib Galereya Dalmau mavhum san'at va kubistlar faoliyati uchun markazga aylandi. Albert va Juliet Glislar, Robert va Soniya Delaunay, Frensis Pikabiya, Mari Laurensin va uning eri Otto fon Vatjen [fr ], Olga Sakarof, Serj Charchun va Rafael Barradas "Barselona" ni o'zlarining yangi uyi sifatida qabul qilish uchun rassomlar orasida edilar; boshqalar orasida film nazariyotchisi va avangard jurnalining noshiri ham bor edi Montjoie!, Rikciotto Kanudo; rassom va bokschi Artur Kravan, uning ukasi Otho Lloyd; shoir, rassom, dramaturg, xoreograf Valentin de Sent-Peyn va san'atshunos Maks Got (Maksimilien Gautier).[58]

Ispaniya Birinchi Jahon urushi paytida, 1914 yil iyuldan 1918 yil noyabrgacha neytral bo'lib qoldi. Ichki iqtisodiy qiyinchiliklarga qaramay, ko'plab rassomlar Ispaniyada yashashni tanladilar (va ayniqsa Barselonada).[59]

Gleizesning Dalmaudagi shaxsiy ko'rgazmasi 1916 yil 29 noyabr - 12 dekabrda bo'lib o'tdi,[60][61] masalan, matbuotda katta yoritishni keltirib chiqaradi Vell i Nou,[62] va tomonidan Joan Saks (Feliu Elias), boshqa taxallus ostida, Apa, Gleizes karikaturasini chizgan, yilda La Publicidad.[63]

San'atshunos Daniel Robbins Barselonadagi Glisz asarlari haqida yozadi:

Uning ishi har doim atrof-muhit bilan bevosita bog'liq edi, ayniqsa notanish ish. Shunday qilib, uning 1916 yil Ispaniyaga safari bir qator aniq Ispan rasmlarini keltirib chiqardi, (Ispaniyalik raqqosa) issiq va xushchaqchaq (shuningdek, yo'qolgan Yelkenli qayiqda, uning sintetik abstraktsiyada rivojlanishining umumiy yo'nalishi bilan ko'proq mos keladi) va uning bir nechta rasmlari Bermudadagi kabi sezgir va tezkor bo'lib, unda Sezannesk engil modifikatsiyaga g'amxo'rlik qiladi. shakllari va uning izchil diagonal cho'tkasi har qanday kontseptual sa'y-harakatlarni engib chiqadi.[21]

1917 yil: Torres-Garsiya, Barradas, Charxun

Joakim Torres i Gartsiya, Rafael Barradas va Serj Charxun ishtirokidagi ushbu ko'rgazmada birinchi marta vibratsiya namoyish etildi.[9][64][65] 1917 yil 22-fevralda Galeries Dalmauda bo'lib o'tgan konferentsiyada Torres-Garsiya ma'ruza qildi:

Bu ruh bizga g'ayratsiz keladi va bu yana bir xususiyatdir. Bizni alanga qamrab oladi, biz tebranamiz; bizning ruhimiz tebranuvchan, epchil; u soniyalar ichida ulkan bo'shliqlarni qamrab oladi; biz o'zimizda g'ayrioddiy narsalarga erishishimiz mumkinligiga ishonchni his qilamiz. Yaxshi narsalar bizga tushadi; biz altruistik, samimiy, mehribon, samimiy bo'lib qolamiz. Dunyo go'zal, hayot bilan, issiqlik bilan, nur bilan jo'shqin. Osoyishtalik, xuddi suveren kabi, hamma narsada hukmronlik qiladi. Dunyo abadiy tinchlikdan bahramand.[9]

1918 yil: Joan Miro

Joan Miro, 1917 yil aprel, Vinsent Nubiolaning portreti (Portret de Vincenc Nubiola), tuvaldagi yog ', 104 x 113 sm, Folkvan muzeyi. Ko'rsatilgan Galeries Dalmau, 1918, katalog №. 46
Joan Miro, 1920, Ot, quvur va qizil gul, tuvaldagi yog ', 82,6 x 74,9 sm, Filadelfiya san'at muzeyi. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 yil

1917 yilga kelib Galeri Dalmauda namoyish qilingan kubistlarning asarlari ta'siriga tushgan yosh Joan Miro galereya harakatlariga qo'shildi va tez orada kubistlarning yondashuviga o'zining shaxsiy talqinini qo'lladi. 1918 yil 16 fevraldan 3 martgacha Dalmau Mironing birinchi shaxsiy ko'rgazmasini namoyish etdi va keyinchalik o'zining birinchi Parijdagi yakka ko'rgazmasini 1921 yilda Galerie la Licornda o'tkazdi.[66][67][68]

Joan Mironing Galeries Dalmau ko'rgazmasida katalog qo'shilgan kalligramma Xosep Mariya Junoyning she'ri. Ro'yxatda jami 64 ta asar ko'rsatilgan: 2 ta 1914 yil; 1915 yil 7; 1916 yildan 25; va 1917 yildan 30 ta asar.[69] Xabarlarga ko'ra, shou muvaffaqiyatli o'tmagan,[70] uning ishi masxara qilingan va kamsitilgan.[71]

Mironing taqdimotlarida frantsuz harakatlari, empressionizm, fovizm va kubizmning ta'siri, Van Gog va Sezannega o'xshash ranglar aks etgan (masalan; Vinsent Nubiolaning portreti ),[72] shuningdek van Dongen va Gleizesning ta'siri.[67][73][72] Tanqidchilarning reaktsiyasi aralashgan va Miro kataloniyalik rassom tomonidan sotib olingan bitta asarini, kofe tegirmonining natyurmortini sotishga muvaffaq bo'ldi. Xosep Mompou [es ] (1908 yilda Galeries Dalmau-da namoyish etgan) 250 pesetaga.[67][74]

Keyinchalik Miro san'at jamoatchiligining tezlashishi uchun harakat qildi Montparnas va 1920 yilda Parijga ko'chib o'tdi, ammo yozni Kataloniyada o'tkazishni davom ettirdi.[75]

1920 yil: Vanguardia de Arte francés de Exposición

The Exposición de Arte francés de Vanguardia 1920 yil 26 oktyabrdan 15 noyabrgacha Les Galeries Dalmau-da ko'chirilgan.[76] Avangard frantsuz san'ati ko'rgazmasi Dalmau tomonidan tashkil etilgan eng muhim ko'rgazmalardan biri bo'lib, unda dilerning maqsadi Frantsiyada ham frantsuzda ham boshqa millatlarda ishlagan rassomlarning namunaviy namunasini taqdim etish edi.[70] Rassomlarning ko'pligi juda ko'p edi, shuning uchun ham davrlar doirasi qamrab olindi; dan postimmpressionizm mavhum san'atga, fovizmga, kubizmga va De Stilga.[70]

Aynan ushbu ko'rgazmada, ehtimol, dilerlik qilgan Leon Rozenberg va Miro birinchi marta uchrashdi. Dalmau namoyishni Rozenberg va Parij paytida galereya egasi va xalqaro san'at mutaxassisi Jorj Bernxaym yordamida tashkil qilgan edi. urushlararo davr. U Frensis Pikabiya, Raul Dufi va boshqalarning asarlarini Jorj Bernxaym galereyasida namoyish etgan.[77] Ko'rgazmada deyarli barcha kubistlar allaqachon Rozenbergda namoyish etilgan Galereya de L'Effort Moderne yoki qisqa vaqt ichida. 1930 va 1932 yillarda Rozenberg Pikabiya ishlarining ikkita yirik ko'rgazmasini namoyish etdi.[78]

Rassomlar orasida Mariya Blanshard, Jorj Braque, Anri-Edmond Xoch, Jan Dyufi, Raul Dufy, Andre Derain, André Dunoyer de Segonzak, Emil-Othon Friz, Albert Glis, Xuan Gris, Anri Xeyden, Auguste Herbin, Mari Laurencin, Fernand Léger, André Lhote, Jak Lipchits, Anri Manguin, Jan Marchand, Albert Market, Anri Matiss, Jan Metzinger, Joan Miro, Pablo Pikasso, Diego Rivera, Gino Severini, Pol Signac, Joakim Sunyer, Leopoldni qutqarish, Lui Valtat, Feliks Vallott, Kees van Dongen, Moris Vlamink va Manuel Ortis de Zarate.[76] Hammasi bo'lib 45 nafar rassom 87 ta san'at asarlari bilan ishtirok etdi.[40]

Katalogning muqaddimasi frantsuz san'atshunosi va kubizmning ashaddiy targ'ibotchisi tomonidan yozilgan Moris Raynal. Katalogda 28 ta badiiy asar ko'paytirildi.[76]

Mauris Raynal kollektsionerlarning ichki sezgirligiga qaratilgan ko'rinishda falsafa, ilohiyot bilan bog'liq syurreal muqaddimani taqdim etdi:

Afición ciega razón, deydi ispancha maqol. Xo'sh! ha. Sevgi aqlni ko'r qilib qo'yishi kerak. Shunday qilib, bu erda sezgirlik va hissiylikdan ajralib turadigan harakatlarni kamsitishga urinmang. Qarang va tanlang, aniqrog'i o'zingizni olib ketishga ijozat bering, sizni ushlaydigan narsa oldida to'xtating, chunki biz hech qachon tanlamaymiz. [...] sevgi tanlamaydi, topganini oladi. Shuning uchun taqqoslashga urinmang va shuning uchun etiketlamang. Faqat chinakam muhabbat taqqoslashlari kerak, va biz unga berishni xohlagan tanlov xarakteri faqat uning kuchi atrofida yoqimli xayoldir. [...] Tabiatni faqat sezgirligingizning barcha teshiklari bilan nafas oling, agar xohlasangiz, derazangizda yoki o'z oynangizda koinot haqida o'ylang. Bu sizga aytadi: "Tabiat menga buni ko'rsatdi". Buni tasdiqlaydi: "Men tabiatni aynan shuni ko'rsatdim". Uyda faqat o'zimizga munosib bo'lgan rasm borligini unutmang. (Mauris Raynal, 1920)[76]

  • Pablo Pikasso, 1903 yil, Desemparats (Maternité, Mère et enfant au fichu, Onalik), qog'ozga pastel, 47,5 x 41 sm, Museu Pikasso, Barselona. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 yil

  • Anri Matiss, 1906, Yosh dengizchi II, tuvalga moy, 101,3 x 82,9 sm, Metropolitan San'at muzeyi. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 yil

  • Anri-Edmond Xoch, 1907–08, La Pleine de Bormes, tuvaldagi moy, 73,1 x 91,8 sm. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 yil

  • Kis van Dongen, 1911, En la plaza (Femme a la balustrade, Ayol balustrade ustida), tuvalga moy, 81,3 x 99,1 sm, Annonciade muzeyi, Sent-Tropez. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 yil

  • Ogyust Xerbin, 1912, Les atirgullar, tuvaldagi yog ', 92,1 x 60,3 sm. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 (katalogdan sahifa)

  • Lui Valtat, 1913, Nu au fauteuil (Nu sur fond), tuvaldagi moy, 81,4 x 65,4 sm, shaxsiy kollektsiya. Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 yil

  • Jan Metzinger, c.1917, Natural morte, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 (katalogdan sahifa)

  • Fernand Léger, 1919, Le disque rouge, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 (katalog sahifasi)

  • Pol-Elie Gernez [fr ], Sen-Klod, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 (katalog)

  • Joakim Sunyer, c.1920, La sandia (tarvuz), tuvaldagi moy, 59 x 71,5 sm, Museu Nacional d'Art de Catalunya, Exposició d'Art francès d'Avantguarda, Galeries Dalmau, Barselona, ​​1920 yil

1922 yil: Frensis Pikabiya

Frensis Pikabiya ko'rgazmaning ochilishi, Galeries Dalmau, Barselona, ​​18 noyabr 1922 yil

Frensis Pikabiya Barselonadagi birinchi va yagona shaxsiy ko'rgazmasini 1922 yil 18-noyabrdan 8-dekabrgacha Dalmau galereyasida namoyish qildi. Pikabiya bu vaqtga qadar kubistlar bosqichida (Parijda) va protada-Dada bosqichida (Nyu-York) o'tgan edi. Shahar). Picabia Galeries Dalmau-da qirq etti asarini namoyish etdi, hammasi yaqinda (namoyishdan bir necha oy ichida ishlab chiqarilgan) va ilgari nashr etilmagan. Asarlar majoziy san'atning eklektik aralashmasi, mavhum va mexanik tasvirlar edi ("kech mashinist").[79] Bu Dada va syurrealizm o'rtasidagi o'tish davri edi. Kiritilgan ish mavzulari quyidagi nomlarda aks etgan: Aviatsiya, Astrolab, ko'rlar uchun termometr, Ispaniyalik ayol va Optofon.[11][80][81] Ochilishdan oldin zamonaviy san'at bo'yicha ma'ruza o'qildi Atenu Barselon [taxminan ] tomonidan André Breton, bir vaqtlar "Parij Pikabiyadan kattaroq, ammo Pikabiya Parijning poytaxti" deb yozgan.[82] Shuningdek, u katalogda chop etilgan ushbu so'z uchun yozgan:[83][84]

"[...] Darhaqiqat, asar endi ranglarning ozmi-ko'pi muvaffaqiyatli kombinatsiyasida, haqiqatga ozmi-ko'pmi yuqori darajaga yaqinlashadigan chiziqlar o'yinida yashaydi. Hech qanday o'xshashlik yo'q, hatto uzoq ham emas. vakillik juda uzoq davom etdi [...] kompozitsiyalarga yo'l berib, unda barcha qiymatlar yoki ramziy niyatlardan ozod qilingan plastik qiymatlar imzo yoki sarlavha kabi muhim rol o'ynamasligi mumkin. [...] "

391 yildagi birinchi nashrlardan so'ng Kataloniya madaniyat va san'at muassasalarining salbiy sharhlari, avtoulovlar avangardga qarab o'zgarib borayotganiga qaramay, Dalmaudagi Pikabiyaning ko'rgazmasiga xalaqit bergan ko'rinadi. Na Andre Bretonning konferentsiyasi va na ko'rgazma katalogi omadli chiqmadi. Biroq, Picabia va Breton konferentsiyasi to'g'risida keng maqola chop etildi La publicitat, san'atshunos tomonidan yozilgan Magí Albert Cassanyes i Mestre [taxminan ].[11][85][80]

Uning fikriga ko'ra, yozadi Elisenda Andres Pamies, 1912 yildan beri Xosep Dalmau diaspora yaratuvchilari bilan aloqalarni o'rnatgan va ularni Les Galleries Dalmau-da kutib olgan birinchi va yagona kataloniyalik diler edi. Picabia ko'rgazmasi ushbu davomiylikni mustahkamladi.[11]

Dalmau birinchi to'rt sonini nashr etdi Dadaist ko'rib chiqish 391 (1917-1924) va Cinquante-deux miroirs (1914-1917) Pikabiya tomonidan yaratilgan.[4][5][82][86]

  • Frensis Pikabiya, Flamenko, 391, n. 3, 1917 yil 1-mart

  • Frensis Pikabiya, Frensis chante le Coq, 391, n. 1920 yil 14-noyabr

  • Frensis Pikabiya, Ce numéro et entouré d'une deníelle gul. 391-sahifa, n. 13, 1920 yil iyul

  • Frensis Pikabiya, Lampe Illusion, 391, n. 3, 1917 yil 1-mart

  • Frensis Pikabiya, Mari, Barselona, 391, n. 3, 1917 yil 1-mart

  • Frensis Pikabiya, Moleculaire, 391, № 8, 1919 yil fevral

  • Frensis Pikabiya, Peigne, Miroir de l'Apparence, 391, n. 2, 1917 yil 10-fevral

  • Frensis Pikabiya, Fosfat, Litréature, № 6, Yangi seriya, Parij, 1922 yil 1-noyabr

  • Frensis Pikabiya, Amerika, 391, n. 6, 1917 yil iyul

  • Frensis Pikabiya, Bir (Inglizcha: Eshak), 391 yil, 1917 yil iyul

  • Frensis Pikabiya, 1922, Aviatsiya, siyoh, rangli qalam, qog'ozga moybo'yoq, 79,9 x 54 sm, RISD muzeyi

  • Frensis Pikabiya, Astrolabe, Galeries Dalmau ko'rgazma katalogi, 1922 y

  • Frensis Pikabiya, Thermomètre pour aveugles (Ko'zi ojizlar uchun termometr), Galeries Dalmau ko'rgazma katalogi 1922

  • Frensis Pikabiya, 1922, Femme Espagnole (Espagnole à la sigaret), akvarel, guash va qog'ozga qalam, 72 x 51 sm, shaxsiy to'plam

Galeries Dalmau, ko'rgazma paytida Rafael Barradas, Passeig de Gracia, Barselona, ​​1925-26

1923: Passeig de Gracia

1923 yilda galereya Barselonadagi katta xiyobonlardan biriga ko'chib o'tdi, Passeig de Gracia, 62, bu erda 1930 yilgacha, galereya butunlay yopilishi kerak edi.[87]

1925–1927: Salvador Dali

Salvador Dali va Federiko Gartsiya Lorka, Turo Park de la Gvineya, Barselona, ​​1925 yil

Ko'rgazmasi Salvador Dali 1925 yil 14-27 noyabr kunlari rassomlarning birinchi shaxsiy ko'rgazmasi bo'lib o'tdi.[16][88] O'sha paytda Dali hali suvga cho'mmagan edi syurrealist keyinchalik u mashhur bo'lib ketadigan uslub. Jamoatchilik va tanqidchilar o'rtasida o'tkazilgan ko'rgazma olqishlandi. Keyingi yil u yana Dalmau-da, 1926 yil 31 dekabrdan 1927 yil 14 yanvargacha san'atshunosni qo'llab-quvvatlagan holda namoyish qildi Sebastià Gasch [taxminan ].[11][89][90]

1920-yillarning o'rtalarida Barselonadagi galereya sahnasi juda murakkab, uyushgan va murakkab edi. Dalmau 1925 yilda birodarlar Maragal bilan raqobatlashganda duch kelgan edi.Joan-Antoni Maragal [taxminan ], shoirning kenja o'g'li Joan Maragall va Raimon Maragall - galereyani sotib olishdi Sala Pares, galereyalar dunyosiga qo'shilish va bozorni energiya bilan ta'minlash. Sala Parés Galeries Dalmau-ning raqibiga aylandi, chunki u rassomlarning muhim tarmog'ini jalb qildi (Modernizm va Noucentisme ), ilgari Dalmau tomonidan targ'ib qilingan va Galereya Layetanlar [taxminan ] (1915 yilda tashkil etilgan).[11]

1926: Exposició de Modernisme Pictòric Català

Ushbu ko'rgazmada kataloniyalik rassomlarning bir guruhi va Evropaning bir qator rassomlari ishtirok etdi. Xosep Dalmau o'zining uchta asarini namoyish etdi, Miro, Dali, Torres-Garsiya, Sunyer, Djunyer, Mompu, Kassanyes va boshqalar. Shuningdek, Glisz, Laurensin, Pikabiya, Veber, Vlamink, Dufi, Delaunay va Grunofning asarlari ham qatnashdi.[91]

1927 yil: Federiko Gartsiya Lorka

Xosep Dalmau, Salvador Dali, J. V. Foyx, Xosep Karbonell, M. A. Kassanyes, Lyuis Goneora, R. Sains-de-la-Maza Lyuis Montanya, Rafael Barradas va J. Gutieres Gil-Sebastya Gash taklif qilingan Federiko Gartsiya Lorka 1927 yil 25 iyundan 2 iyulgacha Galeries Dalmau-da rasmlarni namoyish etish.[92]

Lorkaning asarlari rassomlarning she'riy to'plamini to'ldiruvchi mashhur va avangard uslublarning aralashmasi edi, "Kansion" (Qo'shiq) ko'rgazmadan bir oy oldin chop etilgan. Uning she'riyatida ham, chizilgan rasmlarida ham an'anaviylik ta'sir ko'rsatgan Andalusiya motivlar, kubizm va jinsiy o'ziga xoslik bilan ovora bo'lish. Bir nechta rasm chizilgan xayolparast yuzlardan (yoki soyalardan) iborat edi. He later described the double faces as self-portraits, showing "man's capacity for crying as well as winning", inline with his conviction that sorrow and joy were inseparable, just as life and death.[93]

In a sketch titled O'pish, he drew a face much like his own, attached at the lips with another face, the profile of which resembled Dalí. Dalí had also drawn Lorca's face next to his own. Dalí later wrote of this period in his life as an artist, "for the duration of an eclipse", Lorca's shadow "came to darken the virginal originality of my spirit and of my flesh."[93] Lorca too was consumed by Dalí, something visible in both his Cubist idiom and Surrealist syntax. The exhibition included a recognizable portrait of Dalí (cat. no. 14),[92] part of a series Lorca had drawn at the time.[93]

Lorca's exhibition attracted less attention than Dalí's, though there was some favorable press coverage, mainly by his friends, Dalí included. To Lorca's surprise, he did sell four drawings. Once the exhibition completed he gave the rest of the drawings to his friends.[93]

1929: Art Modern Nacional i Estranger

The Exhibition of Modern National and Foreign Art took place at Galeries Dalmau, Passeig de Gràcia, 31 October through 15 November 1929. Artists included Xans Arp, Sophie Taeuber-Arp, André Lhote, Piet Mondrian, Otto van Ris, Otto Veber, Teo van Doesburg, Otto Freundlich, Jorj Vantongerloo, Jean Helion, Gustavo Cochet, along with large contingent of Catalan artists.[94]

Reviews included a lengthy exposé in La Gaceta Literaria by Sebastià Gasch, particularly on the Cubist aspect of the exhibition,[95] va tomonidan Rafael Benet [taxminan ], under the pseudonym Baiarola, in La Veu-de-Kataloniya.[96]

1930: Àngel Planells

Anxel Planells was a surrealist painter. This was the artists first solo exhibition.[97][98][99]

1930: Gallery closes

Josep Dalmau, in his office at the Galeries Dalmau, carrer Portaferrisa, 18, 1911-1923

The closing of Galeries Dalmau was possibly due to several factors: the use of operational procedures obsolete in the art market of the twenties, expenses, increasing competition, and the low profitability obtained from the sales. Sebastià Gasch, attributed the demise of Galeries Dalmau to the attitude of Josep Dalmau, "the almost absolute disappearance of that eagerness of selection that presided over his old galleries." He also pointed out, "Galleries Dalmau lost all their ingenuity when moving from the intensity of the Gothic Quarter of Barcelona—Portaferrissa—to the dilapidated Passeig de Gràcia."[11][100][101]

In 1936, Dalmau became president of the Associació d'Artistes Independents and drafted its manifesto.[102][103][104][105] Keyingi yil vafot etdi.

Rassomlar ko'rgazma namoyish qildilar

  • This list does not include Polish artists of the Exposició d'art polonès, 1912[46][106]

Acín Aquilué, Ramón

Agero, August

Amat Pagès, Josep

Aragay, Josep

Aymat, Tomàs

Badrinas Escudé, Antoni

Ballesté, Jacint

Bardas, Nicolau Isidro

Barradas, Rafael

Basiana Arbiell, Evarist

Bechini, Gabriel

Begué, Hortense

Beltran Sanfeliu, Josep

Benet Vancells, Rafael

Bergnes, Guillem

Blanchard, María

Blanes, Camilo

Bosch Canals, Andreu

Boussingault, Jean-Louis

Braque, Georges

Bréton, André

Burty, Frank

Camarasa, F.

Camps, Francesc

Canals, Ricard

Cano, Manolo

Carles Rosich, Domingo

Cassanyes, Magí

Castanys, Valentí

Cénac Bercciartu, Enrique

Charchoune, Serge

Cid, Remigio

Clapés Puig, Aleix

Climent, Enrique

Cochet, Gustavo

Colom, Joan

Coscolla Plana, Feliu

Costa, Miquel

Costa, Pere

Cross, Henri-Edmond

Cueto, Germán

Dalí Domènech, Salvador

Dalmau Rafel, Josep

Dam, Bertil

De Regoyos, Darío

De Togores Llach, Josep

Delaunay, Sònia

Derain, André

Donskaia, Tatiana

Duchamp, Marcel

Dufy, Raoul

Dufy, Jean

Dunoyer de Segonzac, André

Dunyach Sala, Josep

Elias Bracons, Feliu

Enguiu Malaret, Ernest

Espinal Armengol, Marià

Estivill, Ricard

Fabrés, Júlia

Fernández Peña, Manuel

Ferrer, Agustí

Figueras, Llàtzer

Flores Garcia, Pedro

Friesz, Emile-Othon

Garay, Luis

Gartsiya Lorka, Federiko

García Maroto, Gabriel

Gausachs Armengol, Josep

Genover, Ignasi

Gérardin, Marthe-Antoine

Gernez, Paul-Élie

Gilberto, Lluís

Gimeno Arasa, Francesc

Gimeno, Martí

Yaltiraydi, Albert

Gol, Josep Maria

Goller, Joseph

Gómez dela Serna, Ramón

Gómez, Helios

González Sevilla

Gosé Rovira, Xavier

Gottlieb, Leopold

Gris, Juan

Grunhoff, Helene

Guàrdia Esturí, Jaume

Guarro, Joan

Güell, Xavier

Gusef, Kallinic

Guyás, An

Hayden, Henri

Herbin, Auguste

Hermann-Paul, René Georges

Hoffmann, Robert

Homs Ferrés, Elvira

Humbert Esteve, Manel

Jack, Georges (?)

Jernàs, Elsa

Jönzen, Hadar

Jou, Lluís

Jujol, Josep Maria

Junyer, Joan

Kammerer, Ernst

Labarta, Francesc

Lagar, Celso

Lagut, Irène

Laprade, Pierre

Laurencin, Marie

Le Corbusier

Le Fauconnier, Henri

Léger, Fernand

Leyde, Kurt

Lhote, André

Lipchitz, Jacques

López Morella, Ramón

Losada, Manuel

Lotiron, Robert

Maeztu, Gustavo de

Malagarriga Ormat, Elvira

Manguin, Henri

Marchand, Jean

Marès, Frederic

Maristany de Trias, Luís

Marquès Puig, Josep Maria

Marquet, Albert

Matilla Marina, Segunda

Matisse, Henri

Mercadé, Lluís

Mettsinger, Jan

Mimó, Claudi

Miret, Ramon

Miró, Joan

Mompou, Josep

Moreau, Luc-Albert

Moreno, Arturo

Moya Ketterer, José

Mutermilch, Mela

Natali, Renato

Nonell, Isidre

Obiols Palau, Josep

Olivé, Jacint

Ortiz de Zárate, Manuel

Öström, Folke

Palau Oller, Josep

Pascual Rodés, Ivo

Pascual Vicent, J.

Pérez Moro, Julio

Picabia, Francis

Picasso, Pablo

Pichot Gironès, Ramon

Planas, Pau

Planells Cruañas, Àngel

Portusach de Mascareñas, Josefina

Prat Ubach, Pere

Pretzfelder, Max

Pujó, Josep

Pujol Montané, Josep

Pujol Ripoll, Josep

Pujol, A. P.

Pujols, Francesc

R.de Pujulà, Germaine

Ràfols Fontanals, Josep Francesc

Ricart Nin, Enric Cristòfor

Rincón, Vicente

Rivera, Diego

Roqueta, Ramon

Roussel, Ker-Xavier

Ruiz, Diego

Rusiñol, Santiago

Ruth Cahn, Fräulein

Sermaise Perillard, Louis

Severini, Gino

Soucek, Slavi

Store, Emili

Sucre, Josep Maria del

Sunyer, Joaquím

Survage, Léopold

Timm, Ernest

Torné Esquius, Pere

Torné, Trinitat

Torres García, Joaquim

Traz, Georges de

Valtat, Louis

Vallotton, Félix

Vaño

Van Dongen, Kees

Van Rees, Otto

Velásquez Cueto, Lola

Vèrgez, Eduard

Vila Pujol, Joan

Vilà, Salvador

Villà Bassols, Miquel

Violet, Gustave

Vives, Mario

Vlaminck, Moris

Veber, Otto

Xarraga, Angel

Ysern Alié, Pere

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