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Catalan School Large Painting "The Walk" Oil on canvas , Romantic style
About the Item
“The walk”, Lluís Muntané Muns, Catalan School, pp. 20th century - Spain
Technique on support: oil on canvas
Title of the work: “The Walk”
Author: Lluís Muntané Muns (1899 - 1987)
Style/School: Catalan School
Period: first half of the 20th century
Country of origin: Catalonia, Spain
Origin: Banco Santander
Some damage visible in the photographs and that could be restored
Dimensions: 204 x 343 cm.
One of a kind and Large oil on canvas signed by Lluís Muntané Muns depicting a pleasant everyday scene, aristocrats and bourgeois taking a walk along a wide avenue. The ladies with their elegant dresses and parasols and the men with long coats.
This work is unique, not only for its pictorial quality in such a large, almost muralist size, but for its traceability, it was commissioned at the beginning of the 20th century and includes a bank building from the end and beginning of the 20th century in Latin America.
The composition is divided into a horizontal strip in the lower half in which the different characters are arranged, conversing with each other, flanked by the trees that appear at the ends. Behind them, in the center of the composition rises a large neoclassical-style building that escapes towards the landscape that can be seen in the background.
Lluís Muntané Muns opted for a realistic academicism, of high quality but with sober and static expression, which is also reminiscent of some of the characteristics of Catalan noucentisme. Although most of his career was dedicated to portraits, he also cultivated muralism. A lover of chiaroscuro, he managed to provide warmth to his plastic environments with an equally elegant and contained palette. His compositions are always well constructed and have the elegance that seems a dominant note in all aspects of his work.
Noucentisme or Novencentism designates a cultural movement that began in 1906 in Catalonia (propounded by Eugenio d'Ors), claiming the need for a classicism with a sense of modernity, but that was at the same time linked to tradition, given its nationalist mood. . Catalan identity linked to the classic substratum of Catalonia and its connection with the Mediterranean. He wanted to break with the cosmopolitan character of Modernism and the transience of Impressionism. He set out to achieve a more objective, constant and, ultimately, eternal art. For this, the idea of the “classical” (but never an explicit copy of said period) and the “Mediterranean” was used and the way to capture it in painting was through static, balanced, and simple compositions. It must be pointed out that it cannot be understood as a style, but as a series of ideas that each artist understands in his own way.
In this case, the memory of noucentisme is appreciated above all in the composition: a feeling of serenity, proportion, the figures do not present very exaggerated or grandiose movements... It attempts to represent the eternal through compositional balance. The colors seem muted because this effect was sought, since they understood classicism as something serene and balanced.
Lluís Muntané Muns (Mataró, Barcelona, 1899 – Barcelona, 1987)
A disciple of Vicente Borrás and José Mongrell (from whom he took the use of dramatic light and frequency in the theme of the female figure) at the School of Fine Arts of Barcelona, he enjoyed a pension from the Provincial Council, with which he traveled , in 1927, for Italy.
He married the painter Teresa Condeminas, who is also a painter. With an independent disposition, his style changed little throughout his career, opting for a realistic academicism of great quality but with sober and static expression. A lover of somber tones, he managed to provide warmth to his plastic environments.
He chose the female figure as his main subject, usually captured in movement. Her attitude is expectant and on many occasions she is wrapped in rich clothing, an aspect that accentuates an always contained elegance. An expert portrait painter, he created still lifes, landscapes and religious scenes. He also practiced mural painting. His charcoal portraits show a mastery of the drawing technique and in the field of engraving his mastery in the series of images that he executed around 18th-century Barcelona stands out especially.
Professor of Life Drawing at the School of Fine Arts of Barcelona from 1940 to 1969, he directed the institution between 1945 and 1948. A wide collection of awards and distinctions accompanied the artist's brilliant career, among which the National Prize for Painting and Engraving. He attended the artistic competitions that were held in Barcelona, Madrid, Paris and Buenos Aires. He held his first individual exhibition at the Syra Galleries in Barcelona in 1930. In 1968 he was named corresponding academic of the Royal Academy of Fine Arts of San Fernando.
The frame is offered as a gift, but has value in itself. It is provided at no additional cost so that when your artwork arrives at your home or place of
- Creator:Mary Spain (Author)
- Dimensions:Height: 80.32 in (204 cm)Width: 135.04 in (343 cm)Depth: 1.97 in (5 cm)
- Style:Romantic (In the Style Of)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1920
- Condition:Wear consistent with age and use.
- Seller Location:Valladolid, ES
- Reference Number:1stDibs: LU2943340308732
Mary Spain
Mary Spain was born in Raleigh, North Carolina, in 1934. She studied art at Syracuse University and moved to Ohio in the 1960s to teach art at Chagrin Falls High School. She was a frequent exhibitor in the May Show at the Cleveland Museum of Art during the 1970s and early 1980s, where she won several Juror’s mentions for her paintings. Characteristic of her work is a flattened frontal gaze or a total profile view of her figures that recall Renaissance portraiture. Additionally, most of her characters are seen wearing odd or unusual hats. Spain believed that these hats identify the figures much like they do for professions such as chefs, clergy or law enforcement. The hats also act to contain the characters. While her figures often appear cute or innocent, Spain felt they were filled with mischief. Without their hats, she imagined that they might just explode. Spain’s interest in antique dolls and toys lends insight into the construction of her figures. Many figures have marionette-like qualities with blocky, out of proportion limbs, suggesting that perhaps they are not entirely in control of their actions. During her struggle with cancer, Spain used these figures to express her feelings of pain and sadness. While her deeply personal vocabulary and symbolism might be lost to the viewer, the narratives and embedded emotional substance remain.
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