DOI Artikel:
Cañellas i Martínez, Sílvia: Foreign contributions to early twentieth century stained glass windows of Catalonia
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.51154#0075
74
1. William Morris & Co., Children of Bacchus, 1906, Westminster. Photo after: The Studio yearbook of decorative art of 1906, London, Paris and
New York Offices of “The Studio”
European workshops. In fact, two Jules Decoin windows
were made for the Barcelona Cathedral (1863) and anoth-
er in Santa Maria del Mar Church. Maréchal et Cham-
pigneulle of Metz also worked in Santa Maria del Mar.
Furthermore, the Swiss Georges Müller moved to Barce-
lona after legal troubles that he had had in his own land.3
He was one of the agents of change and transformation in
the middle nineteenth century windows in Barcelona. On
the other hand, Catalan ateliers found their own way and,
little by little, they started the first changes that made pos-
sible the last great nineteenth century stained glass win-
dows revolution. All these changes were due to initiatives
by local artists but also to external influences that came
from different directions.
In order to answer the questions about the origin of
these models, we have studied the workshops’ archives.
Travel and studies were basic elements going to rein-
force the knowledge of international techniques and ar-
tistic changes. Grants and studies in foreign workshops
or schools were relevant ways to import innovations. We
remember the case of Frederic Vidal with the Cloison-
né Glass.4 A lot of painters travelled to visit monuments
3 S. Canellas, N. Gil, ‘Catalan medieval dynasty on stained glass
window’, Österreichische Zeitschrift für Kunst und Denkmalpflege,
66, 2012, no. 3/4: Dynastiche Repräsentation in der Glasmalerei,
pp. 468-477 and A. Aymar i Puig, ‘Recuerdos de Barcelona. Vi-
drieras S. Ma. Mar de Barcelona y noticias de algunas personas
que han intervenido en la restauración de tan insigne monumen-
to’, El Correo Catalan, 9,14,15 October 1913.
4 N. Gil and J. Bonet, ‘Cloisonné glass un fenomen modernista’,
Coup de fouet’, 26, 2016, p. 26-37. http://www.artnouveau.eu/up-
load/magazine_pdf/26_a_fons.pdf [retrieved 1 February 2019].
and study the European works and they created designs
to make windows. Italy and France were the first goals of
these trips, but Great Britain and Germany also became
destinations of the artists.
The International Exhibitions were also relevant, be-
cause they were a showcase of new techniques and aes-
thetics.
But in this paper we would like to discuss another sig-
nificant way to import models: magazines and image rep-
ertories. We have focused our research on the Rigalt and
Granell atelier, whose archive is preserved in the Centre
de Documentaci!) of the Museu del Disseny de Barcelo-
na.5 Rigalt and Granell was one of the most important
ateliers of Barcelona at the turn of the twentieth century.
In its background workshop (preserved in the Museum)
there are materials such as journals, image repertoires and
magazine subscription invoices. We can find magazines
such as The Studio, Der Moderne Still (1900-1901), and
Kunstgewerbliches Skizzenbuch of Anton Seder, about dec-
orative techniques. After 1890, they subscribed to Dekora-
tive Volbilder by Julius Hoffmann. There are woodcuts
of repertoires with ornamental and allegorical figures.
There are also Décoration Ancienne & Moderne, Docu-
ments dAtelier, Art et Décoration (1896-1926), Deutsche
Kunst und Dekoration (1898-1904) of Alex Koch, the Ital-
ian Modelli dArte Decorativa (Milan) and French reper-
toires like L’Ornamentation par la plante (Paris) by M.P.
5 N. Gil, El taller de vitralls modernista Rigalt, Granell & Cia (1890-
1931), University of Barcelona, 2013 (see: http://diposit.ub.edu/
dspace/handle/2445/54691 [retrieved 1 February 2019]).
1. William Morris & Co., Children of Bacchus, 1906, Westminster. Photo after: The Studio yearbook of decorative art of 1906, London, Paris and
New York Offices of “The Studio”
European workshops. In fact, two Jules Decoin windows
were made for the Barcelona Cathedral (1863) and anoth-
er in Santa Maria del Mar Church. Maréchal et Cham-
pigneulle of Metz also worked in Santa Maria del Mar.
Furthermore, the Swiss Georges Müller moved to Barce-
lona after legal troubles that he had had in his own land.3
He was one of the agents of change and transformation in
the middle nineteenth century windows in Barcelona. On
the other hand, Catalan ateliers found their own way and,
little by little, they started the first changes that made pos-
sible the last great nineteenth century stained glass win-
dows revolution. All these changes were due to initiatives
by local artists but also to external influences that came
from different directions.
In order to answer the questions about the origin of
these models, we have studied the workshops’ archives.
Travel and studies were basic elements going to rein-
force the knowledge of international techniques and ar-
tistic changes. Grants and studies in foreign workshops
or schools were relevant ways to import innovations. We
remember the case of Frederic Vidal with the Cloison-
né Glass.4 A lot of painters travelled to visit monuments
3 S. Canellas, N. Gil, ‘Catalan medieval dynasty on stained glass
window’, Österreichische Zeitschrift für Kunst und Denkmalpflege,
66, 2012, no. 3/4: Dynastiche Repräsentation in der Glasmalerei,
pp. 468-477 and A. Aymar i Puig, ‘Recuerdos de Barcelona. Vi-
drieras S. Ma. Mar de Barcelona y noticias de algunas personas
que han intervenido en la restauración de tan insigne monumen-
to’, El Correo Catalan, 9,14,15 October 1913.
4 N. Gil and J. Bonet, ‘Cloisonné glass un fenomen modernista’,
Coup de fouet’, 26, 2016, p. 26-37. http://www.artnouveau.eu/up-
load/magazine_pdf/26_a_fons.pdf [retrieved 1 February 2019].
and study the European works and they created designs
to make windows. Italy and France were the first goals of
these trips, but Great Britain and Germany also became
destinations of the artists.
The International Exhibitions were also relevant, be-
cause they were a showcase of new techniques and aes-
thetics.
But in this paper we would like to discuss another sig-
nificant way to import models: magazines and image rep-
ertories. We have focused our research on the Rigalt and
Granell atelier, whose archive is preserved in the Centre
de Documentaci!) of the Museu del Disseny de Barcelo-
na.5 Rigalt and Granell was one of the most important
ateliers of Barcelona at the turn of the twentieth century.
In its background workshop (preserved in the Museum)
there are materials such as journals, image repertoires and
magazine subscription invoices. We can find magazines
such as The Studio, Der Moderne Still (1900-1901), and
Kunstgewerbliches Skizzenbuch of Anton Seder, about dec-
orative techniques. After 1890, they subscribed to Dekora-
tive Volbilder by Julius Hoffmann. There are woodcuts
of repertoires with ornamental and allegorical figures.
There are also Décoration Ancienne & Moderne, Docu-
ments dAtelier, Art et Décoration (1896-1926), Deutsche
Kunst und Dekoration (1898-1904) of Alex Koch, the Ital-
ian Modelli dArte Decorativa (Milan) and French reper-
toires like L’Ornamentation par la plante (Paris) by M.P.
5 N. Gil, El taller de vitralls modernista Rigalt, Granell & Cia (1890-
1931), University of Barcelona, 2013 (see: http://diposit.ub.edu/
dspace/handle/2445/54691 [retrieved 1 February 2019]).