DOI article:
Cañellas i Martínez, Sílvia: Foreign contributions to early twentieth century stained glass windows of Catalonia
DOI Page / Citation link:https://doi.org/10.11588/diglit.51154#0086
85
It is relevant to see the great mobility of stained-glass
artists throughout Europe and North America. They trav-
elled in order to get to know pieces and European tech-
niques or to participate in exhibitions. The absorption of
the international models that they applied in their designs
came from different sources. We want to highlight the im-
portance, for the Catalan workshops’ business, of acquir-
ing European and American magazines and repertoires
because they gave modernity to the pieces and made it
possible to for the workshops to adapt their production to
the tastes of their customers.
These models were sometimes copied, and others came
from the local painters and architects who offered images
that were combined in the workshops in order to make
new stained-glass windows. Travel, magazines, reper-
toires, collaboration of workshops with painters and ar-
chitects: these made possible a rich range of styles and
techniques in the Catalan stained-glass windows of the
early twentieth century.
Finally, it must be said that we have wanted to discuss
these stained glasses, these reinterpretations, to empha-
sise the importance of international relations in order also
to understand local productions.
SUMMARY
Silvia Canellas, Nuria Gil
FOREIGN CONTRIBUTIONS IN EAREY
TWENTIETH CENTURY STAINED GEASS
WINDOWS OF CATALONIA
Keywords: stained glass, Modernism, Rigalt&Granell,
Catalonia
This article aims to show how some Catalan designers of
the early twentieth century used certain elements of the
European arts to create new stained glass windows.
It is an evident fact, that neo-Gothic windows were
influenced by the Gothic style. Also, some baroque win-
dows took up some models from different works of oth-
er arts, but in the nineteenth century, this phenomenon
was more frequent. There are in Barcelona some windows
dating back to the nineteenth and early twentieth centu-
ries, made by Catalan workshops, especially by Rigalt and
Granell, the designs of which come from European works.
These represent only one small part of Rigalt and
Granells production, but it is important to see the Mod-
ern concept that dominates stained glass in private hous-
es, while in churches the neogothic style remained.
The absorption of the international models that they
applied in their designs came from different sources. We
want to highlight the importance, for the Catalan work-
shops business, of acquiring European and American
magazines and repertoires because they give modernity
to the pieces and make it possible to adapt their produc-
tion to the tastes of their customers.
It must be said that we have wanted to speak about
these stained-glass windows, these reinterpretations, to
emphasize the importance of international relations to
understand also local productions.
It is relevant to see the great mobility of stained-glass
artists throughout Europe and North America. They trav-
elled in order to get to know pieces and European tech-
niques or to participate in exhibitions. The absorption of
the international models that they applied in their designs
came from different sources. We want to highlight the im-
portance, for the Catalan workshops’ business, of acquir-
ing European and American magazines and repertoires
because they gave modernity to the pieces and made it
possible to for the workshops to adapt their production to
the tastes of their customers.
These models were sometimes copied, and others came
from the local painters and architects who offered images
that were combined in the workshops in order to make
new stained-glass windows. Travel, magazines, reper-
toires, collaboration of workshops with painters and ar-
chitects: these made possible a rich range of styles and
techniques in the Catalan stained-glass windows of the
early twentieth century.
Finally, it must be said that we have wanted to discuss
these stained glasses, these reinterpretations, to empha-
sise the importance of international relations in order also
to understand local productions.
SUMMARY
Silvia Canellas, Nuria Gil
FOREIGN CONTRIBUTIONS IN EAREY
TWENTIETH CENTURY STAINED GEASS
WINDOWS OF CATALONIA
Keywords: stained glass, Modernism, Rigalt&Granell,
Catalonia
This article aims to show how some Catalan designers of
the early twentieth century used certain elements of the
European arts to create new stained glass windows.
It is an evident fact, that neo-Gothic windows were
influenced by the Gothic style. Also, some baroque win-
dows took up some models from different works of oth-
er arts, but in the nineteenth century, this phenomenon
was more frequent. There are in Barcelona some windows
dating back to the nineteenth and early twentieth centu-
ries, made by Catalan workshops, especially by Rigalt and
Granell, the designs of which come from European works.
These represent only one small part of Rigalt and
Granells production, but it is important to see the Mod-
ern concept that dominates stained glass in private hous-
es, while in churches the neogothic style remained.
The absorption of the international models that they
applied in their designs came from different sources. We
want to highlight the importance, for the Catalan work-
shops business, of acquiring European and American
magazines and repertoires because they give modernity
to the pieces and make it possible to adapt their produc-
tion to the tastes of their customers.
It must be said that we have wanted to speak about
these stained-glass windows, these reinterpretations, to
emphasize the importance of international relations to
understand also local productions.