This book, which studies Barcelona’s world of galleries, was born of a commission from the Associació Art Barcelona (Art Barcelona Association) to celebrate the XX anniversary of this group’s foundation. Apart from constituting one of the few works to analyze the history of our country’s galleries, it is also a practical document to discover the current exhibition spaces that can be visited.  The Gallery World in Barcelona is a study in three parts. The first two serve as an introduction and offer a reflection on significant episodes that constitute the background and points of reference for our contemporary framework. The first chapter, Discovering Art 1877-1936, reviews the origins and formation of the gallery institution in Catalonia, taking the Salón Parés (1877-1925) as its starting point. The second chapter, Defending Art 1939-1970, analyses the period stretching from the post-war era to the end of the seventies, a cycle that would see the consolidation of both art platforms and a public for contemporary art. And finally, the last and longest chapter, Spreading Art 1970-2012, is dedicated to recent times, a moment of particular vitality in which the art market of our city has just come together.  This is one of the first overviews to be written on the world of galleries in Spain. Up to now, we had seen individual studies of various art salons, but no overviews or essays attempting to put together a more global account.  The volume includes numerous archive images and previously unpublished materials that illustrate this fascinating journey through the history of the gallery world in the Catalonian capital. 

Barcelona, Modern Architecture Guide 1929-1979 is an approach to a very complex period of the recent history of Barcelona.The first decade analyses the most heroic time of Modern Movement, including the World Exhibition in 1929, eith the well-known German Pavillion conceived by Mies van der Rohe and the experience of the GATPAC, a group of young architects leaded by Josep Lluís Sert.

London is famous for Big Ben, Paris for the Eiffel Tower and Rome for the Coliseum. Barcelona, on the other hand, is associated not with one or two buildings but with the creations of an entire movement, Modernisme, which straddled the nineteenth and twentieth centuries. This book, besides constituting a survey of the most significant buildings by Domènech i Montaner, Antoni Gaudí, Josep Maria Jujol and Puig i Cadafalch, is also a detailed analysis of the forms created by the most important craftsmen of the period, many of whom have been relegated for decades to absolute anonymity.

This new collection of trilingual pocket guides comprising exhaustive updated documentation was introduced by the volumes dedicated to museums, foundations and exhibition halls, to the sculptures designed for public spaces, and for the best selling volume dedicated to Contemporary Architecture. Barcelona, Modern Architecture Guide 1929-1979 is an approach to a very complex period of the recent history of Barcelona.The first decade analyses the most heroic time of Modern Movement, including the World Exhibiton in 1929, with the well-known German Pavillion conceived by Mies van der Roheand the experience of the GATCPAC, a group of young architects leaded by Josep Lluís Sert. Franco and his dictatorship supposed, at the first moments, the return to the classicist stagnation and, after that, a formal opening favoured for the economic development and the demographic movements.

The fact that the city of Barcelona is a benchmark in the international sphere of contemporary architecture is amply demostrated by this book, wich looks at the most notable buildings of the last ten years.

Over the two past decades the city of Barcelona has become a point of reference for cultural tourism. The intense activity in the spheres of art and of town planning, and particularly the opening of new art centres and the modernisation of existing museums, alongside the growth of the city’s sculptural heritage have proven to be decisive factors. This new collection of trilingual pocket guides comprising exhaustive updated documentation is introduced by the volumes dedicated to museums, foundations and exhibition halls, and to the sculptures designed for public spaces by some of the most outstanding twentieth-century artists, including Baumgarten, Calder, Chillida, Gargallo, Merz, Miró, Tàpies, Turrell...

Modernisme and Noucentisme were not antithetical. One came after the other. In fact, Modernisme differs from Jugendstil and Art Deco essentially by virtue of the place where it developed: Barcelona. The city would not have been possible without the noucentistes unifying idea, a notion that was unknown to the modernistes before them. The Noucentista ideology was capable of embracing in its overall cultural and political project the multifaceted and fragmentary whole of Modernisme.

Modernista architecture was not only the product of the convictions of innumerable architects, it also received the unconditional support of property owners. A series of favorable social conditions, but above all this meeting of passions, led to the emergence of Barcelona's Eixample, a unique urban project. In the pages of this book we discover an array of astonishing works by following an itinerary designed to be both instructive and pleasurable. A stimulating promenade, with none of the characteristics of a simple catalog, on which the reader will be able to discover, admire and savor the best of Modernisme. 

Over the two past decades the city of Barcelona has become a point of reference for cultural tourism. The intense activity in the spheres of art and of town planning, and particularly the opening of new art centres and the modernisation of existing museums, alongside the growth of the city’s sculptural heritage have proven to be decisive factors. This new collection of trilingual pocket guides comprising exhaustive updated documentation is introduced by the volumes dedicated to museums, foundations and exhibition halls, and to the sculptures designed for public spaces by some of the most outstanding twentieth-century artists, including Baumgarten, Calder, Chillida, Gargallo, Merz, Miró, Tàpies, Turrell…

Located in the rundown district of the Raval, the museum of contemporary art of Barcelona creates a dialogue between the quarter’s historic urban fabric and contemporary art. The labyrinthine nature of the pre-existing streets in the district is reflected in the building’s organization, most notably in the main entrance. A pedestrian passageway runs parallel from the museum’s back garden to a newly created square in front of the museum, known as the Plaça dels Àngels, and links to a pedestrian network running throughout the old city. And the gentle curve of this thoroughfare underscores the centrifugal movement of the cylindrical lobby and describes a fifth facade, connecting the geometries of the museum to an urban context characterized by skewed intersections and the domes of ancient churches. As befits an institution devoted to modern and contemporary art, the striking contemporaneity of the museum’s architecture fuses with the accumulated history of the surroundings.