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https://www.coleccionbbva.com/es/autor/marti-i-alsina-ramon/
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Ramón Martí i Alsina
(Barcelona, 1826 – 1894)
Author's artworks
19th Century, Spanish
Regarded as one of the most outstanding exponents of Realism in Spain, Ramón Martí i Alsina played a key role in the renewal of Catalan painting in the second half of the nineteenth century. He not only began to practice a new concept of painting but also contributed to liberating art education in Catalonia from restrictive academic methods and he promoted the organization of Fine Arts exhibitions in Barcelona.
Born in a humble family who did not approve of his ambition to become a painter, he decided to study Philosophy while attending evening classes in Drawing at the
La Lonja School of Fine Arts
Founded in 1775 by the Junta de Comercio of Barcelona as a “free school of design”, a training centre for the applied arts. The school got its name from its location in the Lonja de Mar Palace. Its curricula evolved throughout the 1800s with the incorporation of new subjects and the gradual separation of Arts and Crafts and Fine Arts into distinct departments. In 1940 the School of Fine Arts changed sites and in 1978 was turned into a Faculty of Fine Arts. The School of Arts and Crafts also moved to another headquarters in 1967, although it continued to be known as La Lonja School. In the mid-nineteenth century the same building housed the Provincial School of Fine Art, later renamed in 1930 as the San Jorge Royal Academy of Fine Arts (which kept its headquarters in La Lonja). The Academy set the official guidelines for art in Catalonia, championing a decidedly academicist approach.
. His artistic convictions were forged through a self-taught process, outside official teaching.
To advance his self-learning he felt that he needed to acquaint himself with what was going on in advanced art circles in Paris. With that purpose in mind, he travelled to the French capital in 1855 to visit the Exposition Universelle. In Paris he would discover the works of the landscape artists from the
Barbizon School
Active from 1830 to 1870, this group of French painters led by Théodore Rousseau (1812-1867) gathered in the village of Barbizon near the forest of Fontainebleau from which it would take its name. The group came about as a rejoinder to the prevailing social and art system in Paris ruled by neo-classical criteria. The members of the Barbizon School practiced a naturalistic brand of painting, largely predicated on the representation of landscape. They began to make
au naturel
sketches with the idea of engaging in direct research into the effects of light, which was the starting point of
en plain air
or outdoors painting. Their approach to landscape was a major advance in painting at the time and could be seen as the immediate precursor of Impressionism.
and of Gustave Courbet (1819-1877), pointing out a way forward along a path he had already taken intuitively.
In 1859, after spending nearly eight years working as a teacher at La Lonja, Martí i Alsina was appointed a member of the Academy. In his acceptance speech he expressed his opposition to the
Nazarene Movement
This movement was championed by a number of supporters of the aesthetic adopted by a group of German
Romanticism
A cultural movement born in Germany and the United Kingdom in the late-eighteenth century, as a reaction against the Enlightenment. It extolled the expression of feelings and the search for personal freedom. It spread throughout Europe, with different manifestations depending on the country. In painting, Romanticism reached its peak in France between 1820 and 1850, replacing Neoclassicism. It main purpose was to oppose the strictures of academic painting, departing from the Classicist tradition grounded in a set of strict rules. Instead it advocated a more subjective and original style of painting. Its main formal features are the use of marked contrasts of light, the preponderance of colour over drawing and the use of impetuous and spontaneous brushwork to increase the dramatic effect. Its greatest exponents were: Caspar David Friedrich (1774-1840) in Germany; John Constable (1776-1837) and J. M. W. Turner (1775-1851) in the UK; and Théodore Géricault (1791-1824) and Eugène Delacroix (1798-1863) in France.
painters known as the Nazarenes, who defended the integrity and spirituality of Medieval Christian art. During the first third of the nineteenth century, many Catalan painters were attracted by the doctrine of this group, and its language soon took hold as the official academic style at La Lonja School of Fine Arts.
then holding sway in official circles. His studio started to be a meeting place and a redoubt for art reflection, where he expounded his methodology but without imposing his style.
From 1858 through 1862 he took part in the National Exposition of Fine Arts in Madrid, at which he obtained several medals. He began to gain many clients among the Catalan bourgeoisie of the time, a fact that allowed him to work without financial worries.
In 1866, he resigned from his post as an Academician owing to ideological reasons. A year later he travelled to Paris again, where his artistic convictions were further reinforced. This journey marked a turning point in his career, beginning what is generally viewed as his period of splendour, which lasted until 1880. His production increased and he began actively promoting the
Sociedad para Exposiciones de Bellas Artes
This association was founded in 1868 by the painter Ramón Martí i Alsina (1826 -1894) to promote and organise Fine Arts exhibitions in Barcelona at a time when this type of event was rare in the city. Founded under the patronage of the industrialist and politician Manuel Girona, the association managed to obtain a plot of land in Paseo de Gracia, where it raised a building that allowed it to exhibit shows until 1874. This led to a reactivation and enrichment of Barcelona’s art scene, as it encouraged artists to produce works while also stimulating an interest for the arts among the general public. The main beneficiaries of the exhibitions were, apart from Martí i Alsina himself, his pupils, which included Joaquim Vayreda (1843-1894) and Modest Urgell (1839-1919), all of whom were key figures in the renewal of painting in Catalonia.
in Barcelona.
In 1870 he was dismissed as a teacher due to his refusal to swear allegiance to the constitution of King Amadeo I of Spain, something that distanced him from official circles. In 1872 two of his children died almost simultaneously. In those days, his personal economy grew increasingly precarious and he was forced into debt.
Upon the death of his wife in 1878 he moved to Paris, where he lived until 1880. When he returned to Barcelona he found the atmosphere too suffocating for his ambitions. In the ensuing period, which lasted until his death, his financial restraints forced him to accept commercial commissions, something that limited his evolution as an artist as it took away time for his personal work. That notwithstanding, he still managed to create paintings of exceptional quality.
Martí i Alsina died in Barcelona on 21 December 1894 due to an illness that was worsened by his stubborn determination to keep painting outdoors by the sea.