Turner, Carracci and the forgotten photographer Mey Rahola will take over the MNAC in 2022

  • The museum directed by Pepe Serra presents a program in which the names of Feliu Elias, Anglada Camarasa, Benet Rossell, Núria Pompeia or Borrassà also stand out

While you can still walk in the MNAC the great exhibition on Gaudi until March 6, before it travels to the Parisian Musée d’Orsay (as well as, until February 27, that of the operation of safeguard during the Civil War), the director of the museum, Pepe Serra, has already advanced programming for a 2022 which comes after a 2021 with income still far removed from that of 2019, before the pandemic. Despite this, the season does not lack a great attraction, an exhibition dedicated to best landscape artist of the romantic period, the British painter, watercolourist and engraver William Turner (1775-1851). In collaboration with the Tate in London, will focus on how he materialized his fascination with landscapes, meteorological phenomena and the forces of nature as abstract elements painting, as Serra points out, “what is not seen, representing an atmosphere”.

It will be on May 18 when, arriving from Denmark and before going to Dublin, he will open this exhibition of a hundred works by Turner, which demonstrate his mastery of light and color, and which will dialogue in parallel with another exhibition, ‘The heartbeat of nature’, that will allow you to see some 80 delicate drawings from the 19th century from the MNAC collection of artists such as Baldomer Galofre, Marià Fortuny, Ramon Martí i Alsina, Lluís Rigalt, Antoni Fabrés and Jaume Morera. Together they will focus on the environment “generating debate”.

In July, as a result of collaboration with the Prado Museum and the Barberini Museum, the MNAC will meet for the first time since they were uprooted in 1830 and then dispersed by different centers of Spain the fresco paintings that Italian Baroque artist Annibale Carracci (1560-1609) made in the 17th century in the Herrera Chapel of the church of Santiago de los Españoles in Rome, commissioned by the banker Juan Enríquez de Herrera.

Pioneer of artistic photography

also stand out two monographsboth in November. One retrieves an unknown and forgotten photographer, Mey Rahola (1897-1959), one of the first women to make a name for herself in artistic photography in Spain. Independent and traveler, a reflection of the active role of women during the Republic, before the Civil War it achieved a public projection with exhibitions, prizes and publications, which would be cut short with exile. Although she took photos as a professional during World War II, she continued as an amateur away from the public eye.

Contradictory Feliu Elias

The other monograph will show the polyhedral and contradictory personality of the painter Feliu Elias (Barcelona, ​​1878-1948), one of the figures in the modern art collection: the cartoonist and caricaturist Apa and the critic Joan Sacs or the ‘Demoni verd’ in his other aliases. Portraits, still lifes and everyday interiors with a miniaturist brushstroke capable of exalting a light bulb or a fried egg that will be exhibited alongside objects from his private collection.

In April, the intervention ‘maternity‘ will rediscover works by post-war women artists such as Núria Pompeia, Mari Chordà and Roser Bru, related to motherhood in an age dominated by men.

In October, unpublished aspects of the work of Anglada Camarasa thanks to the donation of his archive by his daughter and, in March, it will be shown to the public the Benet Rossell donation. Already in December two gothic works by Lluis Borrassa acquired by the Generalitat and deposited in the MNAC: ‘Profession of San Pedro Martir’ and ‘Beheading of the relatives of San Hipólito’, which had belonged to the Cathedral from Barcelona.

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By 2023 the reform of the Romanesque collection, post-war art and photography is reserved. Serra is working on this, although after 9 and a half years as director of the MNAC his contract ends between April and May and the board of trustees must approve or not its continuity. “I think the project makes sense and should continue,” said someone who is already thinking of “attacking” “the medieval ones.”

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