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Category Archives: Francophone Literature
Comparative Literature, Francophone Literature, French, French language, Multilingualism, Translation
Paper Frenchmen: Francophone Indian literature
December 4, 2019 Natasha Ryan 1 Comment
In late November, Oxford welcomed the writer Ari Gautier and his translator into English, Prof. Blake Smith, for a discussion about Francophone Indian Literature and about Gautier's writing in particular. Part of the 'World Literatures' strand of the Creative Multilingualism programme, this event was convened by Prof. Jane Hiddleston and Sheela Mahadevan. Here we reflect on a few highlights…
Currently based in Oslo, Ari Gautier spent his childhood in former French colony Pondichéry, India. He is the author of Carnet Secret de Lakshmi and Le Thinnai, two novels which creatively intersperse Tamil, Hindi, Créole and English with French, reflecting the multilingual identities of those living in Pondichéry. His works give an insight into the impact of the French rule on the lives of Pondichéry citizens, their constantly vacillating identities, the multicultural aspect of the city, the Indian caste system, and the history of Pondichéry.
The 'World Literatures' strand of Creative Multilingualism is interested in texts where multiple languages brush up against one another, prompting questions about the boundaries of what a language is. This research wants to explore how worldliness and cultural transfer is present within a text from the moment of its inception, and how multilingualism speaks to multiculturalism. The research aims to expose interactions between different languages within a text, not just by examining the different languages in which a text is written, but also seeking out the traces of other languages through allusions to them or even by the notable absence of certain languages in a text. Gautier's novels, with their interspersing of at least five languages, therefore seem like a perfect fit.
Prof. Smith gave a useful overview of the status of Francophone Indian Literature. To begin with, he acknowledged that it's not necessarily something the general English reader will be aware of. When we think of Francophonie, we perhaps automatically think of certain countries in West Africa, Canada, or French-speaking East Asia or Oceania. However, France had a colonial presence in India from the seventeenth century. That said, Francophone Indian Literature was only really published from the late nineteenth century onwards and, during the twentieth century, French acted as a secondary language for many writers who were primarily writing in other languages. Academic interest in the French colonial legacy within Indian writing is fairly recent, and Prof. Smith recommended an anthology of Francophone Indian short stories for anyone who wishes to explore further: Écriture indienne d'expression française, edited by Vijaya Rao (Yoda Press & La Reunion par Le GERM, 2008).
Photo by Muhammed Jiyadh on Unsplash
The panel then turned to a discussion of how multilingualism operates within Gautier's writing. Here is an extract from Gautier's novel, Le Thinnai:
— Gilbert, va m'acheter un Suruttu à la boutique. Il te reste encore de la monnaie, n'est-ce pas ?
Voyant Gilbert fouiller désespérément ses poches, mon père lui dit d'aller chez Karika Bhai et d'acheter un paquet de Suruttus sur son compte.
— Oh, je suis à la retraite depuis une bonne dizaine d'années. J'ai fait le strict nécessaire sous les drapeaux pour pouvoir bénéficier de la retraite et je suis retourné au pays, répondit mon père après s'être allumé une cigarette.
— Pourquoi vous n'y êtes pas resté ? Vous ne vous plaisiez pas en métropole ?
— Ce n'est pas une question de s'y plaire ou pas. J'avais juste envie de revenir parmi les miens. Même si je m'étais fondé une famille là-bas, il me paraissait tout à fait naturel de rentrer chez moi.
— Mais la France, c'est aussi chez vous ! Vous êtes citoyen français.
Papa laissa échapper une bouffée de fumée ; il tapotait la cigarette sur le bord du cendrier et parut réfléchir.
— Oui, je suis français. Mais je suis indien en même temps. C'est ici que je suis né, mes ancêtres sont d'ici. Mes racines sont là. Même si j'ai vécu en métropole pendant quelque temps, il m'a paru normal de rentrer chez moi. Il n'y a aucune différence entre moi et un Breton ou un Normand qui aurait envie de retourner chez lui après avoir passé du temps en dehors de sa région natale. Sauf que moi, c'est un peu plus loin… Il marqua un temps d'arrêt pour tirer une bouffée. Mais vous connaissez aussi bien que moi l'histoire de notre pays ; surtout, l'histoire de Pondichéry. Ma famille est française depuis deux générations et je fus le premier à partir en métropole. Jusqu'ici nous n'avions que le statut de Français sur les documents ; mais nous étions profondément indiens. Enfin, nous le sommes toujours. Comment pouvez-vous vous sentir français, sans avoir jamais mis les pieds dans ce pays. Mes parents viennent d'un milieu modeste et n'ont pas eu accès ni à la langue ni à la culture française. L'univers français nous était totalement étranger. La seule chose qui nous rapprochait des Européens était le culte de la religion catholique. À part ça, nous vivions dans deux mondes différents. Notre allégeance à la France se trouvait enfermée dans une vieille malle en ferraille dans l'espoir qu'un jour, un des descendants l'ouvrirait et utiliserait ce morceau de papier. Pendant longtemps, nous ne fûmes pas considérés comme citoyens français ; nous n'étions que des sujets de la nation.
—Mais, toute ces années passées dans l'armée française n'ont pas su éveiller en vous un sentiment d'appartenance à ce pays ?
Mon père écrasa la cigarette au fond du cendrier et se versa une nouvelle rasade. Il se leva pour aller servir le vieil homme et vint s'asseoir sur le petit thinnai. Il tenait le verre de whisky dans sa main droite et regardait les bulles de soda qui remontaient à la surface du verre. Il reprit la parole en se passant la main gauche sur les cheveux d'avant en arrière ; geste qu'il avait l'habitude de faire quand il réfléchissait longuement.
— Je ne connais pas votre histoire, l'ancien, mais vous avez l'air de quelqu'un qui connaît la vie. Vivre en exil est une énorme malédiction. Certes, mon éloignement fut volontaire ; mais à mon époque, nous n'avions pas beaucoup de choix. Partir était le seul moyen d'échapper à une vie indigente. Nos parents et grands-parents qui avaient opté pour la nationalité française avaient fait de nous une génération d'immigrés dans notre pays qui était la France. Indigènes de la nation, nos vies n'ont connu que les tranchées, les coups de feu et les rations militaires. Inconscients et aveugles ignorants, nous sommes partis combattre nos frères malgaches, indochinois et algériens. À aucun moment, la notion que nous étions coupables de complicité involontaire aux massacres d'un pouvoir colonial ne nous a effleurés. Nous nous battions contre des ennemis de notre Mère patrie. Nous en étions fiers. Mais malgré notre fidélité envers elle, l'idée du retour fut plus instinctive. Après tout, nous n'étions que des indigènes des Troupes Coloniales ; la France n'a jamais été notre patrie. Cet attachement ambivalent que nous avons envers elle est une anomalie de l'histoire.
And here it is in Prof. Smith's English translation:
"Gilbert, go buy me a suruttu at the shop. You still have money, don't you?"
Watching Little Gilbert fumble despairingly in his pockets, my father told him to buy a suruttu from Karika Bhai, and add it to the soldier's account.
"Oh, I've been retired for twelve years now. I did the absolute minimum to earn my pension, and now I'm back." My father answered, lighting a cigarette.
"Why didn't you stay? You didn't like it in France?"
"It wasn't a question of liking it or not. I just wanted to come back to my own people. Even if I started a family there, it seemed natural to come back home."
"But France, that's home too! You're a French citizen."
My father exhaled a puff of smoke. He tapped the cigarette on the edge of the ashtray and seemed to think it over.
"Oh, I'm French. But Indian, too. I was born here. So were my ancestors. My roots are here. And after spending some time outside their own province, even a Breton or a Norman wants to go home. It's the same with me. But my home is a little farther… you must know the history of Pondicherry as well as I do. My family has been French for generations, but I was the first one to go to France. Until then we were just paper Frenchmen; really we were Indians. Really we still are. How can you feel French, if you've never set foot there? My parents came from nothing; they didn't know French or French culture. The only thing that connected us to the Europeans was the church. Besides that, it was two different worlds."
"But all those years in the French army, didn't they make you feel like you were part of the nation?"
My father crushed his cigarette in the ashtray and poured another drink. He got up to fill the old man's glass and sat back down. He held his whisky in his right hand, watching the soda bubbles rise to the surface. He ran his left hand through his hair, which he always did when he had to think hard about something.
"I don't know your story, old one, but you seem like you know a thing or two about life. Living in exile is a curse. Sure, I chose it, but back then there wasn't much to choose from. Leaving was the only way out of poverty. Trenches, gunshots, and rations, that was all we knew. We fought our brothers in Madagascar, Indochina and Algeria. We never thought we might be guilty of anything. We felt nothing, saw nothing, understood nothing. We fought the enemies of the motherland. We were proud. But in spite of our faithful service, we wanted to come home. We were just colonial soldiers. France was never our country. What we had with it was just a quirk of history."
The question of French culture and how far it can coexist alongside an Indian identity is central to this passage, a fact that is emphasised and complicated by the fact that the novel is written largely in French. But, of course, this passage is not entirely in French. What about that reference to a suruttu? A suruttu is a cigar, what we would call in English a 'cheroot', from the French cheroute, which itself comes from the Tamil curuttu/churuttu/shuruttu/suruttu. In this way, a single word, referring to an everyday item, can illuminate a complicated multilingual interaction.
Similarly the reference to the Tamil word thinnai is an example of what we might think of as an untranslatable word. A thinnai is a raised platform built adjacent to the main entrance of a house. It is common in Tamil Nadu, a state in the south of India. Traditionally, it was a place where elders could rest to talk to neighbours and friends, and where strangers could stop for respite when passing through the town. Thus, in a text written mostly in French we see how a reference to another language can evoke a whole set of cultural values – hospitality, community, conversation. The porous borders between languages can facilitate and reveal the coexistence of multiple cultures.
Gautier talked about his own multilingual background, explaining that he spoke French with his father but Tamil with his uncle. Growing up in Pondicherry, he said that every street seemed to have its own language and he moved around a lot: his universe evolved with languages. When asked about the fact that his first novel included footnotes to explain Tamil words to non-Tamil speakers, but his second novel did not, Gautier confirmed that this was a deliberate decision. Footnotes could be seen as a form of linguistic colonisation – an attempt to make the Tamil words fit more comfortably within a French-language text. By deciding not to explain the Tamil in his second novel, Gautier refused to compromise Tamil. He said that using footnotes made him feel alien to his own language.
The wide-ranging discussion moved on to cover many aspects of Gautier's writing, including its cinematic quality, the role of received memory in constructing his narratives and the question of mythology. While we don't have room to touch on all those topics here, we will end by mentioning one further question that was raised, and which again highlights the porous potentiality of multilingualism: the use of Creole in Gautier's novels.
Le Thinnai includes a character called Lourdes, a servant who speaks in Creole. One of the important roles Creole plays in a novel written largely in French is to recognise a community that has been overlooked. Gautier explained that in Pondicherry there is a problematic hierarchy between what is known as 'haut-créole' and 'bas-créole'. Someone who is 'haut-créole' is of mixed French and Indian descent, whereas someone who is 'bas-créole' is not of French descent but nonetheless speaks a creolised form of French. The character Lourdes is 'bas-créole'. She insists that she speaks French but other characters think she is speaking in Creole. The inclusion of Creole in this novel therefore performs the difficulties of thinking about translingualism: how far is it a language in its own right? How far is it a corrupted form of French? Might we think of it as an enhanced form of French?
These are just a few of the questions raised by the notion of multilingualism and translingualism in World Literatures. You can dig a little deeper into Francophone Indian literature by reading Prof. Smith's piece 'Indian Literature speaks French' or follow Ari Gautier on Twitter.
Comparative LiteratureCreative MultilingualismCreolefrancophoneFrenchIndianliteraturemultilingualismWorld Literature
Conversations with Moroccan Poet Abdellatif Laâbi
May 30, 2018 Natasha Ryan Leave a comment
This post was written by Khalid Lyamlahy, a doctoral student at St Anne's College. Khalid's research looks at Moroccan identity in a post-colonial context, examining the concepts of nostalgia and revolt in the works of three contemporary Moroccan Francophone writers : Mohammed Khaïr-Eddine (1941-1995), Abdelkebir Khatibi (1938-2009) and Abdellatif Laâbi (born 1942).
Poet Abdellatif Laâbi
On February 20-21 2018, the University of Oxford hosted Moroccan poet Abdellatif Laâbi for a two-day event, supported by The Ertegun Graduate Scholarship Programme in the Humanities and the Maison Française d'Oxford (the French cultural centre in Oxford). The event provided a unique opportunity to discuss and engage with the work of one of the major voices of Francophone poetry.
Born in Fez in 1942 under the French protectorate, Laâbi was only fourteen when Morocco gained its independence in 1956. Laâbi taught French in Rabat and cofounded in 1966 with a group of Moroccan poets and artists the journal Souffles-Anfas, one of the most influential platforms for cultural and political production in postcolonial Africa and the Global South. A political activist in the Moroccan Left, Laâbi was arrested in 1972 and spent more than eight years in prison. After an international campaign for his release, he left Morocco and went into exile in France. Laâbi has published a wide range of works including poetry collections, novels, essays, autobiographies, children books, and translations, as well as a series of articles and interviews. In 2009 he was awarded the prestigious Goncourt Prize of Poetry, and in 2011, the Grand Prix de la Francophonie de l'Académie Française. His works have been translated into English, Spanish, German, and Italian, among other languages.
The first day of the event was introduced by Jane Hiddleston who provided a synthetic introduction of Laâbi's trajectory and literary production. The first panel, chaired by Toby Garfitt, included talks by Andy Stafford and Khalid Lyamlahy on the motif of light in Laâbi's work. In two equally enthusiastic presentations, Stafford discussed the at once ambivalent and rich meaning of a series of occurrences of the word "soleil" ("sun" in French) in Laâbi's early poetry, while Lyamlahy reflected on the presence and absence of light in Laâbi's writing, demonstrating how the poet recovers, protects, and brings light to his readership. For the Moroccan poet who has long lived behind bars, light is a source of hope, inspiration, and generosity. As he writes in one of his prison poems from 1978:
Bonjour soleil de mon pays
qu'il fait bon vivre aujourd'hui
que de lumière
que de lumière autour de moi
Bonjour terrain vague de ma promenade
tu m'es devenu familier
(Good morning sun of my land
how good it feels to be alive today
so much light
so much light around me
Good morning empty exercise yard
you have become familiar to me)
This extract is written as a dialogue between the jailed poet and the Moroccan sun. By repeating the word "lumière" ("light" in French), Laâbi celebrates life and creates a sense of freedom that resists incarceration and confinement.
Participants on the first day of the event at the Maison Française, Oxford
The second panel took the form of a conversation between Lyamlahy and Laâbi's wife Jocelyne who is also a writer. Jocelyne has published a historical novel, an autobiography in which she recounts her life in Morocco and struggle for Abdellatif's release, in addition to several collections of Moroccan tales which she gathered and translated into French. During the conversation, Jocelyne explained how she came to writing, commenting on her interest in Moroccan popular culture and, more broadly, the history of the Arab world. She also read some excerpts from the new edition of her Moroccan tales, Avec la rivière mon conte s'en est allé (Al Manar, 2018) which means "With the river my tale went away", a closing formula used by Moroccan storytellers at the end of their tales.
In the final panel, moderated by Catriona Seth, Abdellatif Laâbi discussed the challenges of being a writer "from the periphery" and how this position shapes his approach to poetic creation and language. Significantly, Laâbi described his literary career as a "miracle", a word that refers to both his background as the son of a Moroccan craftsman whom nothing predestined to become a writer, and to the sense of wonder and sensitivity that characterizes his poetic work.
Prof. Catriona Seth in conversation with Laâbi
The second day of the event opened with a discussion on language and politics in North Africa. James McDougall and Kaoutar Ghilani spoke about the evolution of language politics in the Maghreb, and the effect of colonialism and nationalism on linguistic dynamics in the region. They provided an instructive and complementary overview of the Arabisation policy and the teaching of foreign languages in both Algeria and Morocco, while Laâbi reaffirmed the necessity of recognising local dialects and promoting linguistic diversity in the region.
After this, Laâbi and his translator André Naffis-Sahely discussed the practice and values of translation. Drawing on his experience as a translator of Palestinian Arabic poetry into French, Laâbi defined translation as an act of love, dialogue, and deep understanding of the original text. Similarly, Naffis-Sahely drew on the legacy of the late British poet and translator Sarah Maguire to argue that translating consists in taking not only an aesthetic but also an ethical position. The discussion was then followed by a bilingual reading of Laâbi's poetry in both French (by Laâbi) and English (by Naffis-Sahely).
This two-day event was a unique opportunity to engage with the deeply humanist and thought-provoking voice of Abdellatif Laâbi. Subtle and powerful, sensuous and rebellious, his poetry is not only a record of a life of commitment and dignity, but also a call to remain vigilant and reinvigorate the dynamics of resistance in an age of violence and intolerance. Laâbi reminds us that writing is the most valuable act of sharing. In his words,
Ton écriture est ton seul bien, celui que tu n'as jamais monnayé et que personne n'a jamais pu acheter. Et ne crois pas que tu en sois propriétaire. Ce bien n'est tien que dans la mesure où tu le distribues chaque jour, chaque nuit, surtout quand tu traverses les périls.
(Your writing is your only asset, the one that you have never sold and that no one has ever been able to buy. And do not imagine that you are its owner. This asset is yours only so long as you share it every day, every night, and especially when you are crossing perilous territory)
A display of Laâbi's books
Abdellatif LaâbifrancophoneliteratureMaison Française


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Antioch is the third-largest city in Contra Costa County, California, United States. The city is located in the East Bay region of the San Francisco Bay Area along the Sacramento–San Joaquin River Delta. The city's population was 115,291 at the 2020 census. The city has grown substantially more diverse since the 1970s.

History

Early history
Antioch is one of the oldest towns in the region. The town has been variously named East Antioch, Smith's Landing, and Marsh's Landing, prior to its current name.

In 1848, John Marsh, owner of Rancho Los Méganos, one of the largest ranches in California, built a landing on the San Joaquin River in what is now Antioch.  It became known as Marsh's Landing, and was the shipping point for the  rancho. It included a pier extending well out into the river, enabling vessels drawing  of water to tie up there in any season of the year. The landing also included a slaughterhouse, a smokehouse for curing hams, rodeo grounds, and a -story dwelling, embellished with fretwork, that was brought around the Horn to serve as a home for the mayordomo and his wife.

In 1849, twin brothers Rev. William Wiggins Smith and Rev. Joseph Horton Smith sailed from Boston, purchased land from John Marsh and founded a town slightly west of Marsh's Landing, and named it Smith's Landing.   During the town picnic on July 4, 1851, William, the town's new minister, persuaded the residents to change the name of the town to Antioch, for the biblical city of Antioch, "in as much as the first settlers were disciples of Christ, and one of them had died and was buried on the land, that it be given a Bible name in his honor, and suggested 'Antioch' (an ancient Syrian town where two important rivers meet and where the followers of Christ were first called Christians), and by united acclamation it was so christened."

Around 1859, coal was discovered in several places in the hills south of Antioch, and coal mining formed the first substantial business apart from farming and dairying for the inhabitants of this community. This new industry resulted in the founding of the towns of Nortonville, Somersville, Stewartville, and Black Diamond (now Pittsburg), and added greatly to the economic activity of the Antioch area. The Empire Coal Company was formed by John C. Rouse and George Hawxhurst in 1876, which built a railroad that passed from Antioch toward the mines over what is now "F Street" (formerly Kimball Street). However, later on, both the mine and the railroad passed into the hands of the Belshaw brothers. The mines have long since ceased operation, and the railroad tracks have been dug up, though the building that served as the Antioch terminus of the railroad still stands on the corner of F Street and Fourth Street, and the grading and trestles still remain much as they were in those early days.

In 1863, a great excitement arose over the discovery of copper ore near Antioch. Smelting works were built at Antioch, and the ore fetched $15 to $25 per ton. The copper bubble eventually burst, to the dismay of the citizens, and petroleum was first drilled for near Antioch in 1865, but not enough oil was found to make a decent profit.

The Antioch Post Office was opened in 1851, closed in 1852, reopened in 1855, closed again in 1862, and has operated continuously since reopening in 1863. The city of Antioch was incorporated in 1872.

The Antioch Ledger was first issued on March 10, 1870. To commemorate the paper's formation, a copy of its first issue has been framed and hangs over the desk of the present editor. The sole news item is a report with editorial comment on a women's suffrage meeting that had just been held in the town. The Ledger later merged with the Contra Costa Times and printed its last issue in 2005. The Time's weekly publication, the Antioch News, which is an expansion of the Brentwood News is published each Friday. The Antioch Press published its first issue in January 2001, direct mailing newspapers to all homes and businesses in the city twice monthly, and then weekly from September 2005 until the 2008 economic crash. It continued to publish and distribute only in racks and stacks throughout town until June 2012. It was then only published online until 2020 when it was combined with the Brentwood Press, Oakley Press and Discovery Bay Press into one paper, distributed in stacks and racks throughout the city as, The Press (www.thepress.net). The Antioch Herald (www.AntiochHerald.com) was first launched online in October 2010 and then expanded to print in May 2011, mailing to homes and businesses in Antioch each month. As of 2021, due to the impacts on businesses from the COVID-19-related government health orders, the "Herald" is only available online. A strictly online news source, EastCountyToday.net was launched in July 2012 covering Antioch and the other three cities and five unincorporated communities in eastern Contra Costa County.

The city's historic Chinese community, which was forcibly segregated, was estimated to number in the hundreds in the late 1800s. The city's early history included banning Chinese residents from walking the streets after sundown. In 1876, the Chinatown was burned down due to arson; the fire department refused to put out the fire. For nearly 100 years, virtually no Chinese lived in Antioch. The 1960 census showed that only 12 residents were Chinese.

Antioch is mainly a bedroom community, with most adults working in larger cities toward Oakland and San Francisco. The town has grown in the last 30 years, as the population of the Bay Area continues to grow, and real estate prices force families to move towards the outskirts of the Bay Area.

21st century

In January 2001, the Antioch Press was established by publisher and former Antioch Mayor Pro Tem and Councilman Allen Payton; he sold it in 2005 to the Brentwood Press and Publishing Company. Between 2001 and 2008, Gateway Generating Station was constructed in northern Antioch; the 530MW combined-cycle natural gas-fired power station, owned and operated by Pacific Gas & Electric, began providing power to customers in January 2009.  In late 2009, Antioch received significant media attention following the news of kidnap victim Jaycee Lee Dugard being discovered near the city limits, and became the focus of several news stories regarding its 1,000 registered sex offenders. The Los Angeles Times ran a story titled "Sex offenders move to Antioch area 'because they can'," The Independent ran a story titled "How Jessica's Law turned Antioch into a paedophile ghetto", and CNN's Anderson Cooper and Larry King both did similar stories for television; the latter with commentary by TV judge Judy Sheindlin. However, the Contra Costa Times and affiliated newspapers contradicted their claim: "Disturbing, if true. Only it's not, according to a Bay Area News Group analysis of sex offender addresses and census data." The report concluded that the 94509 zip code ranked only 39th in the state with 1.5 sex offenders per 1,000, with Oakland, San Francisco, San Jose, Bethel Island and Vallejo ZIP codes ranked in the top ten. Monte Rio ranked first with 4.5 per 1,000.

The city was attempting in 2012 to annex an adjacent 678-acre area of unincorporated land, which includes a GenOn Energy 760-megawatt power plant, to include the plant within city limits. In October 2010, Allen Payton returned to the news business and established the Antioch Herald, first online, then in May 2011 he began publishing a monthly print edition.

Increasingly tied to the greater economy of the San Francisco Bay Area, a Bay Area Rapid Transit (BART) station opened in the city in May 2018.

Mayor Lamar Thorpe announced on April 14, 2021, that the city would establish a Chinatown historic district in the downtown and acknowledge the city's racist past.

Geography

Antioch is located along the San Joaquin River–Stockton Deepwater Shipping Channel at the western end of the San Joaquin–Sacramento River Delta.

According to the United States Census Bureau, the city has a total area of , of which  is land and , comprising 2.52%, is water.

Climate
Antioch has a semi-arid climate (Köppen climate classification: BSk) with hot, dry summers, and mild winters with modest rainfall. There is a considerably higher degree of diurnal temperature variation in the summer than in the winter.

Demographics

2010
The 2010 United States Census reported that Antioch had a population of 102,372. The population density was . The racial makeup of Antioch was 50,083 (48.9%) White, 17,667 (17.3%) African American, 887 (0.9%) Native American, 10,709 (10.5%) Asian (5.7% Filipino, 1.4% Chinese, 0.9% Indian, 0.7% Vietnamese, 0.2% Korean, 0.2% Japanese, 0.1% Laotian, 0.1% Pakistani, 0.1% Cambodian), 817 (0.8%) Pacific Islander, 14,310 (14.0%) from other races, and 7,899 (7.7%) from two or more races.  Hispanic or Latino of any race were 32,436 persons (31.7%); 22.6% of Antioch is Mexican, 2.2% Salvadoran, 1.2% Nicaraguan, 1.2% Puerto Rican, 0.7% Peruvian, 0.4% Guatemalan, and 0.2% Cuban.

The Census reported that 101,708 people (99.4% of the population) lived in households, 404 (0.4%) lived in non-institutionalized group quarters, and 260 (0.3%) were institutionalized.

There were 32,252 households, out of which 14,664 (45.5%) had children under the age of 18 living in them, 17,010 (52.7%) were opposite-sex married couples living together, 5,718 (17.7%) had a female householder with no husband present, 2,295 (7.1%) had a male householder with no wife present.  There were 2,384 (7.4%) unmarried opposite-sex partnerships, and 306 (0.9%) same-sex married couples or partnerships. 5,296 households (16.4%) were made up of individuals, and 1,781 (5.5%) had someone living alone who was 65 years of age or older. The average household size was 3.15.  There were 25,023 families (77.6% of all households); the average family size was 3.52.

The population was spread out, with 28,807 people (28.1%) under the age of 18, 10,593 people (10.3%) aged 18 to 24, 27,459 people (26.8%) aged 25 to 44, 26,515 people (25.9%) aged 45 to 64, and 8,998 people (8.8%) who were 65 years of age or older.  The median age was 33.8 years. For every 100 females, there were 94.8 males.  For every 100 females age 18 and over, there were 91.7 males.

There were 34,849 housing units at an average density of , of which 32,252 were occupied, of which 20,751 (64.3%) were owner-occupied, and 11,501 (35.7%) were occupied by renters. The homeowner vacancy rate was 2.7%; the rental vacancy rate was 8.2%.  64,284 people (62.8% of the population) lived in owner-occupied housing units and 37,424 people (36.6%) lived in rental housing units.

2000
As of the census of 2000, there were 90,532 people, 29,338 households, and 23,177 families residing in the city.  The population density was .  There were 30,116 housing units at an average density of .  The racial makeup of the city was 65.33% White, 22.12% Hispanic or Latino of any race, 9.75% Black or African American, 0.93% Native American, 7.40% Asian, 0.40% Pacific Islander, 9.23% from other races, and 6.97% from two or more races.

There were 29,338 households, out of which 46.3% had children under the age of 18 living with them, 60.3% were married couples living together, 13.5% had a female householder with no husband present, and 21.0% were non-families. 15.9% of all households were made up of individuals, and 5.4% had someone living alone who was 65 years of age or older.  The average household size was 3.07 and the average family size was 3.42.

In the city, the population was spread out, with 32.3% under the age of 18, 8.2% from 18 to 24, 32.4% from 25 to 44, 19.8% from 45 to 64, and 7.4% who were 65 years of age or older.  The median age was 32 years. For every 100 females, there were 96.0 males.  For every 100 females age 18 and over, there were 92.0 males.

The median income for a household in the city was $60,359, and the median income for a family was $64,723. Males had a median income of $50,152 versus $34,203 for females. The per capita income for the city was $22,152.  About 6.5% of families and 8.5% of the population were below the poverty line, including 11.3% of those under age 18 and 6.3% of those age 65 or over.

Economy

Top employers
According to the city's 2021 Annual Comprehensive Financial Report, the top employers in the city are:

Arts and culture
Antioch has four Historic Places or Buildings on the National Register of Historic Places: the Black Diamond Mines, Roswell Butler Hard House, Riverview Union High School Building and the Shannon-Williamson Ranch.

The historic El Campanil Theatre  opened on November 1, 1928, in downtown Antioch.  It now presents a wide variety of entertainment opportunities, including classic films, live theatre, concerts, symphony, ballet, comedy and is host to numerous local dance and community-based organizations, such as the Antioch Rivertown Theatre Group.

The Arts & Cultural Foundation of Antioch organizes education in graphic arts, sculpture, pottery, and performance arts for various age groups.  It also hosts the Saturday Summer Concert Series, Delta Blues Festival, and Holiday De Lights, along with other community events.

Run by the Antioch Historical Society, the Antioch Historical Society Museum is in the Riverview Union High School Building. This high school was the first high school constructed in Contra Costa County.

The Lynn House Gallery houses exhibits throughout the year, with an emphasis on providing opportunities for local artists.

Rivertown Art Center is housed in a historic bank building built in 1923.   It is administered by the Arts & Cultural Foundation of Antioch and was created to allow local artists additional opportunities to exhibit their art and to conduct art classes.

The ESPACE Academy is located within Deer Valley High School and includes a planetarium.

The Contra Costa County Fairgrounds are located in Antioch. The fairgrounds hosted the first two editions of the Genesis Super Smash Bros. tournament.

Open space and wildlife

Parks and trails
Antioch is home to 31 parks covering a total of 310 acres (130 ha) with an additional 600 acres (240 ha) of city-owned open space.  It also has  of walking paths connecting communities to parks and schools.

Within its boundaries it has Contra Loma Regional Park, the Antioch/Oakley Regional Shoreline and Black Diamond Mines Regional Park, and the Mokelumne Coast to Crest Trail and Delta de Anza Regional Trail .  According to the East Bay Regional Parks District, these three parks take up , approximately 38% of Antioch's total land area. Just outside Antioch city limits is the  Round Valley Regional Preserve.

Established in 1980, Antioch Dunes National Wildlife Refuge was the first national wildlife refuge in the country established for the purpose of protecting endangered plants and insects, specifically the Apodemia mormo langei known by the common name Lange's metalmark butterfly, Antioch Dunes evening primrose, and Contra Costa wallflower. It is located on the south shore of the San Joaquin River in Antioch. The refuge and a few acres of surrounding lands contain most of the remaining habitat for these three species and are all that remain of a  of sand dunes formed during glaciation periods.

The city has a municipal marina, along with other private marinas, boatyards, and yacht clubs.  There is a public fishing pier in town, and another out near the Antioch Bridge.

There is fishing in the San Joaquin River along the Antioch/Oakley Regional Shoreline, located just upstream from Highway 160's Antioch Bridge (also known as Nejedly Bridge).

Burrowing owl protection

In late 2008, western burrowing owls (Athene cunicularia) moved into a  housing development slated for construction. In November 2009 the California Department of Fish & Game gave the developer permission to evict the owls before nesting season begins in February 2010. The birds regularly reuse burrows for years, and there is no requirement that suitable new habitat be found for the owls. Despite being listed as a Species of Special Concern (a pre-listing category under the Endangered Species Act) by the California Department of Fish and Game in 1979, California's population declined 60 percent from the 1980s to the early 1990s, and continues to decline at roughly 8 percent per year. In 1994, the U.S. Fish and Wildlife Service nominated the western burrowing owl as a federal Category 2 candidate for listing as endangered or threatened, but loss of habitat continues due to development of the flat, grassy lands used by the owl. According to The Institute for Bird Populations, there has been a 50 percent decline in burrowing owl populations in the Bay Area in the last 10 to 15 years. Their status protects them from disturbance during nesting season or killing at any time, but does not guarantee them a permanent home, as outside of breeding season, owls can be removed. In November 2009, a local resident tallied 11 owls in the area, including four pairs. Antioch is the first East Bay city to designate habitat protected by deed for burrowing owls, since residents pushed for protections for those displaced by the community center at Prewett Park. Despite organized protests at Kiper Homes' Blue Ridge property by Friends of East Bay Owls, one-way doors were installed in the birds' burrows so that the owl families could not return to their nests. A 1992–1993 survey reported no breeding burrowing owls in Napa, Marin, and San Francisco counties, and only a few in San Mateo and Sonoma. The Santa Clara County population is declining and restricted to a few breeding locations, leaving only Alameda, Contra Costa, and Solano counties as the remnant breeding range. To assist the displaced Antioch owls in finding new homes a group of local residents and the environmental group Friends of Marsh Creek Watershed constructed six artificial burrows at a designated burrowing owl habitat preserve in the hills north of Prewett Water Park.

Government

City Council
As of 2020, Antioch's City Council consists of:
 Mayor (at-large) Lamar Thorpe
 District 1: Tamisha Torres-Walker
 District 2: Michael Barbanica
 District 3: Lori Ogorchock
 District 4: Monica E. Wilson (Mayor pro tempore)

The following people have been elected Mayor of Antioch since the city's incorporation:

Antioch maintains a council–manager form of government with a Mayor elected at-large, who serves as chair of the council and is elected in years divisible by four, and four Councilmembers elected in district elections. Districts 1 and 4 elect their Councilmembers in years divisible by four, while districts 2 and 3 elect their Councilmembers in even-numbered years not divisible by four. Antioch historically elected its Councilmembers in at-large elections, but in response to threats of a lawsuit alleging violations of state law and underrepresentation of people of color, the Antioch City Council voted to switch to district elections in 2018, holding the first such elections in 2020.

Public safety
The city is protected by Contra Costa Fire and the Antioch Police Department.

Politics

According to the California Secretary of State, as of February 10, 2019, Antioch has 54,528 registered voters. Of those, 28,773 (52.8%) are registered Democrats, 8,096 (14.8%) are registered Republicans, and 15,012 (27.5%) have declined to state a political party.

Education

Public schools
Public schools are run by the Antioch Unified School District, which consists of three high schools, four middle schools, and numerous elementary schools that follow a single-track schedule, with school starting in late August or early September and concluding in June.

The three high schools are:
Antioch High School
Deer Valley High School
Dozier-Libbey Medical High School

The four middle schools are:
Antioch Middle School
Park Middle School
Black Diamond Middle School
Dallas Ranch Middle School

Private schools

The private schools are primarily religious. The private high schools are:
Heritage Baptist Academy (K-12)
Delta Christian High School
Promised Land Christian High School

The private primary and middle schools are:
Holy Rosary Elementary School
Hilltop Christian School
Kinder Care Learning Center
Antioch Christian School
Golden Hills Christian School
Great Beginnings Elementary School

The charter schools are:
Antioch Charter Academy (est. 1998)
Antioch Charter Academy II (est. 2007)

Antioch is also home to Western Career College, located on Lone Tree Way. Also Antioch has one school for CPR and First Aid Training, Event First Aid & Safety Services located at 201 G Street, 2nd and G streets.

Public libraries
The Antioch branch of the Contra Costa County Library is located in Antioch, across the street from Antioch Middle School and Antioch High School.

The Prewett Library also serves Antioch and is located inside the Antioch Community Center, across the street from Deer Valley High School.

Media
Antioch is served by the Antioch Press, published by Brentwood Press & Publishing Corporation. Antioch Press is a weekly newspaper that is published every Friday. The current circulation is just over 4,000.

Infrastructure

Transportation

Roads
Antioch's primary surface transportation link is via the freeway State Route 4, both westward a half-hour's drive to Interstate 80 and the road network of the Bay Area, or alternatively eastward to connect with Interstate 5 at the Central Valley city of Stockton, California. State Route 160 leads north from Highway 4, crossing the San Joaquin River via the Antioch Bridge and through the Delta to Sacramento.

Public Transit
Antioch is served by both the Antioch-Pittsburg Amtrak station, and access to Bay Area Rapid Transit (BART) is available at the Antioch eBART Station. Although public transportation agency Tri-Delta Transit is the predominant provider of public transportation in the Antioch area, County Connection bus #93X also serves Antioch going to John Muir Medical Center, Mitchell Park n' Ride, Railroad Castlewood, Delta Fair Sommersville and Hillcrest Park 'n Ride. This is in addition to the city's 50-cent-per-ride senior shuttle. However, due to budget cuts in 2011 a proposal was made to eliminate the $275,000 subsidy for this program.

Airports
Antioch's closest airport with commercial service is Buchanan Field Airport, though its sole airline is JSX and only flies to Burbank and Orange County. Through BART, Antioch is directly connected to San Francisco International Airport, though through the use of BART transfers, Antioch is also connected to Oakland Airport and through VTA, San Jose Airport.

Antioch is also equidistant from Oakland Airport to Stockton Metropolitan Airport, though no transit services connects Stockton and Antioch.

Water
The Sacramento–San Joaquin River Delta has been a large source of fresh water for the city but increasing salinity levels have reduced the city's ability to use the river intake. In response, the city is building the first surface-water desalination plant in the Bay Area.

Notable people

Sports
Frank Beede, former  offensive lineman for the Seattle Seahawks, now a coach at Freedom High School
Paul Blackburn, pitcher for the Oakland Athletics
T. J. Carrie, professional football player currently playing for the Indianapolis Colts
David Douglas, professional mixed martial artist
Najee Harris, professional football player for the Pittsburgh Steelers
Taiwan Jones, football cornerback and running back for the Buffalo Bills
Maurice Jones-Drew, former running back for the Jacksonville Jaguars
Mike Lucky, former tight end for the Dallas Cowboys
Gino Marchetti, former All-American for the Baltimore Colts
Aaron Miles, retired Oakland A's second baseman
Sterling Moore, football cornerback who played for the Dallas Cowboys
Jeremy Newberry, former center for the San Francisco 49ers and San Diego Chargers
 John Olenchalk, Antioch High School 1973, Stanford 1977, played for the Montreal Alouettes and the Kansas City Chiefs.
Jeff Pico, pitching coach for the Cincinnati Reds and former Chicago Cubs pitcher
 Evan Pilgrim, former offensive guard in the National Football League
Ron Pritchard, former football linebacker and professional wrestler, played nine seasons with the Houston Oilers and the Cincinnati Bengals
Alex Sanchez,  MLB pitcher for the Toronto Blue Jays in 1989 and All-Pac-10 standout at UCLA
Gary Sheide, a former football quarterback for Brigham Young University
Larry Silveira, a professional golfer who played on the PGA Tour and the Nationwide Tour
T. J. Ward, former football strong safety for the Denver Broncos

Miscellaneous
Chuck Billy, lead singer of metal band Testament
Johnny Burke, lyricist
Ty Carter, United States Marine Corps and United States Army veteran and Medal of Honor recipient
Donovan Cook, film director and animator famous for creating 2 Stupid Dogs
Mario "Mars" Delgado, national hip-hop recording artist, actor and entrepreneur known for his brand of horrorcore rap music.
Carmen Dragon, conductor, composer and arranger; father of Daryl Dragon of the 1970s pop music duo Captain & Tennille
Wade Harper, first African-American mayor of Antioch
Leah Laviano, Miss Mississippi USA in 2008
Ronald O. Loveridge, former mayor of Riverside, California
John Marsh, Builder of Marsh's Landing and instrumental in achieving California statehood
Lori McCreary, film producer and President of the Producers Guild of America
Mitchell brothers, Jim & Artie, strip club and pornography business owners until Jim was convicted of killing Artie in 1991
Kevin Pereira, former co-host of G4's Attack of the Show! and Let's Ask America
Mark L. Schneider, the 15th director of Peace Corps (1999–2001)
Tom Torlakson, California Superintendent of Public Education
Jerome R. Waldie, former United States Representative

Sister cities
  Chichibu, Saitama, Japan, since September 16, 1967
  Lázaro Cárdenas, Michoacán, Mexico

References

External links

1872 establishments in California
Cities in Contra Costa County, California
Cities in the San Francisco Bay Area
Incorporated cities and towns in California
Sacramento–San Joaquin River Delta
Populated places established in 1850
1850 establishments in California
Populated places established in 1872
Populated places on the Sacramento River
Sundown towns in California

redpajama_set_name: RedPajamaWikipedia


text:
Die Tausendjährige Eiche ist ein Naturdenkmal im Markt Küps in Oberfranken. Die Stieleiche steht am Außenzaun des Schlosses Alte Kemenate im Gemeindeteil Nagel an einem Steilhang. Das Wasserschloss wurde Anfang des 15. Jahrhunderts erbaut.

Geschichte
Sie ist seit 1936 nach dem Reichsnaturschutzgesetz (RNG) per Verordnung als Naturdenkmal ausgewiesen. Bei dem Standort der Eiche soll es sich um einen alten germanischen Thingplatz handeln. Ursprünglich sollen dort vier Eichen gestanden haben, die nach den vier Himmelsrichtungen ausgerichtet waren und den gleichen Abstand voneinander hatten. In der Nähe führt eine alte Handels- und Heerstraße vorbei, was diese Annahme unterstützt, da sich die Thingplätze meistens in der Nähe von belebten Handelsstraßen befanden. Die Straße verband Berlin mit München und entsprach in diesem Abschnitt der heutigen Bundesstraße 173.

In der Eiche befinden sich noch Bleikugeln und Bolzen aus dem Dreißigjährigen Krieg. Der schwedische Reitergeneral Lennart Torstensson belagerte mehrere Monate erfolglos das Schloss. Dabei wurde das Schloss beschossen und auch die Eiche getroffen.

Im März 2020 wurde die Eiche als vierter Baum in die Liste der Nationalerbe-Bäume aufgenommen.

Beschreibung
Die Borke der Eiche steht bis zu zehn Zentimeter brettartig hervor. Die tiefen Rillen in der Rinde ziehen sich bis zur Spitze der Krone hoch. Dies deutet auf ein hohes Alter hin. Die Eiche hat ausgeprägte Wurzeln, die am Steilhang weit vom Baum wegführen. Die Eiche hat einen schönen, langen, geraden Stamm, der etwa 15 Meter unverzweigt hochreicht. Die hoch angesetzte Krone ist etwa 27 Meter hoch und hat einen Durchmesser von etwa 25 Metern. Die Holzmasse der Eiche wird auf 80 Ster geschätzt, womit sie zu den massereichsten Eichen in Europa zählt.

1989 hatte der Stamm in einem Meter Höhe einen Umfang von 9,30 Metern, im Jahre 2001 an der Stelle seines geringsten Durchmessers einen Umfang von 9,01 Metern und im Jahre 2000 betrug der Umfang in einem Meter Höhe 9,53 Meter. In Bodennähe hat die Eiche einen Umfang von zwölf Metern. Im Jahr 1999 hatte der Stamm auf 1,3 Metern, der Höhe des sogenannten Brusthöhendurchmessers (BHD), einen Umfang von 9,10 Metern. Die Eiche zählt damit zu den stärksten in Deutschland. Ihr Alter wird in der Literatur unterschiedlich angegeben, teilweise mit 1000 Jahren, was zu hoch erscheint; in der neuesten Literatur werden 450 bis 600 Jahre genannt.

Literatur

 Hans Joachim Fröhlich: Alte liebenswerte Bäume in Deutschland. Cornelia Ahlering Verlag, Buchholz 2000, Seite 274–275, ISBN 3-926600-05-5.

Siehe auch
 Tausendjährige Eiche
 Liste markanter und alter Baumexemplare in Deutschland

Weblinks

Einzelnachweise

Einzelbaum in Bayern
Naturdenkmal im Landkreis Kronach
Denkmalwesen (Küps)
Einzelbaum in Europa
Individuelle Eiche oder Baumgruppe mit Eichen
Geographie (Küps)


text:
Museu Nacional d'Art de Catalunya, Barcelona, Spain
Art Gallery Historic Sites Tour
The National Art Museum of Catalonia (catalan: Museu Nacional d'Art de Catalunya) is the national museum of Catalan visual art located in Barcelona, Catalonia, Spain. Situated on Montjuïc hill at the end of Avinguda de la Reina Maria Cristina, near Pl Espanya, the museum is especially notable for its outstanding collection of romanesque church paintings, and for Catalan art and design from the late 19th and early 20th centuries, including modernisme and noucentisme. The Museum is housed in the Palau Nacional, a huge, Italian-style building dating to 1929. The Palau Nacional, which has housed the Museu d'Art de Catalunya since 1934, was declared a national museum in 1990 under the Museums Law passed by the Catalan Government. That same year, a thorough renovation process was launched to refurbish the site, based on plans drawn up by the architects Gae Aulenti and Enric Steegmann, who were later joined in the undertaking by Josep Benedito. The Oval Hall was reopened in 1992 on the occasion of the Olympic Games, and the various collections were installed and opened over the period from 1995 (when the Romanesque Art section was reopened) to 2004. The Museu Nacional d'Art de Catalunya (Museu Nacional) was officially inaugurated on 16 December 2004. It is one of the largest museums in Spain.
The Museum is housed in the Palau Nacional (1929), with spectacular views over Barcelona. The MNAC (Museu Nacional d'Art de Catalunya) offers a fascinating artistic journey: from the best Romanesque collection of mural paintings in the world, to Gothic, Modern and 20th-century Art. The collection includes works by El Greco, Velázquez, Fortuny, Gaudí, Ramon Casas, Julio González and Dalí, amongst others.
Built for the International Exhibition in Barcelona, the Palau Nacional has borne witness to the history of this city. Strategically located on the side of the mountain of Montjuïc, it overlooks the city, which lies at its feet. Originally planned by Josep Puig i Cadafalch and built by Pere Domènech i Roura, Eugeni P. Cendoya and Enric Catà, it is clear example of the Beaux-Arts style of architecture.
Through its collections, the museum tries to give a global discourse on Catalan art from the 11th century to the present day. In some cases, such as the collections of Gothic, Renaissance and Baroque, this discourse is also made For comparison with works of art from other origins
The collection is divided into the following concepts: Romanesque art, Gothic art, Renaissance and Baroque art, modern art, drawing, engraving and poster, photography and numismatics. In addition, the collection has the Library of History, Art and the General Archive
The museum's collection has gradually been formed over the years, with the aim of recovering and representing the bulk of Catalan artistic heritage, both from purchases of private collections (Casellas in 1911, Alexandre de Riquer in 1921, Plandiura in 1932 And Muntadas in 1956) as donations (Enric Batlló (1914), Legado Cambó, Legado Espona (1958), Legend Domènec Teixidó, Legado Bertran (1970), Legacy Fontana (1976), Girbau SA)
Regarding the permanent exhibition, it is divided into the following sections: Romanesque, Gothic, Renaissance and Baroque, Legacy Cambó, Thyssen-Bornemisza Collection, Carmen Thyssen-Bornemisza Collection, Modern Art, Drawings, etchings and posters, photography and numismatics The proposed route to analyze and understand in the best way possible the way the collections are presented, begins with the room next to the lobby, where you can find the oldest Romanesque paintings, mural paintings and other forms of painting (basically on wood) , Sculpture and decorative arts This presentation surrounds the Great Hall and attends to a chronological perspective that passes – once the Romanesque art collection has been visited – for gothic works, then in another area where the transition can be clearly seen From the Gothic to the Renaissance and finally a third that exposes the baroque works. The circuit continues on the first floor, where the works of art from the nineteenth century are located and It boasts towards 20th century art
During the course of 2009, a digitalisation of the collection began, in order to be able to offer virtual visits to the museum's collection On March 12, 2010, the creation of the portal was published, from which the first 1900 works can be observed Digitalized and some gigaphoto of the most important works, such as La Vicaria de Fortuny or Pantocràtor de Sant Climent de Taüll
Romanesque (11th to 13th centuries):
The Romanesque Art Collection is one of the most important and emblematic of the Museum for the exceptional series of mural paintings that it contains. In fact, its uniqueness has no parallel in any other museum in the world. Much of these paintings, From small rural churches in the Pyrenees and from other places of the Old Catalonia, were known and valued since the first years of the 20th century, especially after the Pyrenean expedition (1907) of a mission of the Institut d ' Estudis Catalans, who subsequently published Catalan murals. Years after it was discovered that a group of foreign financiers and antiquarians had most of the paintings bought in the United States in the United States. Although there was no time in Spain Laws prohibiting the expatriation of works of art, the Board of Museums carried out an effective rescue intervention, start-up and transfer to the Museum of Barcelona (1919-1923), then at the Parc de la Ciutadella, eg To protect this Romanesque heritage, art of a total singularity that has been seen as a symbol of the birth and formation of Catalonia
The route of the Romanesque art galleries is basically chronological and stylistic, and shows the different artistic tendencies of Romanesque art in Catalonia, with works that basically belong to the 11th, 12th and 13th centuries.
The itinerary starts with the mural paintings of Sant Joan de Boí, close to the Franco-Aragonese tradition, and continues with the sets of Italian influence that dominate the pictorial scene since the end of the 11th century, connected without a doubt to the 'Impulse of the Gregorian reform, with examples such as the murals of Sant Quirze de Pedret, Santa Maria d'Àneu or Sant Pere del Burgal
One of the masterpieces of the collection is the paintings of the apse of Sant Climent de Taüll, with the famous Pantocràtor or Crist in Majesty, undoubted masterpiece of the 12th century and a tangible proof of the creative strength of Catalan painting. At his On the side, it is worth noting the whole of Santa Maria de Taüll, the most important example of an interior of a Romanesque church completely painted, which has preserved much of this decoration
The end of the route focuses on the Paintings of San Pedro de Arlanza and those of the chapter room of Sixena With regard to these last ones, it is one of the most magnificent pictorial sets in the renovating style of 1200 in Europe and that is He retains the Museum after the serious fire that he suffered in 1936 during the Civil War
The tour also shows other techniques that distinguish Catalan art, such as painting on the table or sculpture in wood, and others that complete the aesthetic vision of Romanesque art, such as goldsmithing or sculpture In stone
The painting collection on a table, unique in Europe, is also a singular part of Romanesque painting, both for the quantity and the antiquity of the Catalan works that are conserved – also due to the interest in the Romanesque art since the end of the century XIX- as for the quality and technical diversity that show Fronts such as the call of the Apostles or the Seu d'Urgell, those of Alós d'Isil, Avià or Cardet can be considered paradigms of an original pictorial technique And of great artistic interest On the other hand, the sculpture of wood sculpture offers a broad and complete view of the Romanesque, with outstanding works in different types such as the Virgen de Ger, the Batlló Majesty or the carvings of the Descent of " Erill la Vall
We must also mention the examples of stone sculpture, among which are some pieces of Ripoll and a large group of works from the sets of the city of Barcelona, with the refined marble capitals of the old hospital of Sant Nicolau Finally, the collection has an important sample of enamels, mostly produced in Limoges, such as the Cube of Mondoñedo
Between the month of December of 2010 and June of 2011 the rooms of the Romanesque collection remained closed, due to works of maintenance and renovation of the museographic discourse During this time the illumination, the conditions of preventive conservation, As well as the most worn parts of the pavement They re-inaugurated on June 29, 2011, in an act presented by Narcís Serra
Gothic (late 13th – 15th century):
The gothic art collection includes works from the late thirteenth century until well into the 15th century. The origin of the works is mostly from the Catalan territory, although to a lesser extent, there are works from the territory of the former Crown of Aragon, like Aragó, Mallorca and Valencia, showing the historical moment of maximum Catalan territorial influence. The most representative authors of this period are Pere Serra, Lluís Borrassà, Jaume Huguet, Bernat Martorell and Bartolomé Bermejo, among others. Regarding In the style, you can find works that show the appearance, development and culmination of the style, as well as works from different European stylistic currents such as the international gothic, the linear expression, the Italian ancestry And the flamenco ancestry
Quantitatively, it stands out the set of pictorial altarpieces, paintings in the temple of egg and oil, along with a sample of the mural painting, jewelry, sculpture and enamel of the time All the works shown were Restored before the re-opening of the collection in the summer of 1997
The origins of the formation of the Gothic art collection of the MNAC date back to the beginning of the nineteenth century, when the recovery and conservation movement of the Catalan heritage complex began, which was badly damaged as a result of the burning of convents of 1835 in Spain in The context of the First Carlist War that culminates in the confiscation of Mendizábal. Small movements and institutional initiatives such as the collection of archaeological specimens from the convents destroyed in the convent of San Juan, promoted in 1837 by the Real Academia de Bones Lletres Set Years later, the convent became the first historical museum of Barcelona Among the collected objects, there were a total of 24 Gothic tombs. The creation in 1867 of the Provincial Museum of Antiquities, directed by Antoni Elias de Molins and located in the chapel Of Santa Agata, incorporated the funds of the Academy of Good Letters
With the emergence of the Renaixença cultural movement, the phenomenon of private collecting began to be widespread in Catalonia. One of the most important was the collection of art critic Francesc Miquel i Badia, the owner of Sant Jordi and the princess
In the Municipal Museum of Fine Arts of Barcelona, created in 1891 and located at the Palacio de las Bellas Artes, the gothic background was still scandalous despite having featured works such as the four portraits with the images of the kings of Aragon, the work of Gonçal Peris Sarrià and Jaume Mateu, donated by Pau Milà i Fontanals at his death in 1883, or two tables originated in the monastery of Vallbona de les Monges and arts of the object such as the Sant Càndid urn, a piece from the monastery of Sant Cugat Del Vallès, or the well-known Virgin of the Councilors of Lluís Dalmau that occupied a pre-eminent place The constitution of the Municipal Board of Museums and Fine Arts marked a change in direction in the museum policy very sensitive to the increase of funds Gothic art Highlights the notorious activity of Joaquim Folch i Torres as commissioner of the Board of Museums in this impulse
For the inauguration of the new Museum of Art and Archeology, in 1915, located in the lateral wings of the arsenal of Ciutadella, now the headquarters of the Parliament, was already featured the tables of the altarpiece of Sant Vicenç de Sarrià by Jaume Huguet , One of the sides of the altarpiece called Cardona, work related to the Master of Baltimore acquired in 1906 to Celestí Dupont, or the tables of the altarpiece San Juan Bautista by Pere Garcia de Benavarri, acquired in the Marquès i Català family In the field Sculptural, Josep Pascó had bought sixty specimens of alabaster and stone sculptures from Poblet and Salvador Babra, some sculptural images from Gerb
It would be just before 1920 when the acquisition of ecclesiastical property was intensified. In 1919, Sant Antoni Abat was acquired, attributed to Jaume Cascalls to the rector of the village of La Figuera; Most of the tables in the altarpiece of Sant Esteve de Granollers from the workshop of Vergós and Joan Gascó; The altarpiece of the Mare de Déu de Sigena by Jaume Serra; Or the organ sarges of the Cathedral of La Seu d'Urgell In the 1920s, key pieces such as the Sant Jordi table and the princess and the altarpiece of San Agustín de la confrancia de los Blanquers were added to the museum By Jaume Huguet
With the inauguration, in 1934, of the Museum of Art of Catalonia in the National Palace, one of the most significant stages for the history of the formation of the Gothic art collection was completed. Of the total of 1869 works, in the section Gothic, a group of more than forty gothic tables was exhibited and an outstanding number of sculptures and architectural fragments from the Provincial Museum of Antiquities of Barcelona, the bottom of which was finally incorporated into the museums of the Board, between 1932 And 1933
But the most important growth of the period comes from the acquisition of 7 million pesetas from the 1869 collection of works Lluís Plandiura i Pou in 1932, who had to sell it for economic problems. Among the gothic pieces stand out the Maradona de Sallent de Sanaüja ; The three fragments of the altarpiece of Tortosa, by Pere Serra; The altarpiece of the Saint Johns of Santa Coloma de Queralt; The altarpiece of Sant Esteve, by Jaume Serra; The paintings from Estopanyà; The series of eight funerary tables from the tomb of San Andrés de Mahamud (Burgos) and the tombstone of Margarita Cadell
There were no major incorporations until 1949 with the legacy of Francesc Cambó, mostly with Renaissance and Baroque works, which contributed the tables of the Master of Madonna Cini and the golden chalice with the shield of Queen Maria De Luna, wife of King Martí l'Humà, one of the best goldsmith productions in the international Gothic style that the MNAC conserves
With the addition, in 1950, of some works by the Muñoz collection – the former Bosch and Catarineu collection – entered the altarpiece of Santa Bàrbara de Gonçal Peris Sarrià, an extraordinary example of the Valencian international gothic. In the same collection, Scene of the Crucifixion of Sant Andreu, work of Lluís Borrassà, and the Table of Sant Miquel Soriguerola
In 1950, he enriched the content of the Gothic section the legacy of Apelles Mestres with two magnificent mercies, belonging to the choir stalls of the cathedral of Barcelona, by the work of Pere Sanglada. In the same year the sarcophagi, originally from the Monastery of Santa María de Matallana (Valladolid) and which constitute a singular manifestation of peninsular funerary sculpture
A new significant income was the acquisition in 1956 of the collection that had been gathered since the end of the last century by the Count of Santa Maria de Sants, Maties Muntadas (1854-1927), which marked a sensible increase in the funds of Gothic art, Especially painting It is worth highlighting works by the Maestro de Retascón, the Maestro de la Porciúncula, Fernando Gallego, Bernat Despuig or Ramon Solà II, as well as others already existing in the museum's collection such as the painters Jaume Huguet, Bernat Martorell or Pere Garcia de Benavarri The collection of Flemish paintings stands out from the Muntades collection, which is a very significant contribution of the art made in Flanders during the 15th and 16th centuries.
The acquisition in the 1960s of several murals and cloakroom elements, from various Barcelona palaces on the Montcada Street, contributed a profane character that was barely represented in the collection where religious themes predominate
In the year 1970 the legacy Bertrand was added that enriched the area of medieval sculpture in wood. In 1976, the donation took place, by Mrs. Pilar Rabal, the widow of Pere Fontana, of the collection gathered for her Husband, thirteen tables that expanded the collection within the current Catalan international gothic, with names that are quite representative of Guerau Gener, Jaume Ferrer II or Pere Teixidor
Due to its special significance, the deposit of the Generalitat de Catalunya in 1993, of three sarges from the Cathedral of La Seu d'Urgell, stands out; An income that complements the whole acquired in the first decade of the century. Also, the date of the Torelló collection of the year 1994 meant incorporating a painting by Jacomart. A year later, the designation of the Torres collection meant the entrance From the Martyrdom of Santa Llúcia by Bernat Martorell
Renaissance and Baroque (15th-18th centuries):
The Renaissance and Baroque Art Collection is a valuable heritage that – unlike the great national museums of Europe, which started from the great royal and noble collections – in Catalonia, was formed from the recovery of local heritage and The later donations and acquisitions of private collections The storyline of the beginning and the end of the museographic discourse focuses on two historical moments of Catalan art -the dissemination, in the first half of the 16th century, in the Renaissance fashion, and The 18th century painting, with the figure of Antoni Viladomat-, along with Spanish, Flemish and Italian works from the 16th, 17th and 18th centuries
The itinerary begins in the Netherlands in the 16th century, where religious fervor and the detail of everyday life are mixed, as can be seen in a series of quality tables and leaflets for private use. At the beginning of the In the Renaissance period, in Catalonia, the Gothic forms of the Flemish Root lived together with other new solutions, represented by works such as the San Candido de Ayne Bru or the Sant Blai de Pere Fernández, who have the humanistic sentiment and the seal of the " Leading art that was made in Italy The Altarpiece of Saint Eloi of the argenters, by Pere Nunyes, maintains the tone of the new language, the same used by the sculptor Damià Forment for the group of the Dormition of the Virgin Mary Toward the end From the century, Hispanic painting has works of great beauty, such as the Christ with the Cross and San Pedro and San Pablo, of El Greco, in which modernity of color is present, as a result of the lessons learned in Venice. Contemporarily, the Ecce homo, by Luis de Morales, conveys the feeling Devotional of the counter-reform
The seventeenth century begins with frescoes by the Chapel Herrera, by Annibale Carracci and collaborators, who decorated the Roman church of Sant Jaume dels Espanyols, and continues with paintings by other Italian artists such as the genovese Gioacchino Assereto or the Neapolitan Massimo Stanzione And Andrea Vaccaro But, above all, the works of the masters of the Spanish Golden Age, such as the Martyrdom of St. Bartholomew, by the Valencian Josep de Ribera, called "Lo Spagnoletto", San Pablo, by Diego Velázquez, or The Immaculate Conception and various dead natures of Francisco de Zurbarán Returning to Catalonia, the image of Sant Gaietà, by the sculptor Andreu Sala, echoes the great art of Bernini
In the 18th century, the set dedicated to the Life of Sant Francesc, by Antoni Viladomat, who decorated the cloister of the convent of Framenors in Barcelona, constitutes the only series of monastic life preserved entirely in a museum. On the other hand, Francesc Pla's daring work, called «El Vigatà», represents the pictorial freedom in the interior decoration of the houses of the new mercantile and industrial class, precursor of art that was to be developed in the nineteenth century
This collection, which reflects the taste of a part of our civil society for Renaissance and Baroque art, welcomes, exceptionally in comparison with the rest of the MNAC, the art produced in Catalonia and also in Spain , As well as in Italy and Flanders, which allows an overview of the evolution of European art at the time, to which they contribute two important later contributions, the Cambó legacy and the Thyssen-Bornemisza collection
Legacy Cambó
The Cambó legacy is a collection of works by the particular collection of the Catalan politician and patron, Francesc Cambó, of significant importance, as it integrates European painting from the fourteenth century to the beginning of the nineteenth century. It constitutes the most disinterested contribution of value that the MNAC It has received throughout its history and has more enriched the Renaissance and Baroque background. There are represented as diverse artistic movements as the Italian Quattrocento and the masters of the Cinquecento, such as Sebastiano del Piombo or Ticià, through the Spanish painting of the Century Gold to the Rococo
It is a repertoire with its own identity that embraces the history of European painting from the fourteenth century to the beginning of the 19th century. These are works that mark the gothic period of the Renaissance, which speaks of the perfection of the Italian Quattrocento, of the Sensuality of the great Venetian masters of the Cinquecento, of the economic boom of the Netherlands in the 16th and 17th centuries, without forgetting the greatness of the Spanish Golden Age, until reaching the fullness of the European Rococo. Among the artists represented at the MNAC Thanks to this magnificent collection, there are names of universal relevance, such as Sebastiano del Piombo, Tiziano Vecellio and Giandomenico Tiepolo, great painters, all of them, from Italy; Peter Paulus Rubens and Lucas Cranach, exponents of Flemish school art; Jean-Honoré Fragonard and Maurice Quentin de la Tour, who represent the French Rococo, and, finally, Francisco de Goya, the renovating genius that closes the chronological arch that embraces the Cambó Legacy
Thyssen-Bornemisza collection
When the Thyssen-Bornemisza Collection is located in Madrid, in Villahermosa Palace, and the State formalizes the purchase in 1993, a part of this collection -72 paintings and 8 sculptures, mainly religious themes, although also Includes landscape and portraits destined for Barcelona In 1993, the permanent exhibition of these works was inaugurated in one of the wings of the Pedralbes monastery, which was authorized for this museum function by the Town Hall. In 2004, the Foundation signed up with it MNAC an agreement for which the Thyssen-Bornemisza Collection of Barcelona was permanently exhibited at the MNAC, in order to reinforce the contents of the Catalan museum and to make a better dissemination of the works. This collection includes a collection of paintings And sculpture that presents a global vision of European art from the Gothic to the Rococo. Among the works that are part of this collection are the tables of Rimini and Tadeo Gaddi, Trecento artists; And the works of Francesco del Cossa as a magnificent example of the Quattrocento Del Cinquecento have works by Fra Angelico, Rubens, Battista Dossi or Ticià, and the Settecento stand out works by Tiepolo, key artist of the Italian Rococo, Ceruti or the vedutista Canaletto
Modern Art (nineteenth and twentieth centuries):
The MNAC's Modern Art Collection was created as a result of the Universal Exhibition of 1888, when the Barcelona City Council installed the then small collection of modern art, at that contemporary moment, at the Palacio de las Bellas Artes La The collection expanded considerably with the acquisitions that the City Council itself did in the exhibitions of fine arts. The current modern art collection brings together a collection of the best Catalan art from the beginning of the nineteenth century until the 40s of the 20th century. The route is 'Starts with the artists who followed the postulates of neoclassicism, romanticism and realism. Among the neoclassics, the painter Josep Bernat Flaugier and the sculptor Damià Campeny stand out. Regarding Romanticism, mention should be made of the Nazarenes, such as Claudi Lorenzale, Who worked especially on the portrait, and Lluís Rigalt, who inaugurated the tradition of Catalan landscaping; This will continue, already in the age of realism, with Ramon Martí Alsina, introducing in Catalonia the ideas of Courbet, and with Joaquim Vayreda, founder of the School of Olot, among others A separate chapter deserves Marià Fortuny, the best Catalan painter of the nineteenth century, who triumphed internationally with the genre painting and who pointed out advanced approaches in his latest productions. Also present are painters who opted for anecdotal realism, such as Romera Ribera and Francesc Masriera, As well as the "luministes" of the School of Sitges, inheritors of the fortunian tradition; While in sculpture the brothers Vallmitjana stand out as the best representatives of the realistic tradition. The 19th century collection also includes a sample of historical photography with works by AADisdéri, Jean Laurent, Le Jeune and Charles Clifford, among others, with images From various places of the Spanish geography
One of the mainstays of modern art collections is modernism, a movement of great artistic and cultural importance in Catalonia. In painting, the current one that identifies itself more is the one of renovating character led by Ramon Casas and Santiago Rusiñol, who in His Parisian works incorporated certain aspects of French Impressionism Another current is the symbolist, represented by the paintings of Alexandre de Riquer and Joan Brull and also observed in some photographs of the pictorialist Pere Casas Abarca. Of the same importance It is the presence of artists from the second generation of modernists, such as Isidre Nonell, Marià Pidelaserra, Ricard Canals, Hermen Anglada Camarasa, Nicolau Raurich or Joaquim Mir, who, since the twentieth century, brought Catalan painting to one of the Its brighter moments
Spanish painters like Julio Romero de Torres, Joaquim Sorolla, Ignacio Zuloaga, Darío de Regoyos and José Gutiérrez Solana, photographer Ortiz Echagüe and the French artists Boudin, Sisley and Rodin are also present. Regarding the modernist sculpture it is worth highlighting the creations By Miquel Blay and Josep Llimona, with a clear influence from Rodin The collection of modernist decorative arts shows some exceptional sets of interior design by Josep Puig i Cadafalch, Gaspar Homar and Antoni Gaudí, respectively, from the houses Amatller, Lleó Morera And Batlló, from Passeig de Gràcia in Barcelona; As well as remarkable artwork of the object in forging, ceramics, glass and jewelry, not forgetting the sets of furniture of Joan Busquets and the architect Josep Maria Jujol
The other movement widely represented in the MNAC is Noucentisme, which embodies the search for their own essences and Mediterranean architecture. The classical compositions of Joaquim Torres-García and Joaquim Sunyer are represented, with strangely influential cezannianas, and sculptural knots by Josep Clarà And Enric Casanovas Complete this movement with the sculptures by Manolo Hugué and the paintings by Xavier Nogués, with a marked popular accent. By 1920, there appeared a new generation of artists who had to face the dilemma of following the figurative tradition or doing The avant-garde jump Some of these, such as the painters Josep de Togores and Francesc Domingo i Segura, made a production with their own voice in the context of international inter-wars Realism, like Torres-García himself, Rafael Barradas Or Salvador Dalí, found Dalmau Galleries the ideal place to exhibit their most innovative production
Undoubtedly, one of the main hallmarks of the collection is the important work set by Marià Fortuny, of whom more than 1500 drawings and 50 prints are conserved, which make this fund a reference obliged to reconstruct the itinerary Creative from this nineteenth-century artist. Of this same period, more than 30 drawings by the painter of history Eduardo Rosales, acquired in 1912, that are related to the Testament of Isabel la Católica and the Death of Lucretia, two of Its most paradigmatic historical compositions
The collections of the Cabinet also have a huge representation of Modernist and Noucentista works. Specifically, the Cabinet's collection includes more than 600 modernist posters of prominent Catalan and foreign artists, among them the ones from Ramon Casas. This artist highlights the famous Series of "Charcoal Portraits", an authentic iconographic gallery of the personalities of the moment in Catalonia, given by the same author in 1909 Among the nineteenth-century authors, it is worth mentioning the remarkable collection of the work of Isidre Nonell, with more than 150 compositions
It is worth mentioning the collection of posters of this same period, which was largely acquired by the Museum in Lluís Plandiura in 1903. More than 500 posters, including a notable presence of foreign authors, are a legacy of incalculable heritage value And exemplify, cartelism in Catalonia
Finally, despite being an unequal background, it is necessary to refer to the representation of avant-garde movements. In this sense, the sculptor Juli González is one of the most well-represented artists, thanks to the donation of more than 150 drawings that goes in 1972 Make her daughter Roberta On the other hand, the presence of two great creators of contemporary art, such as Dalí or Miró, is almost testimonial
Regarding the formation of the collections of the Cabinet of Drawings and Engravings, it is worth highlighting two fundamental acquisitions of the Board of Museums: in 1911, the collection of literary and artistic critic Raimon Casellas and, ten years later, that of modernist artist Alexandre Of Riquer
The photography collection has more than 6,000 copies. The oldest works are dated in the 19th century, but you can see works of different movements such as pictorialism, new objectivity, photojournalism, to neorealism and the contemporary period
The collection has been created, despite some of its own acquisitions, thanks to a collection of donations and deposits from collectors and artists themselves (Colita, Joan Fontcuberta, Pere Formiguera, Carles Fontserè, Emili Godes, Josep Lladó, Oriol Maspons, Kim Manresa , Josep Masana, Otto Lloyd, Antoni Arissa, Josep Maria Casals i Ariet, Toni Bernad)
Among the exhibited works are some on deposit of the Fund of Art of the Generalitat of Catalonia, with works by Antoni Campañà, Pere Català Pic, Francesc Català Roca, Joan Colom, Manel Esclusa, Francesc Esteve and Soley, among others , And works also in the repository of the Photographic Association of Catalonia, with photos of Claudi Carbonell and Joan Porqueras, for example. In May 2012 the museum opened a monographic room with 24 works by Agustí Centelles and another with a selection of Photographers of the Catalan photographic avant-garde until the civil war
Numismatics:
The Numismatic Office of Catalonia, created in 1932, has a collection that exceeds 134,000 copies. The fund is the result of a long procurement process, for purchase, donation, legacy or deposit, which began during the first half of the century XIX and still continues
The collection of coins consists of almost 100,000 pieces, among which the main numismatic series are represented, with specimens manufactured from the 6th century BC to the present day. The most important and emblematic currencies are, without a doubt, the ones emitted in Catalonia, with Large numbers of extraordinary peculiarities and unique pieces. Collections begin with old-time broadcasts, among them, the minted ones in the Iberian Peninsula, with significant pieces such as those of the Greek colonies of Empúries and Rhode or the treasure of 897 silver fractions found in the nephew of Emporion. From the passage of the ancient world to the medieval one is the visigoda coin collection, with emissions from workshops in the Catalan territory, such as Barcino, Tarraco or Gerunda. From the Christian series of The medieval west, many of the European kingdoms are present, although the Catalan currency fund and the Crown of Aragon are the most outstanding, with specimens that show, not On the other hand, the historical and economic evolution of these territories For example, the economic growth of the 13th century is documented by the beginning of the minting in Barcelona of silver Croats in the name of Pere II. From the emissions of modern times And contemporary it is necessary to indicate the mintings of three periods as significant as they are those of War of the Reapers, War of Succession and War of the French
The collection of medals consists of more than 9000 pieces, ranging from the first copies manufactured in Italy during the second half of the 15th century to the present day. The main part of the collection is made up of the pieces produced in Spain, Of renowned artists and printers, who created medals of a very remarkable quality. Thus, there is a good representation of medals made by masterpieces of the 18th century as important as Tomás Francisco Prieto or Gerónimo Antonio Gil. At the end of the 19th century, especially From the Universal Exhibition of Barcelona in 1888, they were incorporated into the creation of medalists, modernist sculptors, which gave way to a splendid period of the art of the medal, especially in Catalonia, as reflected in the collection From the Cabinet The most important figure was that of Eusebi Arnau, but also created pieces of great quality sculptors such as Parera, Blay, Lemon or Gargallo
The central core of the paper-value collection, which covers a wide range of different types of documents, is the bank note fund, with 4100 specimens. The Spanish series contains the Bank of Spain's emissions since 1874 Up to the present and the paper-value series issued by the Generalitat de Catalunya and the Catalan municipalities during the Spanish Civil War
The Cabinet also has custody of different types of pieces that have great interest in its connection, directly or indirectly, with the numismatics. These funds include, among others, manufacturing tools, monetary pesals, balances, jetons, hacks, tokens , Stamps, decorations and various document collections
The formation of this fund began thanks to a donation by Josep Salat to the Board of Commerce of Barcelona at the beginning of the nineteenth century. Later, the Board of Commerce gave this fund to the former Provincial Museum of Antiquities After From several locations, he settled for a few years at the Palau de la Virreina and finally at the MNAC
The collections of the cabinet are complemented by the most important library of this subject in the state, with more than 6000 copies that deal with different aspects of numismatics
Sala Sert:
Josep Maria Sert (1874-1945) was one of the most valued muralist painters of his time. His mural painting assimilated the tradition of the great Venetian masters. He should remember, among many others, his murals for the Rockefeller Center or the Waldorf Astoria Hotel Of New York; The decoration of the Geneva Nations Society, without forgetting Vic Cathedral and numerous mansions in Paris, Buenos Aires, Venice or London. Precisely, in this last city in 1921, Sert commissioned the decoration of the room Ball of the residence of Sir Philip Sassoon, a prominent figure in the political, cultural and financial world of the British society, Sert covered the rectangular room (85 m2 and 6,5 meters high) with wooden panels painted in the ' Oil, in black and silver tones, with a style that revives Baroque illusionism with connotations of art deco The scene, entitled Caravanes de Oriente, includes giant camels, palm trees with baroque sources, ruins of a Greek temple and Human crowds moving towards an ideal city The work was completed in the sky, on which he painted clouds and a heavenly hole Mort Sassoon in 1939, the residence was demolished The panels, except the roof, were saved and went Acquired after different vicissitudes You, for the Barcelona City Council On the occasion of the new installation in the museum, the restoration was restored, following the restoration of the murals
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redpajama_set_name: RedPajamaCommonCrawl


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>FACULTY>CARMEN ESPEGEL
Espegel Fisac Website
GIVCO Research Group website
Espegel Unit ETSAM
Espegel Conference Fundación Juan March
Carmen Espegel is Doctor Architect and Full Professor at the Design Department of the School of Architecture of Madrid (Polytechnic University) and has lectured in Italy, USA, Belgium, Holland, Mexico, Colombia, Brazil, Argentina and Portugal. She has written several books and numerous articles. In Vivienda Colectiva en España Siglo XX (2013), Eileen Gray: Objetcs and Furniture Design (2013), Aires Modernos, E.1027: Maison en bord de mer by Eileen Gray and Jean Badovici (2010) or Heroínas del espacio (2008), she denotes her critical thinking about architecture. She has been invited to participate as a member of juries for architectural competitions.
In the academic sphere she leads the Research Group "Collective Housing" (GIVCO), directs and teaches the Projects Design Module "Housing Projects" at the Master of Collective Housing ((MCH), imparts Doctoral Dissertations on Housing in the School of Architecture of Porto, and lectures Master Courses at the Master Housing (MH) in the University Roma Tre.
Professionally, Carmen Espegel and Concha Fisac begin their careers independently in 1985 and 1984. In 2002 they created the firm espegel-fisac architects, associating to form an architecture studio capable of integrating architectural quality and professional requirements. The studio itinerary is developed in three complementary areas: professional, research and academic. They participate in numerous competitions, obtaining several awards that, in many cases, are built. Among them we can highlight the intervention proposed for the transformation of the residential neighborhood Tiburtino III in Rome, Chamartín Market in Madrid, Isabel II Park –El Salón– in Palencia, or some social housing developments for the EMVs in Madrid. Involved with their work at national and international Conferences, Exhibitions and Congresses, such as the Shanghai World Exposition (China), or the exposition at the Royal Institute of British Architects in London (RIBA) and the Gallery of AEDES am Pfefferberg (Berlin), their work has been collected in books and magazines such as El Croquis, Arquitectura Viva, ON, Arquitectura, Pasajes, Arquitectos, Future and Oris.
Their work has been honoree in several occasions such as X Biennial of Spanish Architecture and Urbanism; COAM prizes (Official College of Architects of Madrid) in 1993, 2000, 2003 and 2005; First ATEG Galvanizers Prize 2004; Mention in the XIX Awards Planning, Architecture and Civil Engineering 2004 of the City of Madrid; Award given to the best built of Social Housing (2002) by the Superior Council of Colleges of Architects of Spain; or Finalist FAD Awards in 2005, and Selected in 2005 and 2012.
Among other activities, Carmen Espegel has developed an entire career on the study of European and, particularly, Spanish Collective Housing.
Espegel's MCH Experience
Guest professor MCH'2006, MCH'2007, MCH'2008, MCH'2009, MCH'2010, MCH'2011, MCH'2012, MCH'2013
Housing Projects specialty leader MCH'2017, link to Program
Housing Theory specialty leader MCH'2018, link to Program
Carmen Espegel - Works
Business, management & international activity
Sociology, economy & politics
Construction & Technology