Plaça de Mossèn Jacint Verdaguer, Barcelona
Plaça de Mossèn Jacint Verdaguer is a square in the Eixample district of Barcelona, Spain. It lies in the intersection between Avinguda Diagonal, the city's main avenue, Passeig de Sant Joan, in Dreta de l'Eixample, not far from the Sagrada Família. It's named after the 19th century Catalan-language epic poet of the Jacint Verdaguer, is crowned by a noucentista monument made in 1912 by Joan Borrell of Verdaguer on top of a column and monumental construction designed by the architect Josep Maria Pericàs with Borrell's allegories of poetry; the bas-reliefs around the monument, featuring scenes from Verdaguer's works L'Atlàntida, were sculpted by the brothers Llucià and Miquel Oslé. The current Catalan name of the square was approved in 1980 changing it from the Spanish version: Jacinto Verdaguer; the Barcelona Metro station Verdaguer is next to the square, is served by lines L4 and L5. List of streets and squares in Eixample, Barcelona Pobles de Catalunya.cat, a guide to the historical and artistic heritage of Catalonia Pictures at Webshots.com Judit Subirachs i Burgaya - L'escultura del segle XIX a Catalunya, on Google Books Fundació Jacint Verdaguer
Gothic Quarter, Barcelona
The Gothic Quarter is the centre of the old city of Barcelona. It stretches from La Rambla to Via Laietana, from the Mediterranean seafront to the Ronda de Sant Pere, it is a part of Ciutat Vella district. The quarter encompasses the oldest parts of the city of Barcelona, includes the remains of the city's Roman wall and several notable medieval landmarks. Much of the present-day fabric of the quarter, dates to the 19th and early 20th centuries. El Call, the medieval Jewish quarter, is located within this area, along with the former Sinagoga Major; the Barri Gòtic retains a labyrinthine street plan, with many small streets opening out into squares. Most of the quarter is closed to regular traffic although open to service taxis. Despite its name, a number of landmark Gothic buildings in the neighborhood do not date to the Middle Ages. Rather, in the late 19th and early 20th centuries, the quarter was transformed from a sombre neighborhood to a tourist attraction through a massive restoration project, timed to be completed for the 1929 International Exhibition.
This allowed the city and the surrounding region of Catalonia to portray itself in a positive light to the world's media. Further restoration of existing buildings and the creation of brand new neo-Gothic structures continued as late as the 1960s. Among the principal buildings with rebuilt or modified with neo-Gothic additions are: The façade of the Barcelona Cathedral: constructed between 1882 and 1913 by Josep Oriol Mestres and August Font i Carreras with a profusion of Gothic-style elements. Building of the Centre Excursionista de Catalunya on Carrer Paradís: work by Lluís Domènech i Montaner carried out in 1922 on a building of uncertain origins, to which he added Gothic windows and merlons; the Flamboyant-style bridge that crosses Carrer Bisbe between the Palau de la Generalitat and the Cases dels Canonges: newly constructed 1928 by Joan Rubió. Casa Padellàs: the Barcelona City History Museum headquarters, the building was built circa 1500 on Carrer Mercaders, but it was moved to the Plaça del Rei in 1931 with its interior rebuilt.
Aguilar Palace: present-day Museu Picasso, restored by Adolf Florensa in 1959, who added galleries with arches and Gothic windows. Pignatelli Palace: present-day Royal Artistic Circle of Barcelona, restored in 1970 including the addition of various Gothic windows retrieved from municipal warehouses. L4 station Jaume I L3 stations Liceu and Drassanes El Gòtic on the City's website Barri Gòtic at Tmb.cat
Plaça de la República, Barcelona
Plaça de la República called "Plaça de Llucmajor" is a square in Barcelona, unofficially regarded as the nucleus of its Nou Barris district. It's the intersection of three avenues: Passeig de Valldaura, Passeig de Verdum and Via Júlia, Barcelona. Besides, it's the official border between four neighbourhoods of the district: Guineueta, Prosperitat and Verdum. Being scarcely more than a roundabout, its center is occupied since 1990 by a 30-metre high metal monument made by Josep Viladomat in the 1930s called La República, with the effigy of Francesc Pi i Margall; the monument was located in the much more famous intersection between Passeig de Gràcia and Avinguda Diagonal, nowadays still crowned by a Francoist monument. The November 29, 2015 the City Council announced the upcoming change of name of the square, which will be renamed "Plaça de la República"; the change will be effective on April 14, 2016. List of streets and squares in Nou Barris, Barcelona Noubarris.net
Eduardo Chillida Juantegui, or Eduardo Txillida Juantegi in Basque, was a Spanish Basque sculptor notable for his monumental abstract works. Born in San Sebastián to Pedro Chillida and the soprano Carmen Juantegui on 10 January 1924, Eduardo Chillida grew up near the Biarritz Hotel, owned by his grandparents. Chillida had been the goalkeeper for Real Sociedad, San Sebastián's La Liga football team, where his knee was so injured that he had five surgeries, ending a promising football career, he studied architecture at the University of Madrid from 1943 to 1946. In 1947 he abandoned architecture for art, the next year he moved to Paris, where he set up his first studio and began working in plaster and clay, he never instead began to take private art lessons. He lived in Paris from 1948 to 50 and at Villaines-sous-Bois from 1950 to 1955. In 1950 Chillida married Pilar Belzunce and returned to the San Sebastián area, first to the nearby village of Hernani and in 1959 to the city of his birth, where he remained.
He died at his home near San Sebastián at the age of 78. Chillida's sculptures concentrated on the human form. Chillida himself tended to reject the label of "abstract", preferring instead to call himself a "realist sculptor". Upon returning to the Basque Country in 1951, Chillida soon abandoned the plaster he used in his Paris works – a medium suited to his study of archaic figurative works in the Louvre. Living near Hernani, he began to work in forged iron with the help of the local blacksmith, soon set up a forge in his studio. From 1954 until 1966, Chillida worked on a series entitled Anvil of Dreams, in which he used wood for the first time as a base from which the metal forms rise up in explosive rhythmic curves, he began to make sculpture in alabaster 1965. Rather than turn over a maquette of a sculpture to fabricators, as many modern artists do, Chillida worked with the men in the foundry, he usually added an alloy that caused the metal to take on a brilliant rust color as it oxidizes.
From quite early on, Chillida's sculpture found public recognition, and, in 1954, he produced the four doors for the basilica of Arantzazu, where works by other leading Basque sculptors – Jorge Oteiza, Agustin Ibarrola and Nestor Basterretxea – were being installed. The following year, he carved a stone monument to the discoverer of penicillin, Sir Alexander Fleming, for a park in San Sebastián. By the early 1970s, his steel sculptures had been installed in front of the Unesco headquarters in Paris, the ThyssenKrupp building in Düsseldorf, in a courtyard at the World Bank offices in Washington At their best his works, although massive and monumental, suggest movement and tension. For example, the largest of his works in the United States, De Musica is an 81-ton steel sculpture featuring two pillars with arms that reach out but do not touch. Much of Chillida's work is inspired by his Basque upbringing, many of his sculptures' titles are in the Basque language Euskera, his steel sculpture De Música III was exhibited at the Yorkshire Sculpture Park in the UK, as part of a retrospective of Chillida's work.
Chillida's cast iron sculpture Topos V has been displayed in Plaça del Rei, since 1986. Chillida conceived a distinguished oeuvre of etchings and woodcuts since 1959, including illustrations for Jorge Guillen's Mas Alla and various other books. In the 1990s, Chillida set up a foundation for the display of his work, at the Chillida Leku, centred on an old farmhouse, in the Basque countryside. Today there is an outdoor sculpture garden dedicated to his work. According to Chillida's plans for a Monument of Tolerance, an artificial cave is to be bored into the mountain; the huge cubic cave, measuring 40 metres along each side, is to be dug from inside a mountain that has long been revered by the inhabitants of the dusty, barren island to the south of Lanzarote. About 64,000 cubic metres of rock will be taken away from the mountain, which rises out of an arid landscape in the north of the island, to create what Chillida called his'monument to tolerance'. Chillida's original idea was for visitors to experience the immensity of the space.
The project has been in development eight years before Chillida's death. In 2011 local authorities decided to go ahead with a project by Chillida inside Mount Tindaya on Fuerteventura despite concerns from environmentalists; as of 2013, local officials are continuing to seek €75 million in private funding. In the early 1960s Eduardo Chillida engaged into a dialog with the German philosopher Martin Heidegger; when the two men met, they discovered that from different angles, they were "working" with space in the same way. Heidegger wrote: "We would have to learn to recognize that things themselves are places and do not belong to a place," and that sculpture is thereby "...the embodiment of places." Against a traditional view of space as an empty container for discrete bodies, these writings understand the body as beyond itself in a world of relations and conceive of space as a material medium of relational contact. Sculpture shows us how we belong to the world, a world in the midst of a technological process of uprooting and homelessness.
Heidegger suggests. Chillida has been quoted as saying: "My whole Work is a journey of discovery in Space. Space is the liveliest of all, the one that surrounds us.... I do not believe so much in experience. I think. I believe in percept
Plaça de Catalunya
Plaça de Catalunya is a large square in central Barcelona, considered to be both its city centre and the place where the old city and the 19th century-built Eixample meet. Some of the city's most important streets and avenues meet at Plaça Catalunya: Passeig de Gràcia, Rambla de Catalunya, La Rambla or Portal de l'Àngel, in addition to Ronda de Sant Pere, Carrer de Vergara or Carrer de Pelai; the plaza occupies an area of about 50,000 square metres. It is known for its fountains and statues, its proximity to some of Barcelona's most popular attractions, the flocks of pigeons that gather in the centre. After the medieval city walls were demolished in the 19th century, ambitious designs for the city's public spaces were conceived under the guidance of notable urban planners. Plaça Catalunya was conceived as part of pla Rovira in 1859, but no official permission from the government was given until the 1888 Universal Exposition, it was urbanised for the first time in 1902 and was further modified in 1929, on the occasion of the 1929 Barcelona International Exposition, which included the construction of a metro station.
Architect Francisco Nebot designed the changes made in 1929. In May 2011 Plaça Catalunya was the main location where anti-government protests and sit ins were held in Barcelona, mirroring the events in other Spanish cities. Plaça Catalunya hosts quite a few interesting sculptures representative of Noucentisme, Neo-Classicism and different avant-garde movements. Deessa, by Josep Clarà. Pastor de Pau, by Pablo Gargallo. Francesc Macià monument, it reads: "Catalunya a Francesc Macià". Josep Llimona's sculptures; the mosaics that decorate the walls of the underground part of Plaça Catalunya were designed by pupils of Escola Massana. A few theatres have been established in Plaça Catalunya since its construction, none of which are extant. Teatre del Bon Retir Circ Eqüestre Alegria Eldorado Concert Teatre Barcelona There still are, other theatres in the nearby area, located in other streets or squares. Most of the cafés and restaurants where writers and artists would meet in the city haven't survived, with the notable exception of Café Zurich, where Fabiola of Belgium's brother worked as a pianist.
The following ones disappeared with the Spanish Civil War: Maison Dorée Café Colón La Lluna Cafè Suís El Corte Inglés El Triangle, containing a three-story fnac shop. Sfera H10 Catalunya Plaza Hotel Monegal Olivia Plaza Hotel: 4 stars hotel. Olivia Plaza Phone +34933168700 Hotel urquinaona Hotel Urquinaona Banco Español de Crédito. Banco Bilbao Vizcaya Argentaria. Banco de España Caja Madrid Consulate of Canada, Second Floor, 9 Placa de Catalunya; the square is one of Barcelona's most important transport hubs, both above and under ground. The original Barcelona metro line in Barcelona, known as Gran Metro, had Plaça Catalunya as one of its termini, it went to become the current green line, L3, operated by TMB. It's served by two FGC lines. Catalunya Passeig de Gràcia. Bus 9 Pl. Catalunya - Pg. Zona Franca Bus 14 Vil·la Olímpica - Pg. Bonanova Bus 16 Urquinaona - Pg. Manuel Girona Bus 17 Barceloneta - Av. Jordà Bus 24 Av. Paral·lel - Carmel Bus 28 Pl. Catalunya - Carmel Bus 41 Pl. Francesc Macià - Diagonal Mar Bus 42 Pl.
Catalunya - Santa Coloma Bus 55 Parc de Montjuïc - Plaça Catalana Bus 58 Pl. Catalunya - Av. Tibidabo Bus 59 Pg. Marítim - Plaça Reina Maria Cristina Bus 66 Pl. Catalunya - Sarrià Bus 67 Pl. Catalunya - Cornellà Bus 68 Pl. Catalunya - Cornellà Bus 141 Av. Mistral - Barri del Besòs Aerobus Liyver Barcelona's night bus is known as Nitbus and most of its lines serve Plaça Catalunya: N1 Zona Franca - Pl. Catalunya - Roquetes N2 Av. Carrilet - Pl. Catalunya - Badalona N3 Collblanc - Montcada i Reixac N4 Via Favència - Pl. Catalunya - Gran Vista N5 Pl. Catalunya - Gran Vista N6 Barcelona - Santa Coloma N7 Pl. Pedralbes - Pl. Llevant N8 Can Caralleu - Santa Coloma N9 Pl. Portal de la Pau - Tiana N11 Barcelona - H. Can Ruti Barcelona Plaça Catalunya railway station Plaça de Catalunya is a featured locale in the 2009 video game Wheelman, published by Midway Games. Avinguda de la Llum Font de Canaletes History of Barcelona List of streets and squares in Eixample ALBAREDA, Joaquim, GUÀRDIA, Manel i altres. Enciclopèdia de Barcelona, Gran Enciclopèdia Catalana, Barcelona, 2006.
City map at Bcn.es 360° panoramic view
The Casa Padellàs is a Gothic palace located at number 25, Carrer Mercaders, in Barcelona. Due to the construction of the Via Laietana in the early 20th century—which otherwise would have destroyed it—the building was disassembled in 1931 and relocated to the Plaça del Rei, in Barcelona’s Gothic Quarter. Since 1943, it has been home to the Barcelona City History Museum, it is catalogued since 1962 as a Bé Cultural d’Interès Nacional with B grade, its urban qualification is 7a, its design obeys to the most common organization of Catalan Gothic palaces. The façade is plain, without a special emphasis on decoration; the windows display some Renaissance decorative motifs below, with the upper windows only opened in the late 18th century. Otherwise, the building's exterior is only pierced by the main portal, which gives access to the building's central court—the nucleus of the residence. Within this space is the present-day Barcelona City History Museum entrance, a well, the main staircase which wraps around the patio to access the piano nobile.
The court is surrounded by an arcade of Gothic arches at this level, with another gallery above this supporting the roof. Inside the building, rooms are used as exhibition spaces, its original decoration was not preserved during the deconstruction and relocation of the building. From Medieval hearth tax records, it can be deduced that the Palau Padellàs was built between 1497 and 1515 at the intersection of the Carrer Mercaders and Carrer Tarascó; the project was undertaken by Joan d’Hostalric-Sabastida i Llull, royal counselor and governor of the counties of Rosselló and Cerdanya, ennobled in 1513. In 1584 it became property of the Casamitjana family, one of its inhabitants was the Head Counselor of Barcelona, Rafael Casamitjana d’Erill, its owners changed again, during the eighteenth century, it became property of the Padellàs family, from who it received the name it still bears today. Francesc de Padellàs defended Barcelona during the War of the Spanish Succession, but when defeat of the city was imminent, he changed side and supported the Bourbon cause.
In 1759, its son, Bernardí de Padellàs, was ennobled by Charles III of Spain. In the early decades of the 20th century, the house's ownership changed hands several times until 1928, when it was acquired by the City of Barcelona. After its relocation of 1931 and the conclusion of the Spanish Civil War, it was decided to convert the Palau Padellàs into the Barcelona City History Museum headquarters. Today the Palau Padellàs is one of the principal exhibition spaces of MUHBA. Since 1996, it has hosted several notable exhibitions: Barcelona en temps dels Àustries. La vida a la ciutat en el Renaixement i el Barroc. 1492-1714.. 1939. Barcelona Any Zero. Història gràfica de l'ocupació de la ciutat. Despert entre adormits. Joan Maragall i la fi de segle a Barcelona. La construcció de la gran Barcelona. L'obertura de la Via Laietana 1908-1958. Verdaguer i Gaudí. Tradició i modernitat a la Barcelona del canvi de segle, 1878-1912. La condició humana. El somni d'una ombra. ABAJO LAS MURALLAS!!! 150 anys de l'enderroc de les muralles de Barcelona.
GATPAC.1928-1939. Una arquitectura nova per a una nova ciutat. Juan Negrín. Barcelona, capital de la República. Barraques. La ciutat informal. Barcelona i els Jocs Florals, 1859. Modernització i romanticisme. Ja tenim 600! La represa sense democràcia. Barcelona 1947-1973" From. Laboratori MUHBA. Col·leccionem la ciutat. Primers pagesos BCN. La gran innovació fa 7.500 anys
In the history of Europe, the Middle Ages lasted from the 5th to the 15th century. It began with the fall of the Western Roman Empire and merged into the Renaissance and the Age of Discovery; the Middle Ages is the middle period of the three traditional divisions of Western history: classical antiquity, the medieval period, the modern period. The medieval period is itself subdivided into the Early and Late Middle Ages. Population decline, counterurbanisation, collapse of centralized authority and mass migrations of tribes, which had begun in Late Antiquity, continued in the Early Middle Ages; the large-scale movements of the Migration Period, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. In the 7th century, North Africa and the Middle East—once part of the Byzantine Empire—came under the rule of the Umayyad Caliphate, an Islamic empire, after conquest by Muhammad's successors. Although there were substantial changes in society and political structures, the break with classical antiquity was not complete.
The still-sizeable Byzantine Empire, Rome's direct continuation, survived in the Eastern Mediterranean and remained a major power. The empire's law code, the Corpus Juris Civilis or "Code of Justinian", was rediscovered in Northern Italy in 1070 and became admired in the Middle Ages. In the West, most kingdoms incorporated the few extant Roman institutions. Monasteries were founded; the Franks, under the Carolingian dynasty established the Carolingian Empire during the 8th and early 9th century. It covered much of Western Europe but succumbed to the pressures of internal civil wars combined with external invasions: Vikings from the north, Magyars from the east, Saracens from the south. During the High Middle Ages, which began after 1000, the population of Europe increased as technological and agricultural innovations allowed trade to flourish and the Medieval Warm Period climate change allowed crop yields to increase. Manorialism, the organisation of peasants into villages that owed rent and labour services to the nobles, feudalism, the political structure whereby knights and lower-status nobles owed military service to their overlords in return for the right to rent from lands and manors, were two of the ways society was organised in the High Middle Ages.
The Crusades, first preached in 1095, were military attempts by Western European Christians to regain control of the Holy Land from Muslims. Kings became the heads of centralised nation-states, reducing crime and violence but making the ideal of a unified Christendom more distant. Intellectual life was marked by scholasticism, a philosophy that emphasised joining faith to reason, by the founding of universities; the theology of Thomas Aquinas, the paintings of Giotto, the poetry of Dante and Chaucer, the travels of Marco Polo, the Gothic architecture of cathedrals such as Chartres are among the outstanding achievements toward the end of this period and into the Late Middle Ages. The Late Middle Ages was marked by difficulties and calamities including famine and war, which diminished the population of Europe. Controversy and the Western Schism within the Catholic Church paralleled the interstate conflict, civil strife, peasant revolts that occurred in the kingdoms. Cultural and technological developments transformed European society, concluding the Late Middle Ages and beginning the early modern period.
The Middle Ages is one of the three major periods in the most enduring scheme for analysing European history: classical civilisation, or Antiquity. The "Middle Ages" first appears in Latin in 1469 as media tempestas or "middle season". In early usage, there were many variants, including medium aevum, or "middle age", first recorded in 1604, media saecula, or "middle ages", first recorded in 1625; the alternative term "medieval" derives from medium aevum. Medieval writers divided history into periods such as the "Six Ages" or the "Four Empires", considered their time to be the last before the end of the world; when referring to their own times, they spoke of them as being "modern". In the 1330s, the humanist and poet Petrarch referred to pre-Christian times as antiqua and to the Christian period as nova. Leonardo Bruni was the first historian to use tripartite periodisation in his History of the Florentine People, with a middle period "between the fall of the Roman Empire and the revival of city life sometime in late eleventh and twelfth centuries".
Tripartite periodisation became standard after the 17th-century German historian Christoph Cellarius divided history into three periods: ancient and modern. The most given starting point for the Middle Ages is around 500, with the date of 476 first used by Bruni. Starting dates are sometimes used in the outer parts of Europe. For Europe as a whole, 1500 is considered to be the end of the Middle Ages, but there is no universally agreed upon end date. Depending on the context, events such as the conquest of Constantinople by the Turks in 1453, Christopher Columbus's first voyage to the Americas in 1492, or the Protestant Reformation in 1517 are sometimes used. English historians use the Battle of Bosworth Field in 1485 to mark the end of the period. For Spain, dates used are the death of King Ferdinand II in 1516, the death of Queen Isabella I of Castile in 1504, or the conquest of Granada in 1492. Historians from Romance-speaking countries tend to divide the Middle Ages into two parts: an earlier "High" and late