{"id":189474,"date":"2025-11-30T09:20:39","date_gmt":"2025-11-30T08:20:39","guid":{"rendered":"https:\/\/bellesguardgaudi.com\/?p=189474"},"modified":"2025-12-10T09:58:47","modified_gmt":"2025-12-10T08:58:47","slug":"did-you-know-the-other-start-of-the-year-and-gaudis-other-source-of-inspiration","status":"publish","type":"post","link":"https:\/\/bellesguardgaudi.com\/en\/did-you-know-the-other-start-of-the-year-and-gaudis-other-source-of-inspiration\/","title":{"rendered":"Did you know? The other start of the year and Gaud\u00ed\u2019s other source of inspiration…"},"content":{"rendered":"

By Ferran Garc\u00e9s<\/em><\/p>\n

\"\"

Antoni Gaud\u00ed at the Sagrada Fam\u00edlia, drawing by Juan Matamala, Gaud\u00ed Chair, UPC<\/p><\/div>\n

Gaud\u00ed is well known for the influence of his study of nature<\/a> on his work, as well as for his Catalan identity<\/a>. However, Gaud\u00ed embraced another source of inspiration: Catholic liturgy. We will talk about it, taking advantage of the beginning of the Liturgical Year, which, as tradition dictates, starts on the first Sunday of Advent and, this year, falls on Novembrer 30, that is, today.<\/p>\n

The origin, functioning and development of the Liturgical Year, as well as the peculiar way in which this cycle, full of movable days, combines with our agendas, is a complex subject. In short, our calendar actually follows \u201ctwo years.\u201d One, the secular year, which begins on January 1, and the other, the liturgical year, which starts, as we have said, on the first Sunday of Advent. Christmas is its first \u201cstation.\u201d It should also be noted that the Liturgical Year is determined both by the history of Christ and his mother, Mary, and by that of the saints. Gaud\u00ed knew a lot about this subject. Galdric Santana, curator of this Gaud\u00ed Year commemoration, director of the Gaud\u00ed Chair at UPC and restorer of Torre Bellesguard, stated in a recent interview:<\/p>\n

\u201c(Gaud\u00ed) was a person who went to the depths of everything, and in this sense he also delved deeply into liturgy. In fact, he was an expert in liturgy above the specialists of the seminaries of his time. I believe that even today he would surpass many current specialists.\u201d (1)<\/p><\/blockquote>\n

A gradual vocation<\/strong><\/p>\n

Gaud\u00ed\u2019s religiosity was not the result of a sudden conversion but of a progressive process that began at the Piarist Schools of Reus, where he studied high school. In the maturity of life, in 1916, he was visited by a group of boarders from the Escolapios of Sarri\u00e0, in Barcelona and, on that occasion, he confessed to them: \u201cAt the Escuela Pia, my first years passed, and in it my first prayers were the psalms and verses contained in the little golden book of my liturgical devotion; and in its classrooms I learned the holy fear of God\u201d (2).<\/p>\n

However, during his formative years in Barcelona, biographers speak of a Gaud\u00ed fond of worldly life, elegant in appearance and not yet dominated by the spiritual extremes of his later years. Some even speak of a certain anticlerical attitude, although not all agree with this statement (3). In any case, something begins to change around Lent of 1894, although the cause remains a matter of debate. What we do know for sure is that, that year, Gaud\u00ed undertook such an extreme fast that he put his life at risk (see: Gaud\u00ed\u2019s illnesses)<\/a>. One of his great friends, and main religious mentors, Bishop Torras i Bages, was the one who saved him with a powerful argument: God\u2019s design for him was another: to dedicate himself body and soul to the temple of the Sagrada Fam\u00edlia, a project he had started in 1883.<\/p>\n

Another crucial moment in Gaud\u00ed\u2019s life and work was his convalescence in 1911 in Puigcerd\u00e0, after contracting Malta fever. During this time, he took the opportunity to study and meditate on the Passion fa\u00e7ade, a work marked by pain and sacrifice on the one hand, and great creativity on the other (4). In fact, it is considered Gaud\u00ed\u2019s best artistic moment (see: \u201cone of the first works? One of the last?<\/a>\u201d)<\/p>\n

Apel\u00b7les Mestres, a multifaceted modernist artist, claimed that Gaud\u00ed, during this time, had a surprising inner debate. If he received a secular commission, he first had to ask permission and guidance from the Virgin of Montserrat. Fortunately, joked Apel\u00b7les, the good Virgin always capitulated and allowed Gaud\u00ed to accept civil works. However, after Torre Bellesguard, Casa Batll\u00f3 and La Pedrera, that is, those built between 1900 and 1912.<\/p>\n

\u201cThe great paradox\u201d of Gaud\u00ed…<\/strong><\/p>\n

Joan Berg\u00f3s, Gaud\u00ed\u2019s closest disciple and author of his first biography, writes how in these last stages of his life, the architect and Christian lyricist became a \u201cvoluntary poor man,\u201d renouncing new clients and dedicating his savings to the work and worship of the temple. He would not only exalt poverty but would come to find pain necessary, even penury, to counterbalance artistic blindness. On the other hand, the progressive death of all his family members and friends plunged him into complete melancholy (5).<\/p>\n

However, as we have seen, we should not think of this period as a time of artistic crisis, but rather the opposite. Gijs van Hensbergen, one of Gaud\u00ed\u2019s main biographers, considers that, from this moment on, the architect\u2019s work reflects his greatest paradox: \u201cThe more he moved away from the idealism of youth and the more strictly Catholic he became, while also anti-liberal, pessimistic and obsessed with suffering, the more splendid his architecture became\u201d (6).<\/p>\n

Joan Torres Dom\u00e8nech, another renowned biographer, even says: \u201cIf Gaud\u00ed had died in 1894, he would surely be found within the triad of the great Catalan modernist architects, but as just one more; not with the strength he has taken in recent times ahead of the others. His current recognition is based mainly on the works he built from 1894 onwards\u201d (7). The common denominator of these last buildings is the influence of Catholic liturgy in them, even if they are civil. A sign that is repeated in all of them is the four-armed cross, exclusive to the architect, as a kind of signature. Torre Bellesguard, with its slender pinnacle, is one of them (see: the crosses of Bellesguard<\/a>)<\/p>\n

Next Friday, once the Liturgical Year has begun, we will see which people\u2014and books\u2014accompanied Gaud\u00ed on this paradoxical path.<\/p>\n

Notes<\/strong><\/p>\n

(1) Galdric, Santa (8\/11\/2025), \u201cReus was key in Gaud\u00ed\u2019s intellectual and artistic training\u201d, Diari de Tarragona<\/em>, p. 11.<\/p>\n

(2) Tarragona i Claras\u00f3, Josep Maria (2016) Gaud\u00ed, the architect of the Sagrada Fam\u00edlia. Brief biography<\/em>, Torsimany Books, p. 33. See also: Bassegoda, Joan (2002), Antoni Gaud\u00ed, Edicions 62, Barcelona, pp. 30-31<\/p>\n

(3) Torres Dom\u00e8nech, Joan (2018), The Gaud\u00ed they didn\u2019t tell us about<\/em>, Cosset\u00e0nia edicions, Valls, p. 56-60<\/p>\n

(4) Puig-Boada, Isidre (1980) Gaud\u00ed\u2019s thought. Compilation of texts and comments<\/em>, Barcelona, Publications of the College of Architects of Catalonia, p. 200.<\/p>\n

(5) Berg\u00f3s i Mass\u00f3, Joan (2011), Gaud\u00ed. The man and the work<\/em>, Lunwerg, Barcelona pp. 45
\nOne of the architect\u2019s quotes remembered by Berg\u00f3s is an authentic celebration of pain, from an ascetic point of view: \u201cso that the artist does not lose balance, with the elevation of art, he must endure pain or misery. So that discipline does not fail, discipline is indispensable: the only way not to be disturbed.\u201d<\/p>\n

(6) Hensbergen, Gijs van (2002), Antoni Gaud\u00ed<\/em>, Debolsillo, Barcelona, p. 176<\/p>\n

(7) Torres Dom\u00e8nech, Joan, Op. Cit., p. 78<\/p>\n","protected":false},"excerpt":{"rendered":"

By Ferran Garc\u00e9s Gaud\u00ed is well known for the influence of his study of nature on his work, as well as for his Catalan identity. However, Gaud\u00ed embraced another source of inspiration: Catholic liturgy. We will talk about it, taking advantage of the beginning of the Liturgical Year, which, as tradition dictates, starts on the […]<\/p>\n","protected":false},"author":6,"featured_media":189468,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[173],"tags":[],"class_list":["post-189474","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-did-you-know"],"acf":[],"yoast_head":"\nDid you know? 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