{"id":190083,"date":"2026-01-30T10:24:57","date_gmt":"2026-01-30T09:24:57","guid":{"rendered":"https:\/\/bellesguardgaudi.com\/?p=190083"},"modified":"2026-02-05T12:40:48","modified_gmt":"2026-02-05T11:40:48","slug":"did-you-know-gaudis-women-family-and-loves","status":"publish","type":"post","link":"https:\/\/bellesguardgaudi.com\/en\/did-you-know-gaudis-women-family-and-loves\/","title":{"rendered":"Did you know? Gaud\u00ed\u2019s Women: Family life and the impossible love"},"content":{"rendered":"

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

\n

 <\/p>\n

Today we will talk about the women closest to the architect\u2019s life, and next Friday about his clients. The subject of both articles is an unusual approach to the study of Gaud\u00ed, so there is very little information available. Logically, our article does not pretend to mend this omission, but to collect some of the scarce testimonies that exist. Still, may it serve as inspiration for a more detailed study.<\/p>\n

 <\/p>\n

Year 1879. Roseta, niece and almost daughter<\/strong><\/h2>\n

Antoni Gaud\u00ed obtained his architecture degree in 1878. A good piece of news overshadowed by a difficult personal period. Before graduating, in a short time, he had buried almost all of his family members. Among others, his grandmother, on 8 November 1875; his brother, eight months later, on 1 July 1876; and his mother, not long after, on 8 September of the same year. Finally, after his graduation, on 17 October 1879, it was the turn of his sister Rosa, who left behind a three\u2011year\u2011old daughter, Roseta Egea i Gaud\u00ed. Sadly, her husband, an alcoholic musician, abandoned the girl. Thus, the orphan was left in the care of the only living members of the family: Gaud\u00ed himself, a bachelor, and his father, a widower.<\/p>\n

At first, the little girl was sent to the convent school of the Jes\u00fas Mar\u00eda nuns in Tarragona, in a building that, at that time, was being enlarged with a chapel. Important events would follow from this, because Gaud\u00ed then met the priest Joan Grau, spiritual father of the school and future close friend of the architect. Moreover, Grau initially asked him to design the altar and other liturgical elements of that chapel, and, years later, the Episcopal Palace of Astorga. Joan Grau, by the way, could have been the client of Torre Bellesguard had he not died unexpectedly (see: un bisbe per les ru\u00efnes d\u2019un castell<\/a>)<\/p>\n

When she reached adulthood, Roseta returned to live with her uncle and grandfather. The three lived together until 1906, the death of the father, and 1912, the death of the niece. Roseta\u2019s passing caused great discouragement in the architect, who had, in practice, considered her like a daughter. On the other hand, Roseta suffered greatly in her final years due to tuberculosis and the remedy of the time: ever\u2011increasing doses of laudanum, a medicine composed of alcohol and morphine, substances that made her quite dependent (1).<\/p>\n

Shortly before, Joan Matamala Flotats, son of Lloren\u00e7 Matamala, a close friend of Gaud\u00ed and the first sculptor of the Sagrada Fam\u00edlia, drew a portrait of the G\u00fcell family. The lady at the door with a tray was called Vicenta and was the housemaid. Unfortunatly, very little or nothing is what we know about Vicenta.<\/p>\n

\"\"

Matamala Flotats, Juan. Antoni Gaud\u00ed’s family in the dining room of their home at Park G\u00fcell. UPC, C\u00e0tedra Gaud\u00ed.<\/p><\/div>\n<\/div>\n

\n

Year 1884. Pepeta, the impossible love<\/strong><\/h2>\n

In 1878, Gaud\u00ed graduated and immediately came into contact with an innovative project: the new headquarters of the Cooperativa La Obrera Mataronense, an industrial complex infused with utopian socialism that included social facilities and housing for cooperative members. However, from the whole complex designed by Gaud\u00ed, only the so\u2011called \u201cNau Gaud\u00ed\u201d, built in 1883, has been preserved.<\/p>\n

The following year, 1884, the architect designed the society\u2019s standard, a very common ceremonial object of the time used to preside over festivities and solemn acts. The image was so overloaded with details and filigree that the embroiderer wrote him a letter complaining about how difficult it was to sew the design. That embroiderer was called Josepa Moreu i Fornells, now better known as \u201cLa Pepeta<\/a>\u201d. She was a red\u2011haired woman, ahead of her time, who read anticlerical newspapers and taught French to the workers\u2019 children. Gaud\u00ed fell in love with her.<\/p>\n

For about four years, the young architect frequently visited Pepeta\u2019s family home, often bringing along his niece Roseta, who had already returned from the convent school to live with her uncle and grandfather. But the day Gaud\u00ed finally decided to declare himself to Pepeta, the answer was not what he expected. The embroiderer of the standard was already engaged to another man and rejected him, showing him her fianc\u00e9\u2019s engagement ring. Gaud\u00ed never saw her again.<\/p>\n

Much has been speculated about how this rejection marked the rest of the architect\u2019s life. Did this heartbreak push him toward introspection or even mysticism? That is what some of his biographers seem to say. For example, Gijs van Hensbergen writes: \u201cResigned to celibacy, Gaud\u00ed assumed with fatalism his barren love life. Later he would choose, like so many mystics of the Spanish Golden Age, the \u2018llama de amor viva\u2019, the spiritual pilgrimage that leads toward God and promotes the negation of the self and the renunciation of the flesh. He turned his back on female companionship to become, according to Llu\u00eds Permanyer, a misogynist who reprimanded his assistants if they visited caf\u00e9s of dubious reputation or were seen walking in the company of women\u201d (2).<\/p><\/blockquote>\n

Year 1904. The women of his friends<\/strong><\/h2>\n

The creator of the Sagrada Fam\u00edlia never formed his own family apart from the one he shared with his father and niece, but he lived closely with the families of some of his closest friends. Especially that of Pere Santal\u00f3 i Castellv\u00ed, a doctor he met the year he graduated and who remained by his side until the end. The architect regularly visited his friend\u2019s home. The Santal\u00f3 family also spent a couple of weeks every summer in Montserrat, and the Gaud\u00ed family often went up to visit them. One of the most famous photos of Gaud\u00ed was taken during one of those excursions, in 1904. However, it is usually published cropped, showing only the architect. In the complete photograph, we can see Gaud\u00ed\u2019s family in the foreground \u2014including Roseta\u2014 and the women of Doctor Santal\u00f3 at the top of the image.<\/p>\n

\"\"<\/p>\n

Unfortunately, we know very little about the occasions in which Gaud\u00ed interacted with the wives and daughters of his friends. Even so, a relatively famous anecdote from Gaud\u00ed\u2019s visits to the Santal\u00f3 family has been preserved, one that does not portray the architect favourably. Below is the version given by Joan Bassegoda, one of Gaud\u00ed\u2019s main biographers.<\/p>\n

Other times Gaud\u00ed had visited Santal\u00f3 in his house on Conde del Asalto Street, and on one occasion, while the two friends were talking in the sitting room, Francisca, Santal\u00f3\u2019s daughter, suddenly entered, and Gaud\u00ed expelled her with some violence, telling her not to be a busybody and that young people should not interrupt adults\u2019 conversations. The girl was very offended and years later, after Gaud\u00ed\u2019s death and the petition by moss\u00e8n Manuel Trens and others in the architect\u2019s circle requesting his beatification, Francisca Santal\u00f3 said: \u201cThey will make Gaud\u00ed a saint, patron of the hot\u2011tempered\u201d (3).<\/p>\n

 <\/p>\n

Year 1904. A secret youthful adventure?<\/strong><\/h2>\n

Among the architect\u2019s greatest friends and defenders was the poet Joan Maragall, author of an influential article calling for financial support for the Sagrada Fam\u00edlia in the Diario de Barcelona<\/em> in 1905. He is also the author of a short story titled \u201cCalaverada\u201d (adventure of youth). He wrote it the year before the article, that is, in 1904, a period of great creative activity, as we have seen.<\/p>\n

In this story, Maragall recounts a gathering of friends, all of them artists, in which each tells a \u201ccalaverada\u201d. Among them is an architect. He is the last one to speak and describes a platonic love he had in his youth and which he still remembers (4).<\/p>\n

From Maragall\u2019s story a legend has emerged: this enamoured architect would in fact be Antoni Gaud\u00ed. Furthermore, it has been suggested that this love story inspired the three poems forming the cycle \u201cHaid\u00e9\u201d (5). In them, as in the story, there is a friend who confesses an old love. The cycle forms part of the poetry book Les disperses<\/em>, also written in 1904. Is this legend true, or, as the saying goes, \u201cSe non \u00e8 vero, \u00e8 ben trovato\u201d?<\/p>\n

 <\/p>\n

1959. Engr\u00e0cia, the last and the first\u2026<\/strong><\/h2>\n

The protagonist now is the last woman associated with Gaud\u00ed because her name does not appear until after the architect\u2019s death, and she is the first because she was the midwife who brought him into the world: Engr\u00e0cia Llorens Pellic\u00e9 (1821\u20111897).<\/p>\n

During Gaud\u00ed\u2019s life, the debate about where he was born was never raised. This controversy belongs to the time of his first biographies (see: Les arrels d\u2019un geni<\/a>). Among the arguments in favour of Riudoms, one of the most influential is the testimony of Engr\u00e0cia\u2019s granddaughter, who, incidentally, was also called Engr\u00e0cia. According to her, in her family it was always said that her grandmother had assisted Gaud\u00ed\u2019s mother in Riudoms. Josep Maria Tarragona dates this declaration at the Riudoms courthouse on 26 September 1959, shortly before the granddaughter\u2019s death (6).<\/p>\n

 <\/p>\n

Notes<\/strong><\/h1>\n

(1) Tarragona i Claras\u00f3, Josep Maria (2016). Gaud\u00ed, el arquitecto de la Sagrada Familia. Biograf\u00eda breve<\/em>, Torsimany Books, pp. 94\u201395
\n(2) Hensbergen, Gijs van (2002). Antoni Gaud\u00ed<\/em>, Plaza&Jan\u00e9s Debolsillo, pp. 95\u201396
\n(3) Bassegoda i Nonell, Joan (1998). \u201cLa relaci\u00f3 de Gaud\u00ed amb el doctor Pere Santal\u00f3 i Castellv\u00ed\u201d, Revista d\u2019Hist\u00f2ria de la Medicina i de les Ci\u00e8ncies de la Salut<\/em>, Vol. 30, pp. 29\u201336
\n(4) \u201cUna Calaverada<\/a>\u201d \u2013 Biblioteca de Catalunya (in Catalan)
\n(5) Serrahima, Maurici (1953). \u201cD\u2019on va sortir l\u2019Haid\u00e9 de Maragall<\/a>\u201d, Butllet\u00ed de la Societat Catalana d\u2019Estudis Hist\u00f2rics<\/em>, n\u00ba 2, pp. 33\u201340
\n(6) Tarragona i Claras\u00f3, Josep Maria (16\/10\/2006). \u201cEngracia Llorens i Pellic\u00e9, llevadora de Riudoms<\/a>\u201d, web antonigaudi.org<\/p>\n

See also: Torres Dom\u00e8nech, Joan (2018). El Gaud\u00ed que no ens han explicat<\/em>, Cosset\u00e0nia Edicions, Valls, p. 38<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

By Ferran Garc\u00e9s   Today we will talk about the women closest to the architect\u2019s life, and next Friday about his clients. The subject of both articles is an unusual approach to the study of Gaud\u00ed, so there is very little information available. Logically, our article does not pretend to mend this omission, but to […]<\/p>\n","protected":false},"author":6,"featured_media":190073,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[173],"tags":[],"class_list":["post-190083","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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