{"id":10589,"date":"2025-10-13T16:47:07","date_gmt":"2025-10-13T14:47:07","guid":{"rendered":"https:\/\/xarxa.museunacional.cat\/laughter-at-the-museum\/"},"modified":"2025-12-01T10:44:32","modified_gmt":"2025-12-01T08:44:32","slug":"laughter-at-the-museum","status":"publish","type":"page","link":"https:\/\/xarxa.museunacional.cat\/en\/laughter-at-the-museum\/","title":{"rendered":"Laughter at the Museum"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; bg_type=&#8221;bg_color&#8221; z_index=&#8221;&#8221; bg_color_value=&#8221;#000000&#8243; css=&#8221;.vc_custom_1746632125762{background-color: #000000 !important;}&#8221; anchor=&#8221;hero&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner][vc_empty_space height=&#8221;368px&#8221;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;2\/3&#8243;][vc_column_text css=&#8221;.vc_custom_1763027443660{margin-bottom: 20px !important;}&#8221; el_class=&#8221;color-blanc m3-bottom-res&#8221;]<\/p>\n<h1>Laughter at the Museum<\/h1>\n<p>[\/vc_column_text][vc_column_text css=&#8221;&#8221; el_class=&#8221;font-gran color-blanc align-right fade-in&#8221;]\u00ab<strong>\u201cA day without laughter is a day wasted.\u201d<\/strong>\u00bb Charles Chaplin[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner][vc_empty_space height=&#8221;250px&#8221;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; bg_type=&#8221;grad&#8221; css=&#8221;.vc_custom_1763539699327{margin-top: -25px !important;}&#8221; z_index=&#8221;&#8221; bg_grad=&#8221;background: -webkit-gradient(linear, left top, left bottom, color-stop(0%, #000000), color-stop(20%, #000000), color-stop(21%, #FFFFFF), color-stop(60%, #FFFFFF));background: -moz-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: -webkit-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: -o-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: -ms-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);&#8221;][vc_column css=&#8221;.vc_custom_1739708113171{margin-top: -95px !important;}&#8221;]<div id=\"ult-carousel-78185777869d571e484113\" class=\"ult-carousel-wrapper  carrusel_comisariat_riure ult_horizontal\" data-gutter=\"10\" data-rtl=\"false\" ><div class=\"ult-carousel-305548003769d571e48402d \" ><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/11\/Sin-titulo-1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tZoetrope film strip. 20th century. 3.5 x 31.4 cm. Registry No. MFM S-28229.     Museu Frederic Mar\u00e8s.\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/11\/02_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tJewish man from Raval, 1763. Wood carving, 40 x 80 x 30 cm. Registry No.: MR 002230. Museu de Reus.    \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/11\/carrusel_3.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tFrancesc Domingo Marqu\u00e9. Five gentlemen laughing, undated. Gouache on paper, 7.5 x 15 cm. Registry No.: 1683. Museu Abell\u00f3.     \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/11\/04-Apeles-Fenosa_2.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tNicole Florensa. Visit by friends from Barcelona to Apel\u00b7les Fenosa&amp;apos;s workshop on boulevard Saint-Jacques, July 1955. Photograph. Apel\u00b7les Fenosa Foundation Fund.   \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/11\/05-batllori_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tAntoni Batllori (Toni). Untitled, 2001. Digital print, 17.5 x 25 cm. Registry No.: ME 2744. Museu de l\u2019Empord\u00e0. Donation by GEES (Grup d&amp;apos;Empordaneses i Empordanesos per la Solidaritat), 2021.      \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-305548003769d571e48402d').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-305548003769d571e48402d').slick({dots: true,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#333333; font-size:20px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right6\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#333333; font-size:20px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left6\"><\/i><\/button>',slidesToScroll:4,slidesToShow:4,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,centerMode: true,adaptiveHeight: true,responsive: [\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t  breakpoint: 1026,\n\t\t\t\t\t\t\t  settings: {\n\t\t\t\t\t\t\t\tslidesToShow: 4,\n\t\t\t\t\t\t\t\tslidesToScroll: 4,  \n\t\t\t\t\t\t\t  }\n\t\t\t\t\t\t\t},\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t  breakpoint: 1025,\n\t\t\t\t\t\t\t  settings: {\n\t\t\t\t\t\t\t\tslidesToShow: 1,\n\t\t\t\t\t\t\t\tslidesToScroll: 1\n\t\t\t\t\t\t\t  }\n\t\t\t\t\t\t\t},\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t  breakpoint: 760,\n\t\t\t\t\t\t\t  settings: {\n\t\t\t\t\t\t\t\tslidesToShow: 1,\n\t\t\t\t\t\t\t\tslidesToScroll: 1\n\t\t\t\t\t\t\t  }\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t],pauseOnDotsHover: true,customPaging: function(slider, i) {\n                   return '<i type=\"button\" style= \"color:#333333;\" class=\"ultsl-radio-unchecked\" data-role=\"none\"><\/i>';\n                },});\n\t\t\t\t\t}\n\t\t\t\t});\n\t\t\t<\/script>\n\t\t\t[\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;grid&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221;][vc_column][vc_separator type=&#8221;normal&#8221; thickness=&#8221;1&#8243; up=&#8221;94&#8243; color=&#8221;#000000&#8243; down=&#8221;64&#8243;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;grid&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; css=&#8221;.vc_custom_1739778989055{margin-bottom: 94px !important;}&#8221;][vc_column width=&#8221;1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"laughter-at-the-museum\">\n        <h2 class=\"fade-in\">Laughter at the Museum<\/h2><\/div>    <div class=\"block_quote color-negro fade-in\">\n        <div class=\"image_holder\">\n                    <img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/Kap.jpg\" alt=\"Curated by per Jaume Capdevila (KAP)\">\n                <\/div>\n        <div class=\"block_quote_content\">\n                            <p class=\"title\">Curated by per Jaume Capdevila (KAP)<\/p>\n                                        <p>Humourist and caricaturist<\/p>\n                        <div class=\"social-links\">\n                                    <a href=\"https:\/\/www.instagram.com\/kapdigital\/?hl=es\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-instagram\"><\/i><\/a>\n                                                    <a href=\"http:\/\/linkedin.com\/in\/kapdigital\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-linkedin\"><\/i><\/a>\n                                                                    <a href=\"https:\/\/x.com\/kapdigital\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-twitter-alt\"><\/i><\/a>\n                                                                    <a href=\"https:\/\/ca.wikipedia.org\/wiki\/Kap\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-brands-wikipedia\"><\/i><\/a>\n                                                    <a href=\"http:\/\/www.gargots.net\/\" target=\"_blank\" rel=\"nofollow\"><i class=\"fi fi-rr-globe\"><\/i><\/a>\n                            <\/div>\n        <\/div>\n    <\/div>\n    [\/vc_column][vc_column width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;&#8221;]<\/p>\n<p class=\"fade-in\">Humour is one of the most difficult things to define, yet one of the easiest to experience. It is one of the signature traits that make us human, while combining cognitive, linguistic, psychological, and social functions with a playful form.<br \/>Laughter can be triggered by a physical stimulus (by tickling) or by an intellectual stimulus that we call humour. Humour, an inexhaustible experience that only humans enjoy (and perhaps not even all humans!), both rich and fascinating in equal measure, has various facets and functions: from inside jokes to subtle irony, from incisive satire to dark humour. From buffoonery that frees the spirit to sadistic mockery. From the jokes in ritual collective revelry to poking fun at politics and society, from intimate, cathartic, and liberating smiles to convulsive, honest, and exciting laughter. Humour permeates human existence. That is why we find representations of humour since time immemorial, and in every sphere of life.<br \/>As the custodians of the cultural, artistic, and historical legacy of our history, museums are full of works linked with certain facets of humour. Shall we find out about some of them together?       <\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; header_style=&#8221;light&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; css=&#8221;.vc_custom_1746632202059{padding-top: 120px !important;padding-bottom: 84px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/antorcha-background.jpg?id=8792) !important;}&#8221; anchor=&#8221;foc_section&#8221;][vc_column][vc_row_inner rtl_reverse=&#8221;yes&#8221; row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; el_class=&#8221;row-reverse-res&#8221;][vc_column_inner width=&#8221;2\/3&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"universal-and-ancestral\">\n        <h2 class=\"fade-in\">Universal and ancestral<\/h2><\/div>[vc_column_text css=&#8221;&#8221; el_class=&#8221;font-gran color-blanc width-80 fade-in&#8221;]<em>\u00abMan alone suffers so excruciatingly in the world that he was compelled to invent laughter.\u00bb<\/em> Friedrich W. Nietzsche<\/p>\n<p>Human beings\u2019 sense of humour is our ability to perceive something as comical or funny. This capacity provokes a stimulus that can manifest physically in the form of laugher or a chuckle, but it is above all an intellectual stimulus, related with perception, with the fact of realising, of understanding, of grasping a nuance that changes the meaning of a reality, and it can happen anytime, anywhere, and under any circumstance. Human beings develop the ability to laugh during their first few months of life. Unlike the ability to cry, laughter helps guide newborns in learning and internalising all the new information that their small developing brains come across. Our laughter has an intimate and private dimension, it depends as much on our mental predisposition as on our social, cultural and intellectual history, and it also has a shared, social dimension. It is contagious and at times uncontrollable. It is also completely universal and has been present throughout the lives of human beings since time immemorial.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243; css=&#8221;.vc_custom_1739785784681{background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}&#8221;][vc_single_image image=&#8221;9658&#8243; img_size=&#8221;large&#8221; css=&#8221;.vc_custom_1761293125916{margin-bottom: 40px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1761898779882{margin-top: 20px !important;margin-bottom: 100px !important;}&#8221; el_class=&#8221;llegenda color-blanc fade-in m1-top-res&#8221;]<em>Classic bust of a young satyr<\/em>, end of the 1st century-first half of the 2nd century. Marble, 30 x 26.5 x 27 cm. Registry No.: MR 008085. Museu de Reus.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1760431823302{margin-top: 40px !important;}&#8221;][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9662&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-top-res&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]Laughing Buddha, 19th century. Ceramic paste sculpture. Registry No.: MFM S-25556.    Museu Frederic Mar\u00e8s.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9665&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-top-res&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]Thai mask, 1999. Wood, 25 x 27 x 12 cm. Registry No.: 6189. Museu Abell\u00f3.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9668&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-top-res&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda color-blanc fade-in&#8221;]Corbels. Old church of Sant Joan de Lleida, 13th century. Stone sculpture. Registry No.: MLDC 477. Museu de Lleida. \u00a9 Photo: Lloren\u00e7 Melgosa[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9671&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-top-res&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda color-blanc fade-in&#8221;]Corbels. Old church of Sant Joan de Lleida, 13th century. Stone sculpture. Registry No.: MLDC 561. Museu de Lleida. \u00a9 Photo: Lloren\u00e7 Melgosa[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760432452037{padding-top: 120px !important;padding-bottom: 94px !important;background-color: #000000 !important;background-position: 0 0 !important;background-repeat: no-repeat !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; el_class=&#8221;row-reverse-res&#8221;][vc_column_inner width=&#8221;1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"representing-a-laugh\">\n        <h2 class=\"fade-in\">Representing a laugh<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1760527370316{margin-top: 24px !important;}&#8221; el_class=&#8221;font-gran color-blanc fade-in&#8221;]\u00ab<em>How much lies in Laughter: the cipher-key, wherewith we decipher the whole man!\u201d <\/em>\u00bb Thomas Carlyle<\/p>\n<p>Laughter is fascinating as it is a purely physical reaction to an emotional or intellectual stimulus. You can force a smile, but it is tough to fake (or to hold back) honest laughter that makes us break out into uncontrollable convulsions caused by something we find hilarious. <\/p>\n<p>Laughter predates the development of language. It is a gesture that juxtaposes a biological and psychological reaction with any event we face in life. We share the ability to laugh with the great apes, so we have kept it with us throughout all our early evolutionary stages. Laughter is vital in oral-gestural communications and helps guide interpersonal relationships, making it easier to develop a sense of community.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9676&#8243; img_size=&#8221;large&#8221; css=&#8221;.vc_custom_1761898729791{margin-bottom: 10px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1763026148889{margin-top: 0px !important;margin-bottom: 60px !important;}&#8221; el_class=&#8221;llegenda color-blanc fade-in&#8221;]Pere Vidiella. <em>Smile<\/em>, 20th century. Pained terracotta, 16 x 10 x 19.5 cm. MAMT NIG 3761. Museu de Tarragona.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1760521664967{margin-top: 60px !important;}&#8221;][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9842&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760523247287{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1763027503585{margin-top: 48px !important;}&#8221; el_class=&#8221;llegenda color-blanc width-80 fade-in&#8221;]Anthropomorphic face mask of the Guere-Wobe people, W\u00e9 area, second half of the 20th century. Wood, 27 x 15 x 10 cm. Registry No.: 458. Museu Abell\u00f3.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9845&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760523076818{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1763027508273{margin-top: 48px !important;}&#8221; el_class=&#8221;llegenda color-blanc width-80 fade-in&#8221;]Head of an angel, c. 1330. 1330. Carved stone sculpture, 11.5 x 8.7 x 7.5 cm. Santa Maria de Poblet, Tarragona. Registry No.: MFM 605.    Museu Frederic Mar\u00e8s.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9848&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760523084652{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda color-blanc width-80 fade-in&#8221;]Virgin with Child. 14th Century. 68 x 27 x 14 cm. Registry No.: MFM 848.     Museu Frederic Mar\u00e8s.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9851&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760523094107{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda color-blanc width-80 fade-in&#8221;]Josep Clar\u00e0 i Ayats, <em>Childhood Joy<\/em>, around 1900. Plaster, 24 x 31 x 17 cm. Registry No.: 134.631. Museu de la Garrotxa.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760434934041{padding-top: 0px !important;padding-bottom: 120px !important;background-color: #D5D7E300 !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1760518241282{padding-top: 120px !important;padding-bottom: 94px !important;background: #D5D7E3 url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/16v2-detall_2.jpg?id=9708) !important;}&#8221;][vc_column_inner width=&#8221;1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"a-serious-religion-or-not-so-much\">\n        <h2 class=\"fade-in\">A serious religion... or not so much<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1760433644692{margin-top: 48px !important;}&#8221; el_class=&#8221;fade-in font-gran&#8221;]\u00ab<em>Humour is the instinct for taking pain playfully.<\/em>\u00bb<\/p>\n<p>Max Eastman[\/vc_column_text][vc_single_image image=&#8221;9723&#8243; img_size=&#8221;medium&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-bottom-res&#8221;][vc_column_text css=&#8221;.vc_custom_1761899414339{margin-top: 10px !important;}&#8221; el_class=&#8221;llegenda fade-in width-80&#8243;]Agust\u00ed Pujol I. <em>Saint Bartholomew the Apostle<\/em>, 1587-1589. Wood carving, tempera painting, gold leaf, 127 x 55 x 43 cm. Registry No.: MR 001466. Museu de Reus.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1761038197120{margin-top: 0px !important;margin-bottom: 94px !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;9727&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-bottom-res&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1760435564501{margin-bottom: 46px !important;}&#8221; el_class=&#8221;fade-in m1-bottom-res&#8221;]Religions, which strive to connect human beings with the divine through a series of practices, rituals, customs and beliefs, are all essentially serious. Every religion features a set of objects that are sacred. Through ridicule, laughter has a tremendous power to strip away the sacred. The ancient cosmogonies populated by various divinities allowed for serious and wrathful gods to co-exist with others in charge of jokes and bacchanalia. However, with monotheism, jokes became anathema to the heavens. Divine law is imposed through the fear of God&#8230; but humour drives away the fear.[\/vc_column_text][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in&#8221;]Socarrat clay tile. Paterna, 15th century. Terracotta painted with manganese and iron, 44 x 36 x 3 cm. MCB 5549. Museu del Disseny.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1741615758224{margin-top: 94px !important;margin-bottom: 94px !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1760435573681{margin-bottom: 46px !important;}&#8221; el_class=&#8221;fade-in m1-bottom-res&#8221;]The scriptures are thus deadly serious and Christian iconology focuses on pain, martyrdom, and suffering. Yet humour, a phenomenon that is inseparable from the human experience, ends up seeping through the cracks of orthodoxy. That is why we can find it in the margins of the books copied in <em>scriptoria<\/em>, in altarpieces, capitals, and corbels. Those who turn their back on the light are subject to ridicule, which is why the grotesque demon at the feet of Saint Bartholomew or on the altar frontal of Gia are represented as twisted and blackened characters, far removed from divine grace.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9732&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-bottom-res&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in&#8221;]Decorated serving dish in green and manganese, 14th century. Museu de Manresa, MCM2196.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9740&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-bottom-res&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in&#8221;]Johannes. Ribagorza workshop. Altar frontal from Gia, 13th century. Tempera, stucco reliefs and rusted metal sheet remnants on wood, 100 x 146 x 8 cm. Catalogue No.: 003902-000.       Museu Nacional d\u2019Art de Catalunya.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760517923838{padding-top: 120px !important;padding-bottom: 94px !important;background-color: #000000 !important;background-position: 0 0 !important;background-repeat: no-repeat !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; el_class=&#8221;row-reverse-res&#8221;][vc_column_inner width=&#8221;2\/4&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"jokesters-and-pranksters\">\n        <h2 class=\"fade-in\">Jokesters and pranksters<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1760527432219{margin-top: 24px !important;}&#8221; el_class=&#8221;font-gran color-blanc fade-in&#8221;]\u00ab<em>People do not always realise how much truth, wisdom and seriousness were concealed under the mask of the jester<\/em>\u00bb<\/p>\n<p>Andr\u00e9 Gide<\/p>\n<p>The Greeks used the mythical beings known as satyrs to depict the more inappropriate facets of human behaviour. The satyrs\u2019 horns, pointed ears and goat\u2019s hooves were appropriated a few centuries later by the little demons who played the same role in Catholicism.<\/p>\n<p>With the urban development that began in the Renaissance, laughter started to be tamed. Cities were petrified of uncontrolled laughter as it could set off riots, turmoil, and subversion. Debauchery can lead to chaos, which is precisely why, manifestations of unbridled joy became modulated, limited, and ritualised.  <\/p>\n<p>The bard, goliard, and buffoon directed humoristic impulses in societies into professions, while humour was also channelled through the circus, theatre, comedy, music, and the grotesque figures of popular culture.[\/vc_column_text][vc_empty_space height=&#8221;100px&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243; css=&#8221;.vc_custom_1761293156117{margin-bottom: 40px !important;background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9833&#8243; img_size=&#8221;large&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1761898826524{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda color-blanc fade-in&#8221;]Head of Silenus. White marble, 2nd century. Inv. no.: MLDC 589. Museu de Lleida.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1760523347897{margin-top: 60px !important;}&#8221;][vc_column_inner width=&#8221;1\/3&#8243; css=&#8221;.vc_custom_1761038260487{margin-bottom: 40px !important;}&#8221;][vc_single_image image=&#8221;9761&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-top-res&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda color-blanc fade-in&#8221;]<em>The Feast of Balthasar<\/em>. <em>Beatus de la Seu d\u2019Urgell<\/em>, 10th century. Anonymous codex. F 219, inventory no.: 501. Museu Dioces\u00e0 de la Seu d\u2019Urgell.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243; css=&#8221;.vc_custom_1761038272241{margin-bottom: 40px !important;}&#8221;][vc_single_image image=&#8221;9767&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-top-res&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda color-blanc fade-in&#8221;]Joaquim Pla i Dalmau. <em>Cheap Circus<\/em>, 1958. Reg. No.: 250.204.   250.204. Museu d&#8217;Art de Girona. Diputaci\u00f3 de Girona Art Fund. Photo: Rafel Bosch.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243; css=&#8221;.vc_custom_1761038278270{margin-bottom: 40px !important;}&#8221;][vc_single_image image=&#8221;9764&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;m1-top-res&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda color-blanc fade-in&#8221;]Anonymous. Craft tiles, 18th century, Pisa. 53.5 x 40.5 cm. Inventory No.: MEV 23914, 23916, 23918, 2643, 2641, 23913, 23917, 23912, 3174, 23919, 23920, 23915. Museu d\u2019Art Medieval.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760522102323{padding-top: 94px !important;padding-bottom: 94px !important;background: #000000 url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/24-abello_fons.png?id=9836) !important;background-position: 0 0 !important;background-repeat: no-repeat !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner][vc_empty_space height=&#8221;500px&#8221;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;2\/3&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"collective-revelry\">\n        <h2 class=\"fade-in\">Collective revelry<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1760518401841{margin-top: 24px !important;}&#8221; el_class=&#8221;font-gran color-blanc fade-in&#8221;]\u00ab<em>Anything goes in Carnival<\/em>.\u00bb Refrany popular[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1761042259324{margin-top: 48px !important;}&#8221; el_class=&#8221;color-blanc width-80 fade-in&#8221;]Laughter is central in most mass celebrations around the globe and across time. Jesters, clowns, fools, dwarfs, monsters and masked individuals who host shindigs, kick off dances, make jokes, and create parodies channel the need for fun in different societies. In some festivals, transgression plays an essential role: from the Dionysian festivals and Graeco-Roman bacchanals to the now-forgotten <em>Risus Paschalis<\/em>, our Carnival, and the Jewish festival of Purim, disguises and humour serve to free people from their daily labour through costumes, inverting roles, and parody. In others, humour comes from relaxing the pressure of social norms, the effects of alcohol, and the lack of inhibition caused by collective, social fun.   <\/p>\n<p>Humour opens the door to liberation, offers an escape valve for the pressure of everyday life, and becomes a tool to perpetuate an established social order at the same time: disguises allow for social norms to be relaxed, a simulacrum of freedom that shuts down true calls for liberation that would put the system in danger. Festivals are a collective catharsis that act in turn as a control mechanism.[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1761898884409{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda color-blanc fade-in&#8221;]Joan Abell\u00f3. <em>The world\u2019s great carnival<\/em>, 1979. Oil on canvas, 195 x 255 cm. Registry No.: 2041. Museu Abell\u00f3.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760527468198{margin-bottom: 160px !important;}&#8221; z_index=&#8221;&#8221;][vc_column width=&#8221;1\/3&#8243; css=&#8221;.vc_custom_1739805694782{padding-right: 0px !important;padding-left: 0px !important;}&#8221;][vc_single_image image=&#8221;9777&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760518830563{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1760518565248{margin-right: 20px !important;margin-left: 80px !important;}&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Lola Anglada. <em>Carnival. The dances <\/em>, 1949. 35 x 49.5 cm. Registry No.: 9121. Biblioteca Museu V\u00edctor Balaguer.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/3&#8243; css=&#8221;.vc_custom_1739805670650{padding-right: 0px !important;padding-left: 0px !important;}&#8221;][vc_single_image image=&#8221;9780&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760518838345{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1760518571204{margin-right: 20px !important;margin-left: 20px !important;}&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]<em>Bag of confetti or Carnival sweets<\/em>, 1916. Silk, 23 x 18 x 0.5 cm. Registry No.: MR 013725. Museu de Reus.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/3&#8243; css=&#8221;.vc_custom_1742467780617{padding-right: 0px !important;padding-left: 0px !important;}&#8221;][vc_single_image image=&#8221;9788&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760519224945{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1760518577372{margin-right: 20px !important;margin-left: 20px !important;}&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]\u00c0lex Grifeu. <em>Poster for the Carnival in Roses<\/em>, 2001. 68 x 48 cm. MDB 1295. Museu del Disseny.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; header_style=&#8221;light&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; bg_type=&#8221;grad&#8221; z_index=&#8221;&#8221; css=&#8221;.vc_custom_1741615915642{padding-top: 120px !important;padding-bottom: 94px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/background-2.jpg?id=8938) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}&#8221; background_color=&#8221;#B3B3B300&#8243; bg_grad=&#8221;background: -webkit-gradient(linear, left top, left bottom, color-stop(0%, #E3E3E3), color-stop(100%, #FFFFFF));background: -moz-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -webkit-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -o-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -ms-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; el_class=&#8221;row-reverse-res&#8221;][vc_column_inner width=&#8221;1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"why-the-long-face\">\n        <h2 class=\"fade-in\">Why the long face?<\/h2><\/div>[vc_column_text css=&#8221;&#8221; el_class=&#8221;font-gran fade-in&#8221;]\u00ab<em>Portraits and caricatures, at the figurative level, represent opposite ends of an imaginary scale that wavers between utmost realistic figuration and the highest level of abstraction.<\/em>\u00bb Mar\u00eda Alb\u00e9rgamo<\/p>\n<p>A caricature is a physiognomic portrait that features a distortion, whether by addition, substitution, or omission, modifying the shape of the face being represented. But we all know that in a good caricature, the greater the deformation, the greater the resemblance. In fact, the secret of a good caricature was described precisely by Ernst Gombrich, who, with his fellow colleague and Ernst (Kris), dedicated a small book in 1940 to analysing this artistic medium. In it, he states that the pleasure of seeing a caricature resides in \u201cthe theoretical discovery of the difference between likeness and equivalence\u201d. In other words, the human brain loves discovering the most distinctive traits of the original face hidden beneath the artistic distortion.   <\/p>\n<p>Caricatures appeared during the Renaissance, crafted by the Carracci brothers, Bernini, and Leonardo da Vinci. The caricature was born at the same time and in the very same workshops where some of the most beautiful images in art history were created. The <em>ritrattini<\/em> <em>carichi<\/em>, or loaded portraits, were drawings that used exaggeration and deformation, along with any other recourse that enabled the artist to achieve greater expressivity. Freed from the demands of the academic canon, caricature has served to broaden the margins of artistic expressivity, and these drawings enjoyed enormous popularity on the pages of the printed press in the 19th and 20th centuries.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9796&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1761293172958{margin-bottom: 40px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1763026132611{margin-top: 20px !important;margin-bottom: 60px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Francesc Soler i Rovirosa \/ Manuel Casagemas \/ Joan Ballester. Caricature album, mid-19th century. Paper and watercolour, 30 x 21 cm. Registry No.: MFM 6277.     Museu Frederic Mar\u00e8s.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1742467637102{margin-bottom: 90px !important;}&#8221; z_index=&#8221;&#8221;][vc_column width=&#8221;1\/6&#8243; css=&#8221;.vc_custom_1747307957377{padding-right: 0px !important;padding-left: 0px !important;}&#8221;][vc_single_image image=&#8221;9809&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760521281129{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Llu\u00eds Bagaria. Caricatura de Miquel Utrillo, 1924. Llapis sobre paper, 18,8 x 12,8 cm. N\u00fam. de registre: 4789. Museu Abell\u00f3.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/6&#8243; css=&#8221;.vc_custom_1739805670650{padding-right: 0px !important;padding-left: 0px !important;}&#8221;][vc_single_image image=&#8221;9812&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760529284663{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Llu\u00eds Bagaria. Caricature of Smith, 1924. Pencil on paper, 18.8 x 12.8 cm. Registry No.: 4790. Museu Abell\u00f3.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/6&#8243; css=&#8221;.vc_custom_1742467780617{padding-right: 0px !important;padding-left: 0px !important;}&#8221;][vc_single_image image=&#8221;10070&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1761042766163{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Nicol\u00e1s Mart\u00ednez Lage, \u201cNIKO\u201d. Francisco Franco, c. 1950. 1950. Marker on cardboard, 31.5 x 23.4 cm. MORERA Collection. Museu d\u2019Art Modern i Contemporani de Lleida. Donation by the Mart\u00ednez Andrea Family, 1993.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/6&#8243; css=&#8221;.vc_custom_1739805687394{padding-right: 0px !important;padding-left: 0px !important;}&#8221;][vc_single_image image=&#8221;10064&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1761042775946{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Caricature of Ramon Casas, c. 1910. 1910. Ink, watercolour and gouache on paper, 58 x 40 cm. Registry No.: 698. Museu d\u2019Art de Sabadell.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/6&#8243; css=&#8221;.vc_custom_1739805905012{padding-right: 0px !important;padding-left: 0px !important;}&#8221;][vc_single_image image=&#8221;10067&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1761042784444{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Isidre Nonell. <em>En Nonell i en Pere Romeu<\/em> (Nonell and Pere Romeu), c.1909. 1909. Ink and gouache on paper. Catalogue No.: 043902-D   Museu Nacional d\u2019Art de Catalunya.[\/vc_column_text][\/vc_column][vc_column width=&#8221;1\/6&#8243;][vc_single_image image=&#8221;10073&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1761042795962{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Jean-Michel Basquiat. Self Portrait, 1986. Acrylic painting on canvas. Registry No.: 0413. Museu d\u2019Art Contemporani de Barcelona.[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; css=&#8221;.vc_custom_1763541413919{padding-top: 120px !important;padding-bottom: 120px !important;background-image: url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/11\/35-El-Loro_fons_4.jpg?id=10464) !important;}&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1763024928714{padding-top: 46px !important;padding-bottom: 20px !important;}&#8221;][vc_column_inner width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1763541725655{padding-right: 70px !important;}&#8221;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"laughter-against-censorship\">\n        <h2 class=\"fade-in\">Laughter against censorship<\/h2><\/div>[vc_column_text css=&#8221;&#8221; el_class=&#8221;font-gran width-80 fade-in&#8221;]\u00ab<em>When the tyrant can be called a tyrant, humour is no longer necessary.<\/em>\u00bb C\u00e1ndido<\/p>\n<p>The illustrated press developed during the 19th century, together with the technical procedures that made it possible to reproduce these images. Illustration thus went from being merely a decorative complement in the turn-of-the-century publications to taking on a vital role, one that would make it easier for an image-based press to take hold.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221;][vc_column width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1739802355172{padding-right: 0px !important;}&#8221;]<div class=\"comissionariat-card orientation-superior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/36-El-Charlatan_2.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    The power of iconic penetration enabled ideas to spread among an audience with precarious levels of literacy. Moreover, humour&#8217;s ability to play with double meanings, visual metaphors, and the possibility to speak of something without the need to explain it make satirical drawings a great tool to elude the pressure of censorship. The press in Catalonia has always been subject to a ferocious control over its contents to prevent the spread of subversive ideas.\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> The Charlatan. Barcelona. Year II, series 2a, No. 42 (23 December 1887). Biblioteca Museu V\u00edctor Balaguer. \u00a9 Photo by Carles Pujades.     <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1747308587896{padding-left: 0px !important;}&#8221;]<div class=\"comissionariat-card orientation-superior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-left-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/37-Apa_2.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    Authors such as Feliu Elias were exiled on several occasions throughout their career to avoid clashes with the legal system due to their vignettes.<\/p>\n<p>Others, like Josep Escobar, faced reprisal after the Spanish Civil War for the caricatures that they had published during the conflict.\n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Feliu Elias Apa. Crazy cow. Satirical drawing. Ink on paper. Museu de Valls.    <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760526552424{padding-top: 120px !important;padding-bottom: 94px !important;background: #A8A8A7 url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/39-cendrer_fons_2-scaled.jpg?id=9889) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}&#8221; z_index=&#8221;&#8221; el_class=&#8221;background-top-center&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1763026495763{padding-top: 80px !important;}&#8221;][vc_column_inner width=&#8221;1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-true\" style=\"\" id=\"humour-that-makes-you-think\">\n        <h2 class=\"fade-in\">Humour that makes you think<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1760526194051{margin-top: 24px !important;}&#8221; el_class=&#8221;font-gran fade-in&#8221;]\u00ab<em>Someone who makes you laugh is a comedian. Someone who makes you think and then laugh is a humourist. <\/em>\u00bb George Burns<\/p>\n<p>Behind every laugh brought on by a joke is a complex cognitive mechanism that has allowed the brain to establish a relationship between two elements that seemingly did not have one. Hence, when we cannot perceive this connection, we say that we don&#8217;t \u201cget\u201d the joke. Understanding is essential in comedy, and the profound pleasure that understanding provides has a physical manifestation, that is, a laugh. However, in order to get a joke, we have to know the code, we have to identify a context in which the joke takes on meaning.[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1760526500711{margin-top: 48px !important;}&#8221; el_class=&#8221;llegenda width-80 fade-in&#8221;]JUMA (Josep M. Francisco). <em>Cinderella<\/em> (ashtrays), 1977. The Original Cha-Ch\u00e1 \/ Ins\u00f2lit. Resin, 15.5 x 6.5 x 19 cm. Registry No.: MADB 136994. Museu del Disseny.[\/vc_column_text][vc_empty_space height=&#8221;150px&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9875&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1760526564561{margin-top: 20px !important;margin-bottom: 20px !important;}&#8221; el_class=&#8221;fade-in&#8221;]That\u2019s why, many times we do not find something that made our grandparents laugh very funny. Along the same lines, what children laugh at often is not funny to their parents. Social, cultural, and personal contexts change, and the mechanism of the joke is completely thrown off.[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1760526572780{margin-top: 48px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Josep Palau Oller. Drawing. Published in <em>Papitu<\/em>, 1910. Palau Foundation.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9881&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1760526577286{margin-top: 48px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Carles Hern\u00e1ndez Mor (Carles H. Mor). <em>The chair as a seat.<\/em> Photograph, 2015. ME 2367. Museu de l\u2019Empord\u00e0. Donation by the Associaci\u00f3 Cultural La Muga Caula, 2015.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9884&#8243; img_size=&#8221;full&#8221; css=&#8221;&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1760526583669{margin-top: 48px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Joan Brossa. <em>O for &#8220;ouera&#8221;<\/em> (egg basket), 1969. Wood, vinyl and iron, 35.4 x 41 x 38 cm. Registry No.: 4985. Museu d\u2019Art Contemporani de Barcelona.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1741346385787{padding-top: 140px !important;background-color: #000000 !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1741024882824{padding-top: 46px !important;padding-bottom: 94px !important;}&#8221;][vc_column_inner width=&#8221;2\/3&#8243;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"an-aesthetics-of-comedy\">\n        <h2 class=\"fade-in\">An aesthetics of comedy<\/h2><\/div>[vc_column_text css=&#8221;&#8221; el_class=&#8221;font-gran color-blanc width-80 fade-in&#8221;]\u00ab<em>People who see a drawing in the \u2018New Yorker\u2019 will think automatically that it&#8217;s funny because it is a cartoon. If they see it in a museum, they think it is artistic; and if they find it in a fortune cookie, they think it is a prediction. <\/em>\u00bb Saul Steinberg<\/p>\n<p>The visuals associated with comedy stray from academicism and are both simple and expressive. Synthetic doodles allow viewers to immediately grasp the situation without getting lost in the details. In fact, the lively Romanesque drawings, which originally had no comedic connotation, seen from our contemporary gaze may seem funny as they are far removed from realism. They also share expressive resources with artistic manifestations that for us are not \u201cserious\u201d, such as comics, funny drawings, graffiti, and children\u2019s cartoons.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;1\/4&#8243; css=&#8221;.vc_custom_1763026367220{padding-right: 20px !important;padding-left: 10px !important;}&#8221;]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/42-orant_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tMan at prayer. Church of Sant Quirze de Pedret, 10th-11th century. Wall decoration, fresco painting, 135 x 122.5 x 5 cm. Registry No.: MDCS 1. Museu Dioces\u00e0 de Solsona.     \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div>[\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243; css=&#8221;.vc_custom_1763026390422{padding-right: 20px !important;padding-left: 10px !important;}&#8221;]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/43-jm-de-sucre-MdLl.jpeg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tJosep Maria de Sucre. Untitled, 1964. Panel painting, 96 x 72 cm. Inv. no.: 257.     257. Museu de Granollers.\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div>[\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243; css=&#8221;.vc_custom_1763026397007{padding-right: 20px !important;padding-left: 10px !important;}&#8221;]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/44-Homiliari.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tUnknown. Homily of Breda, 11th century. Museu d&amp;apos;Art de Girona, reg. no.: MDG0044 Bishopric of Girona Fund. Photo: Rafel Bosch.      \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div>[\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243; css=&#8221;.vc_custom_1763026405791{padding-right: 20px !important;padding-left: 10px !important;}&#8221;]<div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/45-escena_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h3 class=\"qode-info-card-title\" >\n\t\t\t\tAlfred Sisquella i Oriol. Funny religious scene, undated. Ink drawing on paper, 15.4 x 21.1 cm. Museu del Cau Ferrat de Sitges. Cau Ferrat Fund, inv. no.: FM 31. \u00a9 Arxiu Fotogr\u00e0fic del Consorci del Patrimoni de Sitges.       \t\t\t<\/h3>\n\t\t\t\t\t<\/div>\n\t<\/div>[\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760527643322{padding-top: 94px !important;padding-bottom: 94px !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"the-persuasion-of-smiling\">\n        <h2 class=\"fade-in\">The persuasion of smiling<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1760528333934{margin-top: 24px !important;}&#8221; el_class=&#8221;font-gran fade-in&#8221;]\u00ab<em>The secret to humour is surprise<\/em>\u00bb Arist\u00f2til<\/p>\n<p>Humour boasts an important educational component: it generates involvement, draws attention, and stimulates creativity. Aware of its educational potential, humour has been used in a variety of formulas to promote diverse lessons.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1760521664967{margin-top: 60px !important;}&#8221;][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9920&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760528377843{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1760528315002{margin-bottom: 46px !important;}&#8221; el_class=&#8221;fade-in&#8221;]The first children&#8217;s magazines used funny drawings as a tool to teach and instil values in kids. Several publications, from En Patufet to TBO, as well as the more modern L\u2019Infantil and Cavall Fort, have followed this path.[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1761898279166{margin-top: 48px !important;}&#8221; el_class=&#8221;llegenda width-80 fade-in&#8221;]Joaquim Calderer. Q<em>uimet Trapella que tot ho esgavella<\/em>. Plate for printing a page from the children\u2019s magazine <em>L\u2019Infantil<\/em>. Seminari de Solsona. Museu de Solsona.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9911&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760528386867{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda&#8221;]NIT (Joan Macias). <em>The great inventions of TBO: Device to avoid the disgusting spectacle of the condemned&#8230;<\/em> Ink and coloured pencil on paper, 24.9 x 34 cm. Museu de Cerdanyola.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9914&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760528402146{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1760528338187{margin-bottom: 46px !important;}&#8221; el_class=&#8221;fade-in&#8221;]The advertising industry soon discovered humour\u2019s potential in communications and has used it to spread the word in commercials. Some of our best cartoonists, such as Cesc, have also excelled in advertising.[\/vc_column_text][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda&#8221;]\u00c0ngel Gra\u00f1ena. <em>Antispasmina C\u00f3lica<\/em>, 1956. Advertising card, 16.7 x 11.9 cm. GAGB 9307\/14. Museu del Disseny.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/4&#8243;][vc_single_image image=&#8221;9917&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760528410585{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda&#8221;]Cesc. Book Day Poster 1977. 66.7 x 47.6 cm. Registry No.: MDB 10151. Museu del Disseny.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760967720361{margin-top: 120px !important;padding-bottom: 64px !important;background-image: url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/51-giraud_2.jpg?id=9941) !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1741620038459{margin-bottom: 64px !important;padding-top: 94px !important;}&#8221;][vc_column_inner width=&#8221;7\/12&#8243; css=&#8221;.vc_custom_1741620622074{margin-bottom: 64px !important;}&#8221;]<div class=\"comissionariat-title color-blanco orientation-false\" style=\"\" id=\"political-and-social-satire\">\n        <h2 class=\"fade-in\">Political and social satire<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1760967561247{margin-top: 24px !important;}&#8221; el_class=&#8221;font-gran color-blanc fade-in width-80&#8243;]\u00ab<em>Satire is the most powerful weapon against the establishment. The powers that be cannot bear satire, even those governments that call themselves democratic, because laugher liberates man from his fears<\/em>.\u00bb Dario Fo<\/p>\n<p>Satire, a ferocious attack that uses a sharp wit, can be found in literature, music, and performing arts throughout history, seeking maximum effectiveness by reaching the widest audience possible. Starting in the 19th century, satire found a prominent space in the press, where it became a weapon of political and social struggle after becoming linked with caricatures. Deformed, defaced, and grotesque drawings of political rivals fill the pages of the satirical press. Catalonia has had a vibrant satirical press, and several generations of incisive cartoonists have created engrossing pieces. Newspaper archives hide veritable masterpieces of journalistic, critical, and incisive comedy.[\/vc_column_text][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]S\u00e9bastien Charles Giraud. Print on the <em>Th\u00e9\u00e2tre National de l&#8217;Op\u00e9ra<\/em> (caricature), 1899. Engraving on paper, 54.5 x 70 cm. Registry No.: 09232. Museu Abell\u00f3.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760968370566{padding-top: 120px !important;padding-bottom: 200px !important;background-color: #000000 !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9944&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760968023741{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]Tom\u00e0s Padr\u00f3. <em>The Bell in Gr\u00e0cia<\/em>. Barcelona. Any II, Peal LX. 25 June 1871. Biblioteca Museu V\u00edctor Balaguer. \u00a9 Photo by Carles Pujades.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9947&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760968047710{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]Ricard Opisso. J<em>o hauria d\u2019\u00e9sser aviador <\/em>(I should be a pilot), 1915. Ink on paper, 31.8 x 27.9 cm. Catalogue No.: 07692 2-D.    Museu Nacional d\u2019Art de Catalunya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9950&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760968062345{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]Joan Antoni Poch (JAP). <em>Untitled<\/em>, 2000. Digital print. ME 2792. Museu de l\u2019Empord\u00e0. Donation by GEES (Grup d&#8217;Empordaneses i Empordanesos per la Solidaritat), 2021.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760972511170{padding-bottom: 120px !important;background: #D9D0C7 url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/57-puyol_2.jpg?id=9970) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}&#8221; z_index=&#8221;&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1760969765525{padding-top: 60px !important;padding-bottom: 0px !important;}&#8221;][vc_column_inner width=&#8221;1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"subversive-humour\">\n        <h2 class=\"fade-in\">Subversive humour<\/h2><\/div>[vc_column_text css=&#8221;&#8221; el_class=&#8221;font-gran fade-in&#8221;]\u00ab<em>Nothing should be taken seriously in this world; true wisdom consists of knowing how to laugh<\/em>.\u00bb Zsolt Hars\u00e1nyi<\/p>\n<p>One of the main components of humour is transgression. Intentionally comical, humoristic, or satirical drawings can transgress the norms and conventions of academic drawing and alter the way of representing reality. As such, these drawings manage to enhance the emotional effectiveness of the image and strengthen the message. While a photograph reproduces reality, drawings filter and reinterpret this reality, giving added value to the resulting image. One of the most powerful drivers of caricature is its capacity for provocation and transgression. Iconic or aesthetic transgression, or ideological provocation. Poking holes in morality, challenging power, breaking down preconceived ideas and pushing the limits of semantic or visual conventions&#8230; everything is allowed in visual satire. That\u2019s precisely why satire has been used to address delicate and at times critical topics, such as the Spanish Civil War.[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1760969255888{margin-top: 48px !important;}&#8221; el_class=&#8221;llegenda width-80 fade-in&#8221;]Ramon Puyol. <em>El acaparador<\/em> (The Hoarder), 1936. Lithography on paper, 68.2 x 48.3 cm. Catalogue No.: 128084-G.   Museu Nacional d\u2019Art de Catalunya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1761043080410{margin-top: 60px !important;}&#8221;][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9967&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760969436438{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in&#8221;]N\u00faria Pompeia (N\u00faria Vilaplana i Boixons). Illustrations for the book Maternasis, 1967. Ink and collage on paper. Catalogue No.: 254647-CJT.     Museu Nacional d\u2019Art de Catalunya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9964&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1760969444164{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in&#8221;]Josep Sancho Piqu\u00e9. <em>Horrors of a War,<\/em> 1939. Ink on paper, 24 x 32 cm. MAMT NIG 1005 \/ MAMT NIG 945 \/ MAMT NIG 937. Museu de Tarragona.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221;][vc_column width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1739802355172{padding-right: 0px !important;}&#8221;]<div class=\"comissionariat-card orientation-superior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/58-calsina.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    \n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Ramon Calsina. Tragedy. Male Violence, 1929. Pencil on paper, 67 x 50 cm. Registry No.: 5988. Museu Abell\u00f3.      <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1747308587896{padding-left: 0px !important;}&#8221;]<div class=\"comissionariat-card orientation-superior color-blanco\" style=\"height: 640px; \"><div class=\"comissionariat-image background-left-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/11\/55-brossa_3.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    \n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Joan Brossa. Spain, 1971. Screen printing on paper, 63.8 x 44.1 cm. Registry No.: 4529. Museu d\u2019Art Contemporani de Barcelona.     <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; css=&#8221;.vc_custom_1741347511374{padding-top: 94px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/background-2.jpg?id=8938) !important;}&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1763024928714{padding-top: 46px !important;padding-bottom: 20px !important;}&#8221;][vc_column_inner width=&#8221;2\/3&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"shades-of-humour\">\n        <h2 class=\"fade-in\">Shades of humour<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1760971019813{margin-bottom: 46px !important;}&#8221; el_class=&#8221;font-gran fade-in&#8221;]\u00ab<em>Laughter is born from a jumble of unbearable pain. It is a way, both cruel and soothing, to confront the wound. <\/em>\u00bb Marta Sanz<\/p>\n<p>There is a curious semantic relationship between aesthetics and different types of humour, as these have been baptised with names of colours or shades that indicate important nuances.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1763025963498{padding-top: 46px !important;padding-bottom: 60px !important;}&#8221;][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9976&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1763024714865{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1763024974677{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Endleaf (binding), 20th century. 22.5 x 20.67 cm. Registry No.: GAGB 906\/13. Museu del Disseny.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9979&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1763024744389{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1763025019446{margin-bottom: 46px !important;}&#8221; el_class=&#8221;font-gran fade-in&#8221;]Light-hearted humour, known in Catalan as humor blanc, is the most innocent and harmless, without any kind of double entendres. Comedy meant for children is typically humor blanc (\u201cwhite humour\u201d), and authors such as Pilar\u00edn Bay\u00e9s are a paradigmatic example in Catalonia.[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1763025003372{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Pilar\u00edn Bay\u00e9s de Luna. The rise of the Catalan Press, 1975. Museu d&#8217;Art de Girona, reg. no.: 137.276.    137.276. Generalitat de Catalunya Fund. National Art Collection. Photo: Rafel Bosch.[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1763024989528{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;][\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9982&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1763024829334{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1763025047819{margin-bottom: 46px !important;}&#8221; el_class=&#8221;font-gran fade-in&#8221;]Blue comedy, coincidentally called verd (green), includes anything that has to do with sex, eroticism, and all sensual or lascivious connotations, like certain drawings by Ismael Smith.[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1763025038847{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Ismael Smith. Nano (self-portrait), 1907. Bronze cast sculpture. 40,4 x 17 x 21,4 cm. Museu de Cerdanyola. Legacy of Carles Pirozzini Mart\u00ed. Catalog number: 040758-000[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1763025956050{padding-top: 60px !important;padding-bottom: 90px !important;}&#8221;][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9985&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1763024876366{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1763025090592{margin-bottom: 46px !important;}&#8221; el_class=&#8221;font-gran fade-in&#8221;]On the contrary, dark humour, or humor negre, is the name for a bitter type of humour, one that is not suitable for all tastes, as it delights in the heavier aspects of existence: death, illness, pain, and suffering. It is often called unpleasant and offensive.[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1763025098857{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Feliu Elias (Apa). Provocative, 1912. Ink on paper, 29 x 24.6 cm. Catalogue No.: 072335-D. Museu Nacional d\u2019Art de Catalunya.     Museu Nacional d\u2019Art de Catalunya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9988&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1763024887059{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1763025116053{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Helios G\u00f3mez. Lerroux le traitre\u2026, 1936. Engraving, woodcut on paper, 29.5 x 27.5 cm. Catalogue No.: 214105-011. Museu Nacional d\u2019Art de Catalunya.     Museu Nacional d\u2019Art de Catalunya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;9991&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1763024895715{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1763025137542{margin-bottom: 46px !important;}&#8221; el_class=&#8221;font-gran fade-in&#8221;]Are there other types of colour-based humour? Would you say that the activist Helios G\u00f3mez could be considered a representative of red comedy or that this tile by Ramon Casas has something to do with brown comedy?[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1763025151967{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Ramon Casas. The advances of the 20th century: the toilet, 1899-1903. Clay tile, 13.5 x 13.5 cm. Registry No.: 847. Museu d\u2019Art de Sabadell.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1760971738895{padding-top: 120px !important;padding-bottom: 94px !important;background-color: #000000 !important;background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}&#8221; z_index=&#8221;&#8221; el_class=&#8221;background-top-center&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1741345415624{margin-bottom: 64px !important;padding-bottom: 94px !important;}&#8221;][vc_column_inner width=&#8221;2\/3&#8243;]<div class=\"comissionariat-title color-blanco orientation-true\" style=\"\" id=\"a-thousand-ways-to-laugh\">\n        <h2 class=\"fade-in\">A thousand ways to laugh<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1760971424782{margin-top: 24px !important;}&#8221; el_class=&#8221;font-gran color-blanc fade-in&#8221;]\u00ab<em>No mind is thoroughly well-organized that is deficient in a sense of humour.<\/em>\u00bb Samuel Taylor Coleridge<\/p>\n<p>A thousand? No. There are not a thousand ways to laugh. There are more than one billion ways to laugh. Laughter breaks out among friends, and we love sharing it. But our sense of humour, that is, that which does or does not make us laugh and which modulates the intensity of our response faced with humorous stimuli, is an entirely personal thing, something that cannot be transferred. It is intimate, unique, and precious for every person that is (and has been) on the planet. We know for sure that part of these aspects have a social and cultural origin, and we learn and internalise them until they form part of who we are. There is a social strain of comedy, which takes shape in the popular revelries and festivals, channelled by the comedians, clowns, buffoons, and dummies in popular imagery, such as Cucut and Xurruca, and another type of comedy that is personal and private, which thrives in shared experience, like the one that connected Ramon Casas and Santiago Rusi\u00f1ol. Humour plays with meanings and contexts, just like Picasso did in working with centaurs, along with small details, like the exquisite map of Barcelona that Frisco drew for the 1929 Expo.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; bg_type=&#8221;grad&#8221; css=&#8221;.vc_custom_1741345637249{margin-top: -95px !important;padding-bottom: 64px !important;background-color: #000000 !important;}&#8221; z_index=&#8221;&#8221; bg_grad=&#8221;background: -webkit-gradient(linear, left top, left bottom, color-stop(0%, #000000), color-stop(20%, #000000), color-stop(21%, #FFFFFF), color-stop(60%, #FFFFFF));background: -moz-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: -webkit-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: -o-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: -ms-linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);background: linear-gradient(top,#000000 0%,#000000 20%,#FFFFFF 21%,#FFFFFF 60%);&#8221;][vc_column css=&#8221;.vc_custom_1739708113171{margin-top: -95px !important;}&#8221;]<div id=\"ult-carousel-26927229769d571e485c66\" class=\"ult-carousel-wrapper  carrusel_comisariat_riure ult_horizontal\" data-gutter=\"10\" data-rtl=\"false\" ><div class=\"ult-carousel-3166677569d571e485c38 \" ><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/66-Cucut_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tMart\u00ed Casadevall i Mombard\u00f3. Cucut and Xurruca, 1906. Wood pulp, 100 x 93 x 89 cm. Registry No.: 2602. Museu de la Garrotxa.     \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/67-Ramon-Casas_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tRamon Casas i Carb\u00f3. Rusi\u00f1ol on top of a wrought iron lamp. Barcelona, 1893. Oil on canvas, 199.8 x 99.7 cm. Museu del Cau Ferrat, Sitges. Santiago Rusi\u00f1ol Collection, inv. no.: 32.008.       32.008. \u00a9 Arxiu Fotogr\u00e0fic del Consorci del Patrimoni de Sitges.\t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/68-Picasso_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tPablo Picasso. Several Occupations of the Centaur: Picador, Carthorse, School Teacher. Paris, 5 February 1947. Burin on copper; printed on Arches laid paper (II state and definitive), 30.9 x 25.7 cm (plate); 37.9 x 28 cm (slide). Illustration for Ramon Revent\u00f3s, Two tales. Paris-Barcelona, Albor, 1947. Palau Foundation, Caldes d\u2019Estrac. Registry No.: 203. \u00a9 VEGAP.          \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/69-Frisco_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tFrisco Millioud. Poster for Uralita \/ Barcelona Universal Exposition, 1929. Museu de Cerdanyola.  \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><div class=\"ult-item-wrap\" data-animation=\"animated no-animation\"><div class=\"qode-info-card\">\n\t\t\t<div class=\"qode-info-card-image\" style=\"background-color:#fff\">\n\t\t\t<img decoding=\"async\" src=\"https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/70-picas_1.jpg\" alt=\"\" \/>\n\t\t<\/div>\n\t\t<div class=\"qode-info-card-text-holder\" style=\"background-color:#fff\">\n\t\t\t\t\t<h6 class=\"qode-info-card-title\" >\n\t\t\t\tN\u00faria Picas. Female Figures, 1948. 32.5 x 24 cm. Registry No.: 6536. Museu Abell\u00f3.     \t\t\t<\/h6>\n\t\t\t\t\t<\/div>\n\t<\/div><\/div><\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-3166677569d571e485c38').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-3166677569d571e485c38').slick({dots: true,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#333333; font-size:20px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right6\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#333333; font-size:20px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left6\"><\/i><\/button>',slidesToScroll:3,slidesToShow:3,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,centerMode: true,adaptiveHeight: true,responsive: [\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t  breakpoint: 1026,\n\t\t\t\t\t\t\t  settings: {\n\t\t\t\t\t\t\t\tslidesToShow: 3,\n\t\t\t\t\t\t\t\tslidesToScroll: 3,  \n\t\t\t\t\t\t\t  }\n\t\t\t\t\t\t\t},\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t  breakpoint: 1025,\n\t\t\t\t\t\t\t  settings: {\n\t\t\t\t\t\t\t\tslidesToShow: 1,\n\t\t\t\t\t\t\t\tslidesToScroll: 1\n\t\t\t\t\t\t\t  }\n\t\t\t\t\t\t\t},\n\t\t\t\t\t\t\t{\n\t\t\t\t\t\t\t  breakpoint: 760,\n\t\t\t\t\t\t\t  settings: {\n\t\t\t\t\t\t\t\tslidesToShow: 1,\n\t\t\t\t\t\t\t\tslidesToScroll: 1\n\t\t\t\t\t\t\t  }\n\t\t\t\t\t\t\t}\n\t\t\t\t\t\t],pauseOnDotsHover: true,customPaging: function(slider, i) {\n                   return '<i type=\"button\" style= \"color:#333333;\" class=\"ultsl-radio-unchecked\" data-role=\"none\"><\/i>';\n                },});\n\t\t\t\t\t}\n\t\t\t\t});\n\t\t\t<\/script>\n\t\t\t[\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; css=&#8221;.vc_custom_1741616254447{padding-top: 120px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/background-2.jpg?id=8938) !important;}&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1763026073257{padding-bottom: 94px !important;}&#8221; el_class=&#8221;row-reverse-res&#8221;][vc_column_inner width=&#8221;1\/2&#8243;]<div class=\"comissionariat-title color-negro orientation-false\" style=\"\" id=\"laughing-at-the-dead-and-those-holding-vigil\">\n        <h2 class=\"fade-in\">Laughing at the dead and those holding vigil<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1761030511461{margin-bottom: 46px !important;}&#8221; el_class=&#8221;font-gran fade-in&#8221;]\u00ab<em>Humour is the highest expression of the adaptive mechanisms.<\/em>\u00bb Sigmund Freud<\/p>\n<p>Built on misunderstanding, nurtured by impertinence, the secret to humour is that it reveals the contradictions that we typically take for granted in exchange for living in society. Most social institutions, the relationships established in a community and the behaviour demanded of us in order to be part of the group, when viewed with a cold objective gaze from a distance, become ridiculous. That is why comedy can be offensive, because it calls into question some apparently fundamental points. Jokes and transgression are socially accepted, but only up to a certain point. Beyond this limit, intransigence appears. It is nothing new to say that throughout the centuries and even today the main topics banned in comedy have to do with political and religious power. Comedians become professionals in transgression, diligent dispensers of criticism.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243; css=&#8221;.vc_custom_1763026006518{margin-bottom: 60px !important;}&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;10362&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1763027033102{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1761898937786{margin-top: 20px !important;}&#8221; el_class=&#8221;llegenda fade-in&#8221;]Anton Sohn. The Magnate (Dance of death), first quarter of the 19th century. Polychrome terracotta. Registry No.: MFM S-25560.    Museu Frederic Mar\u00e8s.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221;][vc_column width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1739802355172{padding-right: 0px !important;}&#8221;]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/72-daspastoras_2.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    \n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Das Pastoras. El V\u00edbora, Special Christmas Issue, 1988. Barcelona &#091;La C\u00fapula&#093;, no. 107.   107. 26.5 x 20.5 cm. Registry No.: A12015.103. Museu d\u2019Art Contemporani de Barcelona. MACBA Collection, Research and Documentation Centre.    <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][vc_column width=&#8221;1\/2&#8243; css=&#8221;.vc_custom_1739802364324{padding-left: 0px !important;}&#8221;]<div class=\"comissionariat-card orientation-inferior color-blanco\" style=\"height: 900px; \"><div class=\"comissionariat-image background-center-center\" style=\"background-image: url('https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2025\/10\/73-gallardo_3.jpg'); \"><\/div>\n            <div class=\"comissionariat-card-content-holder\">\n                <div class=\"comissionariat-card-content fade-in\">\n                    \n                <\/div>\n                <div class=\"comissionariat-card-caption llegenda fade-in\">\n                   <p> Miguel Gallardo. The history of the church, 1979. Chinese ink and mechanical patterns on paper, 50.3 x 35 cm. MORERA Collection. Museu d\u2019Art Modern i Contemporani de Lleida. Donation by Miguel Gallardo, 2019.     <\/p>\n                <\/div>\n            <\/div>\n        <\/div>[\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1761031349937{padding-top: 120px !important;padding-bottom: 120px !important;background-color: #000000 !important;background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}&#8221; z_index=&#8221;&#8221; el_class=&#8221;background-top-center&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1761292604470{padding-bottom: 94px !important;}&#8221; el_class=&#8221;row-reverse-res&#8221;][vc_column_inner width=&#8221;1\/2&#8243;]<div class=\"comissionariat-title color-blanco orientation-true\" style=\"\" id=\"laughter-in-postmodernity\">\n        <h2 class=\"fade-in\">Laughter in postmodernity<\/h2><\/div>[vc_column_text css=&#8221;.vc_custom_1761031288461{margin-top: 24px !important;}&#8221; el_class=&#8221;font-gran color-blanc fade-in&#8221;]\u00ab<em>Count your age by friends, not years. County your life by smiles, not tears. <\/em>\u00bb John Lennon<\/p>\n<p>Humour is alive and its heartbeat changes along with society. What makes us laugh today may not have the same effect next week. Or vice versa: today\u2019s tragedy may become comedic material over time. Ramon Casas parodied the ancient craft tiles with his <em>Advances<\/em> <em>of the 20th century<\/em>, recreating the aesthetics while updating the contents.[\/vc_column_text][vc_empty_space height=&#8221;200px&#8221; el_class=&#8221;hide-res&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;10035&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1761031200791{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1763026034948{margin-top: 20px !important;margin-bottom: 46px !important;}&#8221; el_class=&#8221;llegenda color-blanc width-80 fade-in&#8221;]Ramon Casas. The advances of the 20th century, 1899-1903. Preparatory watercolours for a series of tiles, 13.5 x 13.5 cm. Registry No.: 806, 807, 808, 809, 810, 811, 812, 813, 814, 815, 816, 817, 818, 823, 824, 827, 828, 829. Museu d\u2019Art de Sabadell.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1761031663598{margin-top: 64px !important;padding-bottom: 64px !important;}&#8221;][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;10038&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1761031175172{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]Salvador Dal\u00ed and Carles Fages de Climent. <em>The triumph and the couplet of Gala and Dal\u00ed,<\/em> 1961. Auca cartoon, 63 x 43.5 cm. ME 2424. Museu de l\u2019Empord\u00e0.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;10050&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1761031464573{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1761031609432{margin-bottom: 46px !important;}&#8221; el_class=&#8221;fade-in color-blanc&#8221;]Marc Aleu, under the pseudonym of Cram, imported modern humour onto the pages of an issue of Dau al set that broke free from the framework of slapstick humour found in the comedy magazines during Franco\u2019s regime. Mariscal designed a set of salt shakers, ironically playing with shapes and pop references.[\/vc_column_text][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]Cram (Marc Aleu). Dau al set. Without words, 1954. Publication. Ink printed on paper, 25 x 18 cm. Museu d\u2019Art Contemporani de Barcelona.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;10047&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1761031237938{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;fade-in&#8221;][vc_column_text css=&#8221;.vc_custom_1761031622376{margin-bottom: 46px !important;}&#8221; el_class=&#8221;fade-in color-blanc&#8221;]Meanwhile, Alfons L\u00f3pez includes topical references from multimedia and television culture into his vignettes.[\/vc_column_text][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]Alfons L\u00f3pez and Xavier Roca. Channels (An\u00edbal i Vict\u00f2ria Series), 1996. Chinese ink and watercolour on paper, 39.6 x 32.7 cm. MORERA Collection. Museu d\u2019Art Modern i Contemporani de Lleida. Donation by Alfons L\u00f3pez, 2016.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;element_from_bottom&#8221;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;10044&#8243; img_size=&#8221;full&#8221; css=&#8221;.vc_custom_1761031257955{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text css=&#8221;.vc_custom_1763024536214{margin-bottom: 46px !important;}&#8221; el_class=&#8221;fade-in color-blanc&#8221;]Every manifestation of comedy is built on references that must be shared by the joke teller and the audience. If the joke gets bundled up too tightly in the context, the humour dissipates and fades away.[\/vc_column_text][vc_column_text css=&#8221;&#8221; el_class=&#8221;llegenda fade-in color-blanc&#8221;]Javier Mariscal. J. <em>Klandinski<\/em> (salts, condiment vessels), 1991. Porcelain, 9.9 x 6.5 x 5.2 cm. Registry No.: MADB 136364. Museu del Disseny.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; header_style=&#8221;light&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; bg_type=&#8221;grad&#8221; z_index=&#8221;&#8221; css=&#8221;.vc_custom_1740737245569{padding-top: 84px !important;padding-bottom: 84px !important;background-image: url(https:\/\/xma.iurisdoc.com\/wp-content\/uploads\/2025\/02\/background-2.jpg?id=8938) !important;background-position: center !important;background-repeat: no-repeat !important;background-size: cover !important;}&#8221; background_color=&#8221;#B3B3B300&#8243; bg_grad=&#8221;background: -webkit-gradient(linear, left top, left bottom, color-stop(0%, #E3E3E3), color-stop(100%, #FFFFFF));background: -moz-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -webkit-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -o-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: -ms-linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);background: linear-gradient(top,#E3E3E3 0%,#FFFFFF 100%);&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;2\/3&#8243;]<div class=\"comissionariat-title color-negro orientation-true\" style=\"\" id=\"epilogue-whoever-doesnt-know-how-to-laugh-doesnt-know-how-to-live\">\n        <h2 class=\"fade-in\">Epilogue: whoever doesn\u2019t know how to laugh doesn\u2019t know how to live<\/h2><\/div>[vc_column_text css=&#8221;&#8221; el_class=&#8221;font-gran width-80 fade-in&#8221;]Laughter bursts forth from your lips for a brief moment, then it fades away, yet the memory can keep you warm for a while. A smile can be drawn on your face at any time, making everything light up. As Joana Raspall wrote, \u201cjust by giving me a smile, as you walk by, I\u2019m filled with joy, and I see a wider world\u201d. A laugh is a gem, a small treasure that grows when shared, and it reminds us of the profound beat of life deep in our hearts. Laughter enriches us because it makes us feel more alive. And being alive is undeniably better than not being alive. Laugh. Laugh, because life is short, and sadness steals it from us.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243; css=&#8221;.vc_custom_1739785784681{background-position: center !important;background-repeat: no-repeat !important;background-size: contain !important;}&#8221;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; css=&#8221;.vc_custom_1742467637102{margin-bottom: 90px !important;}&#8221; z_index=&#8221;&#8221;][vc_column css=&#8221;.vc_custom_1747308093672{padding-right: 0px !important;padding-left: 0px !important;}&#8221;][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221; css=&#8221;.vc_custom_1761031663598{margin-top: 64px !important;padding-bottom: 64px !important;}&#8221;][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;10057&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1761031994166{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1761031841188{margin-right: 20px !important;margin-left: 20px !important;}&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Eva M. Ramon. Me, you, her\u2026, 2013. Digital print. Registry No.: ME2885. Museu de l\u2019Empord\u00e0. Donation by GEES (Grup d&#8217;Empordaneses i Empordanesos per la Solidaritat), 2021.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;10054&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1761031984293{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1761031790321{margin-right: 20px !important;margin-left: 60px !important;}&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Josep Coll. Capturing a bomb, 1950. Ink and pencil on paper. Catalogue No.: 254290-000.    Museu Nacional d\u2019Art de Catalunya.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/3&#8243;][vc_single_image image=&#8221;10060&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; css=&#8221;.vc_custom_1761032001211{margin-bottom: 36px !important;}&#8221; qode_css_animation=&#8221;element_from_fade&#8221;][vc_column_text css=&#8221;.vc_custom_1761031846939{margin-right: 20px !important;margin-left: 20px !important;}&#8221; el_class=&#8221;llegenda m2-left-res m2-right-res m2-bottom-res&#8221;]Xavier Nogu\u00e9s (Babel). <em>Uix!<\/em>, 1922. 1922. Ink on paper, 15.7 x 19 cm. Registry No.: 657. Museu d\u2019Art de Sabadell.[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row]<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"<p>[vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; bg_type=&#8221;bg_color&#8221; z_index=&#8221;&#8221; bg_color_value=&#8221;#000000&#8243; css=&#8221;.vc_custom_1746632125762{background-color: #000000 !important;}&#8221; anchor=&#8221;hero&#8221;][vc_column][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner][vc_empty_space height=&#8221;368px&#8221;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;&#8221;][vc_column_inner width=&#8221;2\/3&#8243;][vc_column_text css=&#8221;.vc_custom_1763027443660{margin-bottom: 20px !important;}&#8221; 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