{"id":4747,"date":"2023-06-15T10:22:41","date_gmt":"2023-06-15T08:22:41","guid":{"rendered":"https:\/\/xarxa.museunacional.cat\/mirar-amb-altres-ulls\/"},"modified":"2024-07-31T10:53:57","modified_gmt":"2024-07-31T08:53:57","slug":"mirar-amb-altres-ulls","status":"publish","type":"page","link":"https:\/\/xarxa.museunacional.cat\/en\/mirar-amb-altres-ulls\/","title":{"rendered":"Looking with other eyes"},"content":{"rendered":"<div class=\"wpb-content-wrapper\"><p>[vc_row css_animation=&#8221;element_from_fade&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;yes&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; row_negative_margin=&#8221;disable_negative_margin&#8221; z_index=&#8221;&#8221; background_color=&#8221;#337581&#8243; padding_bottom=&#8221;0&#8243; css=&#8221;.vc_custom_1687425624142{background-image: url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2023\/06\/portadamar.jpg?id=4940) !important;}&#8221; el_class=&#8221;museutit&#8221;][vc_column][vc_empty_space height=&#8221;172px&#8221;][vc_column_text css=&#8221;.vc_custom_1687191148448{padding-right: 0px !important;padding-left: px !important;}&#8221;]<\/p>\n<h2 class=\"text-intro\" style=\"text-align: left;\"><span style=\"color: #ffffff;\">Looking with other eyes<\/span><\/h2>\n<p>[\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1687191170973{padding-left: 5px !important;}&#8221;]<\/p>\n<h4 style=\"text-align: left;\"><span style=\"color: #ffffff;\">Curator: Miquel del Pozo<\/span><\/h4>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;72px&#8221;][vc_empty_space height=&#8221;152px&#8221;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;yes&#8221; type=&#8221;grid&#8221; angled_section=&#8221;yes&#8221; angled_section_position=&#8221;top&#8221; angled_section_direction=&#8221;from_left_to_right&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; background_color=&#8221;#000000&#8243; el_id=&#8221;menu&#8221; css=&#8221;.vc_custom_1687420246474{padding-right: 10px !important;padding-left: 10px !important;}&#8221;][vc_column][vc_empty_space height=&#8221;82px&#8221;][vc_column_text]<\/p>\n<h2 class=\"second-title\" style=\"text-align: center;\"><span style=\"color: #ffffff;\">Index<\/span><\/h2>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;82px&#8221;][vc_row_inner row_type=&#8221;row&#8221; type=&#8221;full_width&#8221; text_align=&#8221;left&#8221; css_animation=&#8221;element_from_fade&#8221; el_class=&#8221;enllacos&#8221; transition_delay=&#8221;30&#8243;][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<a href=\"#primer\">First the artist looks and then we see<\/a><br \/>\n<a href=\"#tres\">Three ways of looking: those of today, yesterday and the day before yesterday<\/a><br \/>\n<a href=\"#mirar\">Look<\/a>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<a href=\"#vista\">The point of view <\/a><br \/>\n<a href=\"#mirada\">The look that looks at us<\/a><br \/>\n<a href=\"#altres\">The look of others (and ours)<\/a>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=&#8221;172px&#8221;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;element_from_right&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;yes&#8221; angled_section_position=&#8221;top&#8221; angled_section_direction=&#8221;from_right_to_left&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; background_color=&#8221;#ffffff&#8221; css=&#8221;.vc_custom_1687420257173{padding-right: 10px !important;padding-left: 10px !important;}&#8221;][vc_column][vc_empty_space height=&#8221;72px&#8221;][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\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_column_text]<\/p>\n<div class=\"titol\" style=\"text-align: center;\">Alright, but with whose eyes? Those of the artist, there\u2019s no other way<\/div>\n<p>[\/vc_column_text][vc_separator type=&#8221;small&#8221; position=&#8221;center&#8221; color=&#8221;#000000&#8243;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">&#8220;The only true voyage, the only immersion in the Fountain of Youth, would be not to visit strange lands but to possess other eyes, to see the universe through the eyes of another, of a hundred others, to see the hundred universes that each of them sees\u201d.<\/div>\n<p>&nbsp;<\/p>\n<div class=\"subtitol centra\">Marcel Proust, <em>In Search of Lost Time<\/em><\/div>\n<p>[\/vc_column_text][vc_empty_space][vc_single_image image=&#8221;4755&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_column_text]<\/p>\n<p style=\"text-align: center;\"><span style=\"color: #333333;\">\u00c0ngel Jov\u00e9 Jov\u00e9: <em>Metaf\u00edsica III<\/em>, 1976. Varnish emulsion and adhesive velvet on photographic paper, 82.8 x 130.5 cm. MORERA. Museu d\u2019Art Modern i Contemporani de Lleida collection.<\/span><\/p>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<div class=\"subtitol centra\">We only have one set of eyes, our own. The universe of others \u2013the way they see the world\u2013 is forbidden to us, like the stickers in this picture that cover their faces, that hide their looks. The entirety of existence, the whole world, we can only look at (and interpret) from within ourselves, from our own eyes. How will we look, then, with the eyes of another? How could we look, for example, through the eyes of the poet M\u00e0rius Torres \u2013who gazes at us from the centre of this photograph\u2013 the author of the poem Uns ulls en un retaule (Eyes on an Altarpiece), who in Can\u00e7\u00f3 a Mahalta (A Song to Mahalta) writes &#8220;your look already speaks\u201d?<\/div>\n<div class=\"subtitol centra\">With art, there is no other way. &#8221; Through art alone are we able to emerge from ourselves, to know what another person sees of a universe which is not the same as our own and of which, without art, the landscapes would remain as unknown to us as those that may exist on the moon&#8221;, says Proust at the end of his novel\u00b9. There is only one reality, the one that science tries to decipher. However, the views of that reality are infinite, as many as there are people who live (and have lived) in this world. Each view is a entire universe; each work of art, a new world to view.<\/div>\n<p>&nbsp;<\/p>\n<p class=\"subtitol centra\">\u00a0<sup>[1]<\/sup> Marcel PROUST (1954), \u00ab<em>Le temps retrouv\u00e9<\/em>\u00bb <em>A la recherche du temps perdu<\/em>. Paris: \u00c9ditions Gallimard, pp. 256-257<\/p>\n<p>[\/vc_column_text][vc_empty_space][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;element_from_left&#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; background_color=&#8221;#e2e2e2&#8243; css=&#8221;.vc_custom_1686912618501{background-color: #ffffff !important;}&#8221;][vc_column]<div id=\"ult-carousel-95057085469d4fa10eb405\" class=\"ult-carousel-wrapper  comi ult_horizontal\" data-gutter=\"15\" data-rtl=\"false\" ><div class=\"ult-carousel-209967012269d4fa10eb34c \" >[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_empty_space height=&#8221;60px&#8221;][vc_single_image image=&#8221;4758&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Fina Miralles Nobell: <em>Relationships. The Body\u2019s Relationships with Natural Elements: Water. Look at the sea<\/em>, March 1975. Photograph. Museu d&#8217;Art de Sabadell. \u00a9 Fina Miralles Nobell[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<div class=\"titol\">Fina Miralles Nobell: <em>Relationships<\/em><\/div>\n<div class=\"subtitol\">What does Fina Miralles see when she looks at the sea? If we were to try to locate the beach and the specific place where she stood in March 1975 to take this photograph and look towards the horizon, as she does, we would not be able to see what she sees. The water changes every second, a new wave comes in to replace the previous one, but it is not this renewed eternity of the sea that prevents us from seeing what she sees. The physical point of view may be the same, but she looks from the inside and we can only approach this through her work. What she saw we have to look for in a drawing or a painting.<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]<\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-209967012269d4fa10eb34c').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-209967012269d4fa10eb34c').slick({dots: false,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#333333; font-size:45px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right4\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#333333; font-size:45px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left4\"><\/i><\/button>',slidesToScroll:1,slidesToShow:1,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,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: 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: 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-record\" 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_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;right&#8221; css_animation=&#8221;&#8221;][vc_column_inner]<a  itemprop=\"url\" href=\"https:\/\/xarxa.museunacional.cat\/en\/mirar-amb-altres-ulls#menu\" target=\"_self\" data-hover-background-color='#ffffff' data-hover-color='#000000' class=\"qbutton  enlarge\" style=\"color: #000000; \">Men\u00fa<i class=\"qode_icon_font_awesome fa fa-arrow-circle-o-up qode_button_icon_element\" style=\"color: #000000;\" ><\/i><\/a>[vc_empty_space height=&#8221;102px&#8221;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;element_from_right&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;yes&#8221; angled_section_position=&#8221;top&#8221; angled_section_direction=&#8221;from_right_to_left&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; background_color=&#8221;#007882&#8243; anchor=&#8221;dramatisme&#8221; el_id=&#8221;primer&#8221; css=&#8221;.vc_custom_1687420283641{padding-right: 10px !important;padding-left: 10px !important;}&#8221;][vc_column][vc_empty_space height=&#8221;72px&#8221;][vc_column_text]<\/p>\n<h2 class=\"second-title\" style=\"text-align: center;\">First the artist looks and then we see<\/h2>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;18px&#8221;][vc_single_image image=&#8221;4774&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;18px&#8221;][vc_column_text]<\/p>\n<p style=\"text-align: center;\"><span style=\"color: #333333;\">Ramon Casas: <em>Looking for a Subject. Madrid<\/em>, ca. 1904. Graphite pencil and watercolor on paper, 12.3 x 17 cm. Museu Nacional d\u2019Art de Catalunya, acquired from the Plandiura Collection, 1932. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.<\/span><\/p>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;36px&#8221;][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\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_column_text]<\/p>\n<div class=\"subtitol\" style=\"text-align: center;\">It always works like this: first the artist looks and then we see. That is the sequence. The painter goes out into the world carrying his tools \u2013canvas, brushes, paints and palette\u2013 in search of a theme: &#8220;THE SUBJECT&#8221; of the painting. Where he stops to look (the image\u00a0he paints\u00a0that day) will be what we will see when we stand in front of the work.<\/div>\n<p>&nbsp;<\/p>\n<div class=\"subtitol\" style=\"text-align: center;\">Art is subjectivity \u2013eyes that look (those of the artist at the world)\u2013 directed towards another subjectivity \u2013other eyes that look (those of the spectator at the work). In this twin dialogue we compare our view with that of the artist. Let us see with our own eyes what the artist saw.<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=&#8221;72px&#8221;]<div id=\"ult-carousel-308692587969d4fa10eb562\" class=\"ult-carousel-wrapper  comi ult_horizontal\" data-gutter=\"15\" data-rtl=\"false\" ><div class=\"ult-carousel-189508489069d4fa10eb539 \" >[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_empty_space height=&#8221;80px&#8221;][vc_single_image image=&#8221;4781&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Santiago Rusi\u00f1ol: <em>Female Figure<\/em>, 1894. Oil painting on canvas, 100 x 81 cm. Museu Nacional d\u2019Art de Catalunya. Legacy of Santiago Espona, 1958. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<div class=\"titol\">Santiago Rusi\u00f1ol: <em>Female Figure<\/em><\/div>\n<div class=\"subtitol\">When we look at a work of art, we occupy the position of the artist when they created it. This is so obvious that I had to read it in a book<a href=\"#_ftn1\" name=\"_ftnref1\"><sup>[1]<\/sup><\/a> to realise it. This painting shows it: we \u2013the painter\u2013 see ourselves reflected in the mirror as we portray the girl sitting in front of us, we are looking through the painter&#8217;s eyes. We should never forget it, it is always that way. Faced with any work of art we see what the artist saw in the final moments before they finished it, before moving away from it. We look towards where they looked: we find ourselves looking through other eyes.<a href=\"#_ftnref1\" name=\"_ftn1\"><sup>[1]<\/sup><\/a> Siri Hustvedt, Los misterios del rect\u00e1ngulo, p.32<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]<\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-189508489069d4fa10eb539').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-189508489069d4fa10eb539').slick({dots: false,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#333333; font-size:45px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right4\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#333333; font-size:45px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left4\"><\/i><\/button>',slidesToScroll:1,slidesToShow:1,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,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: 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: 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-record\" 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_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;right&#8221; css_animation=&#8221;&#8221;][vc_column_inner]<a  itemprop=\"url\" href=\"https:\/\/xarxa.museunacional.cat\/en\/mirar-amb-altres-ulls#menu\" target=\"_self\" data-hover-background-color='#ffffff' data-hover-color='#000000' class=\"qbutton  enlarge\" style=\"color: #000000; \">Men\u00fa<i class=\"qode_icon_font_awesome fa fa-arrow-circle-o-up qode_button_icon_element\" style=\"color: #000000;\" ><\/i><\/a>[\/vc_column_inner][\/vc_row_inner][vc_empty_space height=&#8221;102px&#8221;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;element_from_left&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;yes&#8221; angled_section_position=&#8221;top&#8221; angled_section_direction=&#8221;from_right_to_left&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; background_color=&#8221;#000000&#8243; el_id=&#8221;tres&#8221; css=&#8221;.vc_custom_1687420308277{padding-right: 10px !important;padding-left: 10px !important;}&#8221;][vc_column][vc_empty_space height=&#8221;92px&#8221;][vc_column_text]<\/p>\n<h2 class=\"second-title\" style=\"text-align: center;\"><span style=\"color: #ffffff;\">Three ways of looking: those of today, yesterday and the day before yesterday<\/span><\/h2>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;18px&#8221;][vc_empty_space height=&#8221;72px&#8221;]<div id=\"ult-carousel-72995875369d4fa10eb66e\" class=\"ult-carousel-wrapper  comi ult_horizontal\" data-gutter=\"15\" data-rtl=\"false\" ><div class=\"ult-carousel-14356371569d4fa10eb657 \" >[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;4787&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]<span style=\"color: #ffffff;\"><em>Piece of slate with an engraving depicting a young deer. From the Cave of Sant Gregori (Falset). Epipalaeolithic era (circa 9000 BC). Slate, engraving (slate, engraved with burin of flint) 7.1 x 3.6 x 0.9 cm. Museu de Reus \u00a9 Photographic archive of Museu de Reus. <\/em><\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<div class=\"subtitolb\">Almost 11,000 years ago, one of our ancestors woke up and went out hunting. At some point during the day he decided that those animals he was chasing, that came and went with the seasons and were the source of community\u2019s survival, had to be transformed into an image. On a piece of slate he scratched the figure of a deer. What he expected from this image, we will never know, but even today, as we look this engraving, we can hear the sound of the branches cracking as the animal flees when it hears us coming.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4790&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]<em>Figure<\/em>. Second half of the 5<sup>th<\/sup> century BC. Wheel-thrown pottery. Museu del Cau Ferrat. Santiago Rusi\u00f1ol Collection &#8211; Archaeology \u00a9 Arxiu Fotogr\u00e0fic del Consorci del Patrimoni de Sitges.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<div class=\"subtitolb\">Five centuries before the birth of Christ, one of our ancestors took a piece of clay and moulded it into a figure. They made two holes in the fresh clay for the eyes and attached two small spheres for the testicles.<br \/>\nIn this piece of clay that person deposited their desires and aspirations. We are probably looking at some kind of ex-voto that our ancestor used to request a favour of the gods.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4793&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]<span style=\"color: #ffffff;\">Perejaume: <em>Landscape of Scales<\/em>, Sant Iscle de Vallalta or Hortsaviny\u00e0, 1981. Collage of confetti and watercolour on canvas, 16 x 27 cm. Fundaci\u00f3 Palau, Caldes d\u2019Estrac. \u00a9 Perejaume, VEGAP, Barcelona<\/span><\/p>\n<p><span style=\"color: #ffffff;\">.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<div class=\"subtitolb\">Not long ago, a contemporary artist stood in front of a blank canvas with a box full of confetti and a set of watercolours. He patiently glued the circular scraps\/cutouts onto the canvas as if they were scales. Over them, with a series of brushstrokes, he created a landscape.We are now in front of the painting and, looking at the canvas, we will never know whether we are seeing the green of the fields and the infinite blue of the sky divided by the light of the sunset, or the gradual change in colour, from the belly to the back, of an iridescent fish. This is where the two ways of looking \u2013the artist&#8217;s and ours\u2013 meet on the surface of the work. We cannot ask, only look. Have you ever looked closely at the colour of the scales?<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]<\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-14356371569d4fa10eb657').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-14356371569d4fa10eb657').slick({dots: false,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#ffffff; font-size:45px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right4\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#ffffff; font-size:45px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left4\"><\/i><\/button>',slidesToScroll:1,slidesToShow:1,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,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: 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: 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-record\" 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_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;right&#8221; css_animation=&#8221;&#8221;][vc_column_inner]<a  itemprop=\"url\" href=\"https:\/\/xarxa.museunacional.cat\/en\/mirar-amb-altres-ulls#menu\" target=\"_self\" data-hover-background-color='#000000' data-hover-border-color='#ffffff' data-hover-color='#ffffff' class=\"qbutton  enlarge\" style=\"color: #ffffff; border-color: #ffffff; \">Men\u00fa<i class=\"qode_icon_font_awesome fa fa-arrow-circle-o-up qode_button_icon_element\" style=\"color: #ffffff;\" ><\/i><\/a>[vc_empty_space height=&#8221;72px&#8221;][vc_empty_space height=&#8221;72px&#8221;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;element_from_right&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;yes&#8221; angled_section_position=&#8221;top&#8221; angled_section_direction=&#8221;from_left_to_right&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; el_id=&#8221;mirar&#8221; z_index=&#8221;&#8221; background_color=&#8221;#ffffff&#8221; css=&#8221;.vc_custom_1687420330042{padding-right: 10px !important;padding-left: 10px !important;}&#8221;][vc_column][vc_empty_space height=&#8221;72px&#8221;][vc_column_text]<\/p>\n<h2 class=\"second-title\" style=\"text-align: center;\">Look<\/h2>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;18px&#8221;][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\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">\u201cBut unfortunately, you don&#8217;t see what I see (&#8230;). You see me, sitting at the table in front of you\u201d.<\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;25px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">Virginia Woolf, <em>The Waves<\/em><\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;18px&#8221;][vc_single_image image=&#8221;4798&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;18px&#8221;][vc_column_text]<\/p>\n<p style=\"text-align: center;\">Anton Casamor d&#8217;Espona: <em>Looking at the Sea<\/em>, s\/d. Sculpture in marble (figure) and granite (towel), 95 x 120 x 50 cm. Museu de l\u2019Empord\u00e0.<\/p>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;36px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">We are (once again) faced with a girl looking at the sea. Now, however, we know neither her name nor that of the place from where she is looking. It is in this freedom to imagine a story (a life) for her that we give voice to through a poem:<\/div>\n<div class=\"subtitol centra\"><\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;18px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol centra\"><em>Tot l\u2019any d\u2019espera inc\u00f2moda<\/em><br \/>\n<em>per una trilogia: el mar, la sal i tu.<\/em><br \/>\n<em>Llavors es fa el miracle i ve l\u2019agost<\/em><br \/>\n<em>-com va venir tamb\u00e9 l\u2019estiu passat.<\/em><br \/>\n<em>Enguany, per\u00f2, la sorra se t\u2019empassa<\/em><br \/>\n<em>i \u00e9s impossible fer com fan els altres:<\/em><br \/>\n<em>no pots anar a cercar l\u2019onada<\/em><br \/>\n<em>i capbussar-te en l\u2019alegria de la platja<\/em><br \/>\n<em>ni vols per res del m\u00f3n negar que ara ja saps<\/em><br \/>\n<em>que a m\u00e9s de sal, a l\u2019aigua, hi suren cendres.<\/em><br \/>\n<em>Tu no. Tu no vols oblidar-te de la mare.<\/em><\/div>\n<p>[\/vc_column_text][vc_column_text]<\/p>\n<div class=\"subtitol centra\">\n<p><em>The whole year of uncomfortable waiting<br \/>\n<\/em><em>for a trilogy: the sea, the salt and you.<br \/>\n<\/em><em>Then the miracle happens and August arrives<br \/>\n<\/em><em>just like it came last summer.<br \/>\n<\/em><em>This year, however, the sand swallows you up<br \/>\n<\/em><em>and it is impossible to do as others do:<br \/>\n<\/em><em>you can&#8217;t go looking for the wave<br \/>\n<\/em><em>and immerse yourself in the joy of the beach<br \/>\n<\/em><em>nor do you want for anything in the world to deny that you now know<br \/>\n<\/em><em>that in addition to salt, ash floats in the water.<br \/>\n<\/em><em>Not you. You don&#8217;t want to forget your mother<\/em>.<\/p>\n<p>Mireia Calafell, <em>CENDRES (ASHES).<br \/>\n<\/em><em>NOSALTRES, QUI. <\/em><em>(WE WHO).<\/em><\/p>\n<\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;25px&#8221;][vc_empty_space height=&#8221;36px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">Two people standing side by side looking at the sea can see completely different, even completely opposite, things. How many seas are there in the sea?<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=&#8221;72px&#8221;]<div id=\"ult-carousel-371503863869d4fa10eb76e\" class=\"ult-carousel-wrapper  comi ult_horizontal\" data-gutter=\"15\" data-rtl=\"false\" ><div class=\"ult-carousel-65272521369d4fa10eb757 \" >[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;4801&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Joaquim Mir: <em>Enchanted cove (Mallorca)<\/em>, circa 1901. Museu Nacional d\u2019Art de Catalunya. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is the Mediterranean Sea, our sea. The geographical proximity and personal biography of each of us makes us see it in a certain way.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4804&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Santiago Rusi\u00f1ol:<em> &#8220;Malavida&#8221; of Sitges<\/em>, ca. 1892-1893. Acquired from the Plandiura Collection, 1932. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is the fisherman&#8217;s sea that begins at dawn; only those who have experienced it can talk about it. It is a sea where life is always at stake.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4808&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Joan Rabascall: Platja de Sant Pere Pescador, 1981. Museu de l\u2019Empord\u00e0. \u00a9 Joan Rabascall, VEGAP, Barcelona.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is the sea of the tourists, who think nothing of parking their cars on the beach if no one stops them. It is a sea capable of ending all seas. <a href=\"https:\/\/juststopoil.org\/\">Just Stop Oil<\/a>.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4811&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Baldomer Galofre: <em>Marina<\/em>, 1897. Oil painting on canvas, 2000 x 105 cm. Museu de Reus. \u00a9 Museu de Reus[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is the sea of the romanticist who, on the departing vessel, imagines everything that lies beyond.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4814&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Ramon Mart\u00ed i Alsina:<em> Stormy Sea<\/em>, between 1875 and 1884. Oil painting on canvas, 137 \u00d7 239 cm.\u00a0Biblioteca Museu V\u00edctor Balaguer.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is the sea of the storm that is the force of the ancient gods that still roars on Earth. It is the life lost in the vessel that founders on the rocks.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4816&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Lu\u00eds Leandro Serrano: <em>Nudes on the Beach<\/em>, second half of the 20<sup>th<\/sup> century. Photograph, 27 x 27 cm. Museu de Manresa.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is the sea of childhood, that instant of pure happiness. It is a sea of memories to which (if you experienced it as a child) you can always return.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4819&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Marcel Broodthaers: <em>Citron-Citroen (R\u00e9clame pour la Mer du Nord)<\/em>, 1974. Lithograph and screenprint on paper, 104.8 x 66.2 cm. MACBA Collection. MACBA Foundation. \u00a9 Estate of Marcel Broodthaers, VEGAP, Barcelona.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is the sea of commerce that sees income and profit in everything that moves. Capitalism and cannibalism must have the same root, even if we have forgotten it. A lemon (<em>citron<\/em>) is not a car (<em>Citro\u00ebn<\/em>), even if they are called the same in Flemish.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4822&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Katsushika Hokusai: <em>Under the Wave off Kanawaga<\/em>, ca. 1832. Museu Nacional d\u2019Art de Catalunya. Former Drawings and Engravings Collection. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is the sea of art that no one has ever seen in the real world. It is a sea that, if you want to see it, you have to go to the museum.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4825&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Master of Cabestany: <em>Apparition of Jesus to his Disciples at Sea<\/em>. (Relief of the portal of the Monastery of Sant Pere de Rodes, Girona). Second third of the 12<sup>th<\/sup> century. Carved and drilled marble, 81 x 62 x 18 cm. Museu Frederic Mar\u00e8s. \u00a9 Photography: Guillem F-H.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is also the sea of faith that Peter and Andrew will never forget, the sea where they were fishing the day Jesus called them to the apostleship. It was a real sea (with fish full of scales) that became a historical sea (which we know thanks to a book) \u00a0\u00a0\u00a0 and also a symbolic sea where the fish will now be others: &#8220;from now on you will be fishers of men&#8221; (Luke 5, 10).<br \/>\n* From the monastery of Sant Pere de Rodes, where this relief was originally located, you can see the sea.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4828&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Josep Icart Espallargas: <em>Untitled<\/em>, 1984. Museu d\u2019Art Modern de Tarragona. \u00a9 Diputaci\u00f3 de Tarragona. Museu d&#8217;Art Modern. Photographic archive. Alberich Fot\u00f2grafs[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;90px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">There is an untitled sea that must be an infinite sea, but when we look at it, it is a &#8220;diminutive infinity&#8221; that only reaches as far as we can see. Baudelaire explains it in <em>My Heart Laid Bare<\/em>: \u201cSix or seven leagues represent the radius of infinity for man. Here is a diminutive infinite\u201d. Infinity advances with us as we walk towards the horizon, which we will never reach, not because it is infinite, but because it walks with us, it depends on our point of view, on the physical place from which we look.<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]<\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-65272521369d4fa10eb757').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-65272521369d4fa10eb757').slick({dots: false,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#333333; font-size:45px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right4\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#333333; font-size:45px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left4\"><\/i><\/button>',slidesToScroll:1,slidesToShow:1,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,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: 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: 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-record\" 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_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;right&#8221; css_animation=&#8221;&#8221;][vc_column_inner]<a  itemprop=\"url\" href=\"https:\/\/xarxa.museunacional.cat\/en\/mirar-amb-altres-ulls#menu\" target=\"_self\" data-hover-background-color='#ffffff' data-hover-color='#000000' class=\"qbutton  enlarge\" style=\"color: #000000; \">Men\u00fa<i class=\"qode_icon_font_awesome fa fa-arrow-circle-o-up qode_button_icon_element\" style=\"color: #000000;\" ><\/i><\/a>[\/vc_column_inner][\/vc_row_inner][vc_empty_space height=&#8221;152px&#8221;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;element_from_left&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;yes&#8221; angled_section_position=&#8221;top&#8221; angled_section_direction=&#8221;from_right_to_left&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; background_color=&#8221;#007882&#8243; anchor=&#8221;dramatisme&#8221; el_id=&#8221;vista&#8221; el_class=&#8221;comi&#8221; css=&#8221;.vc_custom_1687420465734{padding-right: 10px !important;padding-left: 10px !important;}&#8221;][vc_column][vc_empty_space height=&#8221;72px&#8221;][vc_column_text]<\/p>\n<h2 class=\"second-title\" style=\"text-align: center;\"><span style=\"color: #ffffff;\">The point of view <\/span><\/h2>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;18px&#8221;][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\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_empty_space height=&#8221;28px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitolb centra\"><span style=\"color: #ffffff;\">\u201cSeen by the Angels, the tops of the trees are perhaps<\/span><br \/>\n<span style=\"color: #ffffff;\">roots, that drink from the heavens;<\/span><br \/>\n<span style=\"color: #ffffff;\">and in the soil, the deep roots of a beech tree<\/span><br \/>\n<span style=\"color: #ffffff;\">seem like silent peaks\u201d <\/span><\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;25px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitolb centra\"><span style=\"color: #ffffff;\">Rainer Maria Rilke, French Poems (V 38)<\/span><\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;28px&#8221;][vc_single_image image=&#8221;4840&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;28px&#8221;][vc_column_text]<\/p>\n<p style=\"text-align: center;\"><span style=\"color: #ffffff;\">Francesc Catal\u00e0-Roca: M<em>onument a Colom<\/em>, 1950. Museu Nacional d\u2019Art de Catalunya \u00a9 Arxiu hist\u00f2ric del Col\u00b7legi d\u2019Arquitectes de Catalunya\/Fons Francesc Catal\u00e0-Roca\u00a0<\/span><\/p>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;28px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitolb centra\"><span style=\"color: #ffffff;\">Rilke&#8217;s doubt \u2013the question of how angels would see a tree from heaven\u2013 illuminates this photograph. How does Christopher Columbus see the world from the top of his column? What does he see from his point of view? Above all: how does he interpret what he sees?<\/span><\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=&#8221;22px&#8221;]<div id=\"ult-carousel-213774825769d4fa10eb876\" class=\"ult-carousel-wrapper  comi ult_horizontal\" data-gutter=\"15\" data-rtl=\"false\" ><div class=\"ult-carousel-22535321869d4fa10eb861 \" >[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;4842&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]<span style=\"color: #ffffff;\">Ramon Casas i Carb\u00f3 and Santiago Rusi\u00f1ol i Prats:<em> Portraying Each Other<\/em>, summer 1890 in Sant Benet de Bages. Oil painting on canvas, 60 x 73cm. Museus de Sitges. <em>\u00a9 <\/em>Arxiu Fotogr\u00e0fic del Consorci del Patrimoni de Sitges.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<div class=\"subtitolb\">The two artists have come out to paint together in the open air. They are very close to each other, but they are looking in different directions and, at the same time, each one is looking from within, from his artistic personality and from his life experience. Their works are two different ways of seeing.<br \/>\nThe painting, however, offers us a third point of view, that of someone who was not there that day and who now observes it; in other words, us. To create this work, signed by both artists, first Casas painted the landscape while Rusi\u00f1ol portrayed him, and then Rusi\u00f1ol went to sit in the chair in the background, to paint his landscape, while Casas portrayed him. It is a painting with two signatures where each artist portrays the other. There are three canvases in the painting: one real and two painted. In total, there are three different points of view.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4845&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]<span style=\"color: #ffffff;\">Llu\u00eds Borrass\u00e0, <em>Young Man Leaning Out of the Window<\/em>, ca. 1400-1415. Museu Nacional d\u2019Art de Catalunya, Acquired 1956. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<div class=\"subtitolb\">This young man\u2019s attention has been attracted by something happening outside the picture. He goes to the window to look and is pointing to something with his finger. What is it? We can&#8217;t see it now. The painting, now separated from its original altarpiece where we could indeed see what he is looking at, reminds us that the gaze is conditioned by the physical occupation of the space. Two people cannot observe from the same point at the same time; it is physically impossible. As long as he is there, with his head out the window, no one else can look.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4848&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]<span style=\"color: #ffffff;\">Pablo Picasso: <em>Salom\u00e9<\/em>, Par\u00eds, summer-late 1905. Drypoint on copper stamped on Van Gelder vellum paper (third and definitive state), 40 x 34.8 cm. Fundaci\u00f3 Palau, Caldes d\u2019Estrac. \u00a9 Picasso, VEGAP, Madrid.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<div class=\"subtitolb\">Seated on his throne, Herod watches as Salom\u00e9 dances for him. What he sees \u2013the naked body of the young woman offered for his contemplation\u2013 will cause him to say ecstatically: &#8220;Ask me for whatever you wish and I will give it to you&#8221; (Mark 6: 22). She, advised by her mother, will ask for the head of John the Baptist &#8220;on a tray&#8221; (Matthew 14:8) and this is how we see it, on the maid&#8217;s lap. While Herod stares at a part of the young dancer&#8217;s body that we will never be able to see, John, with his eyes closed forever, can no longer look.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4851&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]<span style=\"color: #ffffff;\">Fina Miralles: <em>Standard<\/em>, 1976\/2020. 2 photographs: 60 x 40 cm each. Projection of digitalised slides, inkjet printing on paper and sound recording. MACBA Collection. MACBA Consortium. Donated by the artist. \u00a9 Fina Miralles.<\/span>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_column_text]<\/p>\n<div class=\"subtitolb\">The artist (who personifies THE WOMAN here) is bound hand and foot in a wheelchair. Gagged with a cloak, without the right to speak, she is forced to look at the screen in front of her, on which are constantly projected pictures and sounds of what \u201cright-thinking\u201d society considers a woman has to do: the first communion, the wedding, motherhood, the formation of a family, domestic life, and, at the same time, to be an ideal of beauty, an object of desire.It is the same bombardment of images we receive today, expanded exponentially on social media, but made explicit. She is tied up in front of the screen. The only way she can escape is by not looking. By closing her eyes.<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]<\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-22535321869d4fa10eb861').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-22535321869d4fa10eb861').slick({dots: false,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#ffffff; font-size:45px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right4\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#ffffff; font-size:45px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left4\"><\/i><\/button>',slidesToScroll:1,slidesToShow:1,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,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: 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: 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-record\" 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_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;right&#8221; css_animation=&#8221;&#8221;][vc_column_inner]<a  itemprop=\"url\" href=\"https:\/\/xarxa.museunacional.cat\/en\/mirar-amb-altres-ulls#menu\" target=\"_self\" data-hover-background-color='#ffffff' data-hover-color='#000000' class=\"qbutton  enlarge\" style=\"color: #000000; \">Men\u00fa<i class=\"qode_icon_font_awesome fa fa-arrow-circle-o-up qode_button_icon_element\" style=\"color: #000000;\" ><\/i><\/a>[\/vc_column_inner][\/vc_row_inner][vc_empty_space height=&#8221;102px&#8221;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;element_from_right&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;yes&#8221; angled_section_position=&#8221;top&#8221; angled_section_direction=&#8221;from_left_to_right&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; background_color=&#8221;#e2e2e2&#8243; el_id=&#8221;mirada&#8221; css=&#8221;.vc_custom_1687420485327{padding-right: 10px !important;padding-left: 10px !important;}&#8221;][vc_column][vc_empty_space height=&#8221;92px&#8221;][vc_column_text]<\/p>\n<h2 class=\"second-title\" style=\"text-align: center;\">The look that looks at us<\/h2>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;18px&#8221;][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\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">En la cultura cl\u00e0ssica antiga el su\u00efcidi consistia, sovint, en un mecanisme per a preservar honor i possessions. Amb l\u2019expansi\u00f3 del cristianisme, la representaci\u00f3 d\u2019aquesta pr\u00e0ctica qued\u00e0 for\u00e7a arraconada fins al romanticisme, quan els artistes reprendran amb for\u00e7a el tema i \u00e0dhuc la pr\u00e0ctica<\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;30px&#8221;][vc_single_image image=&#8221;5246&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;30px&#8221;][vc_column_text](1) Apel\u00b7les Fenosa and Pablo Picasso: <em>T\u00eate de Dora Maar<\/em>, 1941. Museu Apel\u00b7les Fenosa. \u00a9 Fenosa, VEGAP, Barcelona; Picasso, VEGAP, Madrid.<\/p>\n<p>(2) Barbara Stammel: Sister I, 1997.\u00a0 Museu d\u2019Art Modern de Tarragona. \u00a9 Diputaci\u00f3 de Tarragona. Museu d&#8217;Art Modern. Arxiu Fotogr\u00e0fic. Alberich Fot\u00f2grafs.<\/p>\n<p>(3) Josep Tapir\u00f3: <em>Bride<\/em>, circa 1876-1896. Museu de Reus. \u00a9 Museu de Reus.[\/vc_column_text][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">No matter how evocative a figure that looks at us is in a work of art, no matter how strong the feeling of being faced with a presence, we can never really know what it sees. The portrait doesn&#8217;t tell us, it doesn&#8217;t let us in; it forces us to remain permanently on the surface, on the person&#8217;s outer face, on the skin. However, we cannot help but think that there is a life on the other side of the work, a life that looks at us and that we will never be able to know. It is the impossible dialogue that portraits always offer. And, moreover, we age, unlike them.<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][\/vc_row_inner][vc_empty_space height=&#8221;72px&#8221;]<div id=\"ult-carousel-247676212069d4fa10eb980\" class=\"ult-carousel-wrapper  comi ult_horizontal\" data-gutter=\"15\" data-rtl=\"false\" ><div class=\"ult-carousel-39019584069d4fa10eb969 \" >[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;4880&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]<a href=\"https:\/\/artsandculture.google.com\/entity\/josep-maria-tamburini\/m0t5fttj?categoryId=artist\">Josep Maria Tamburini<\/a>, Winter, 1881\/1889. Biblioteca Museu V\u00edctor Balaguer[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;30px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">That is precisely why it is always good to return to the museum, because <em>we<\/em> age and the works do not. Looking at a painting in adolescence is not the same as seeing it towards the end of life, nor is contemplating parenthood before we become parents or after losing a child. The museum is a place that offers us something different every time we return&#8230; because we have changed.<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]<\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-39019584069d4fa10eb969').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-39019584069d4fa10eb969').slick({dots: false,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#333333; font-size:45px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right4\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#333333; font-size:45px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left4\"><\/i><\/button>',slidesToScroll:1,slidesToShow:1,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,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: 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: 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-record\" 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_row_inner row_type=&#8221;row&#8221; type=&#8221;grid&#8221; text_align=&#8221;right&#8221; css_animation=&#8221;&#8221;][vc_column_inner]<a  itemprop=\"url\" href=\"https:\/\/xarxa.museunacional.cat\/mirar-amb-altres-ulls#menu\" target=\"_self\" data-hover-background-color='#ffffff' data-hover-color='#000000' class=\"qbutton  enlarge\" style=\"color: #000000; \">Men\u00fa<i class=\"qode_icon_font_awesome fa fa-arrow-circle-o-up qode_button_icon_element\" style=\"color: #000000;\" ><\/i><\/a>[vc_empty_space height=&#8221;72px&#8221;][vc_empty_space height=&#8221;72px&#8221;][\/vc_column_inner][\/vc_row_inner][\/vc_column][\/vc_row][vc_row css_animation=&#8221;element_from_right&#8221; row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;no&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;yes&#8221; angled_section_position=&#8221;top&#8221; angled_section_direction=&#8221;from_left_to_right&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; z_index=&#8221;&#8221; background_color=&#8221;#ffffff&#8221; el_id=&#8221;altres&#8221; css=&#8221;.vc_custom_1687420515590{padding-right: 10px !important;padding-left: 10px !important;}&#8221;][vc_column][vc_empty_space height=&#8221;72px&#8221;][vc_column_text]<\/p>\n<h2 class=\"second-title\" style=\"text-align: center;\">The look of others<br \/>\n(and ours)<\/h2>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;40px&#8221;][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\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">\u201c&#8230;I know of two deaths that approach me&#8230;<br \/>\nOf one I am certain, and the other threatens me.<\/div>\n<div><\/div>\n<div class=\"subtitol centra\">Neither painting nor sculpting will appease<br \/>\nthe soul, returning to that divine love<br \/>\nthat embraces us all on the cross.\u201d<\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;25px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">\n<p>Michelangelo Buonarroti, 285.<\/p>\n<\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">When Michelangelo wrote this sonnet he was 79 years old and saw the end of his days approaching. That is why he speaks of two deaths; he is certain of the death of the body, what threatens him is the death of the soul. His Christian and Neoplatonic concept of the world conditioned his outlook, and his firm belief in a judgment in the afterlife made him fear condemnation.<\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;80px&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][\/vc_row_inner]<div id=\"ult-carousel-170271082669d4fa10eba64\" class=\"ult-carousel-wrapper  comi ult_horizontal\" data-gutter=\"15\" data-rtl=\"false\" ><div class=\"ult-carousel-210587386969d4fa10eba4e \" >[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;4888&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Anonymous, <em>Christ from La Cerdanya<\/em>, second half of the 12<sup>th<\/sup> century. Museu Nacional d\u2019Art de Catalunya, Former Museums Collection, 1972. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">The images of the cross, torn from the places of worship where they belonged and displayed inside the museum, where no one (or almost no one) kneels to pray in front of them, have lost their place in the world, they are decontextualized&#8230; Even so, you should go and look at them. You have to go to the museum and stand in front of this cross-less Christ nailed to a white wall; alone capable of invoking two millennia of faith in a single image.At the end of the poem, Michelangelo says that neither painting nor sculpting can soothe his soul and in another sonnet he comes to regret having dedicated his life to art and not to God. We must not forget, however, that it is thanks to art that God has made himself visible to men.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4885&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Anonymous, <em>Majestat Batll\u00f3<\/em>, mid-12<sup>th<\/sup> century. Museu Nacional d\u2019Art de Catalunya, Donated by Enric Batll\u00f3 Batll\u00f3 to the Barcelona Provincial Government; on loan, 1914. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">Christ on the cross has his eyes open and is fully clothed, thus symbolising his triumph over death. Previously, however, the artist had to create the image. He carved the figure of Christ in four separate pieces of wood and used two more to make the cross, all joined together with wooden stems to form the sculptural ensemble. To nail the hands to the cross, on the other hand, he used <a href=\"https:\/\/www.museunacional.cat\/en\/majestat-batllo-en\">two iron nails<\/a>. Can you imagine the sound of hammer blows? The symbolic charge of the gesture?<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4891&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Joaquim Lluci\u00e0: <em>Christ or Crucifixion<\/em>, 1973. Acrylic on canvas, 200.5 x 199.5 cm. MACBA Collection. MACBA Foundation. Donated by Carmen Buqueras. \u00a9 Heirs of Joaquim Lluci\u00e0.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">To create this Christ or Crucifixion, the artist had to lie down twice on the canvas. The first time to stamp the blooded hands (red paint) at the top, and the second to leave the footprints at the bottom. And now (his) body is present forever more.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4894&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Jaume Serra, <em>Calvary<\/em>, ca. 1375-1385. Museu Nacional d\u2019Art de Catalunya, On loan from the Generalitat de Catalunya. National Art Collection. Donated by Don Antonio Gallardo Ballart, 2015. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">Painting a tree and a bird with its young on top of the cross, the artist brought together Man, God, the Passion and the Eucharist in a single image. Baring its breast to feed its young, the pelican painted at the top of the altarpiece is a metaphor for everything depicted below. It is the <em>nostro pellicano<\/em> that Dante speaks of in his <em>Divine Comedy<\/em> (Paradise XXV,113).<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4900&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Juli Gonz\u00e1lez: <em>Maternity of the Child on the Cross (Maternit\u00e9 a <\/em><em>l&#8217;enfant \u00e0 la croix<\/em>), 1941. Museu Nacional d\u2019Art de Catalunya, Donated by Roberta Gonz\u00e1lez, daughter of the artist, 1972; entered the collection, 1973. Photo: Museu Nacional d\u2019Art de Catalunya, Barcelona; \u00a9 Juli Gonz\u00e1lez, VEGAP, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">Drawing a cross on the child&#8217;s body, the artist explains (wordlessly) the indescribable pain of the mother. The quintessential Christian symbol, the sign of the resurrection, tells us that the child has died.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4897&#8243; img_size=&#8221;full&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Josep Berga i Boix: <em>Calvary<\/em>, 1889. Oil painting on canvas, 153 x 283 cm. Museu de la Garrotxa.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">Here the cross is the excuse to paint the landscape. When religious painting was the only possible subject, artists and clients began to expand the framing of the sacred scene to (also) show the beauty of nature. This is how &#8220;the landscape&#8221; was born. One of our first landscape artists seems to have those images in mind.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4903&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Attributed to Mart\u00edn Bernat, <em>Processional Cross with the Bust of Christ and the Instruments of the Passion<\/em>, 1477-1505. Museu Nacional d\u2019Art de Catalunya. Contribution of the Provincial Commission of Historical and Artistic Monuments of Barcelona to the Provincial Museum of Antiquities of Barcelona, 1888. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">The whole story of the Passion in one image; all the suffering and instruments of torture in one object. Even the rooster, which had to crow twice, and the dice with which the soldiers gambled away the clothes of the condemned man, are represented there. You need only to open a book (the Bible) and read the text to see how all these elements are part of the story.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4906&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Ramon Casas i Carb\u00f3: <em>The Widow<\/em>, 1889\/90. Oil painting on canvas, 186 x 113 cm. Museu V\u00edctor Balaguer. \u00a9 Biblioteca Museu V\u00edctor Balaguer.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">How many times will the widow in the picture have read (or heard) the same story? The small cross placed on the home altar, towards which she looks, supports an entire concept of the world that, for centuries and centuries, has explained human reality. The images have served (in power) to confirm it.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4913&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Dom\u00e9nikos Theotok\u00f3poulos (El Greco), <em>Christ and the Cross<\/em>, between 1590 and 1595. Museu Nacional d\u2019Art de Catalunya, Legacy of Santiago Espona, 1958. \u00a9 Museu Nacional d\u2019Art de Catalunya, Barcelona, 2023.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">We Westerners have carried the weight of the cross that Christ bears in this image on our shoulders for centuries&#8230; and even now. It is that very Christian thing of accepting present suffering in exchange for a future promise. It doesn&#8217;t matter if it is in this life or the next, we continue to live on promises.<\/div>\n<p>[\/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;][vc_column_inner width=&#8221;1\/2&#8243;][vc_single_image image=&#8221;4926&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;12px&#8221;][vc_column_text]Baldomer Gili Roig: <em>District cross<\/em>. Modern copy of the original glass negative, 13 x 18 cm. MORERA. Museu d\u2019Art Modern i Contemporani de Lleida collection.[\/vc_column_text][\/vc_column_inner][vc_column_inner width=&#8221;1\/2&#8243;][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol\">District crosses, as their name indicates, delimited town or village boundaries. They welcomed or bid farewell to travellers and were invariably decorated with crosses and scenes of the crucifixion. However, for a child to kneel in front of a raised stone in the shape of a cross, someone must first have explained the reason for doing so (or forced them to do it). We receive our first view of the world \u2013the first narrative of existence\u2013 from others. We are born into an interpreted world (Rilke). Art helps us look beyond, to see what others see.<\/div>\n<p>[\/vc_column_text][\/vc_column_inner][\/vc_row_inner]<\/div><\/div>\t\t\t<script type=\"text\/javascript\">\n\t\t\t\tjQuery(document).ready(function ($) {\n\t\t\t\t\tif( typeof jQuery('.ult-carousel-210587386969d4fa10eba4e').slick == \"function\"){\n\t\t\t\t\t\t$('.ult-carousel-210587386969d4fa10eba4e').slick({dots: false,autoplay: true,autoplaySpeed: \"5000\",speed: \"300\",infinite: true,arrows: true,nextArrow: '<button type=\"button\" role=\"button\" aria-label=\"Next\" style=\"color:#333333; font-size:45px;\" class=\"slick-next default\"><i class=\"ultsl-arrow-right4\"><\/i><\/button>',prevArrow: '<button type=\"button\" role=\"button\" aria-label=\"Previous\" style=\"color:#333333; font-size:45px;\" class=\"slick-prev default\"><i class=\"ultsl-arrow-left4\"><\/i><\/button>',slidesToScroll:1,slidesToShow:1,swipe: true,draggable: true,touchMove: true,pauseOnHover: true,pauseOnFocus: false,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: 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: 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-record\" 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_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\/6&#8243;][\/vc_column_inner][vc_column_inner width=&#8221;2\/3&#8243;][vc_single_image image=&#8221;4930&#8243; img_size=&#8221;full&#8221; alignment=&#8221;center&#8221; qode_css_animation=&#8221;&#8221;][vc_empty_space height=&#8221;25px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">\n<p>Man Ray: Mir\u00f3, 1933 (?). Photograph in silver salts, 29 x 22.7 cm. MACBA Collection.<br \/>\nOn loan from the Generalitat de Catalunya.<br \/>\nNacional Art Collection. \u00a9 Man Ray, VEGAP, Barcelona<\/p>\n<\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;40px&#8221;][vc_column_text]<\/p>\n<div class=\"subtitol centra\">Without art we would never have been able to see, for example, the universe of Joan Mir\u00f3 \u2013what he saw when he looked at the <a href=\"https:\/\/www.fmirobcn.org\/en\/colection\/catalog-works\/5423\/p-the-gold-of-the-azure-p\" target=\"_blank\" rel=\"noopener\">stars<\/a>, a <a href=\"https:\/\/www.fmirobcn.org\/en\/colection\/catalog-works\/5406\/p-woman-dreaming-of-escape-p\" target=\"_blank\" rel=\"noopener\">woman<\/a> or the <a href=\"https:\/\/www.fmirobcn.org\/en\/colection\/catalog-works\/5486\/p-hands-flying-off-toward-the-constellations-p\" target=\"_blank\" rel=\"noopener\">footprints of birds<\/a> on the beach\u2013 and our world would be a little poorer for it.<\/div>\n<p>&nbsp;<\/p>\n<div class=\"subtitol centra\">The first commandment to enter a museum should be the reason that Paul Val\u00e9ry gives in Tel quel, to open a book: <strong>&#8220;to enrich ourselves with what they have seen and we have not&#8221;<\/strong>\u00b3.<\/div>\n<p>&nbsp;<\/p>\n<div style=\"text-align: center;\">\u00b3 p.58<\/div>\n<p>[\/vc_column_text][vc_empty_space height=&#8221;80px&#8221;][\/vc_column_inner][vc_column_inner width=&#8221;1\/6&#8243;][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=&#8221;row&#8221; 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row_type=&#8221;row&#8221; use_row_as_full_screen_section=&#8221;yes&#8221; type=&#8221;full_width&#8221; angled_section=&#8221;no&#8221; text_align=&#8221;left&#8221; background_image_as_pattern=&#8221;without_pattern&#8221; row_negative_margin=&#8221;disable_negative_margin&#8221; z_index=&#8221;&#8221; background_color=&#8221;#337581&#8243; padding_bottom=&#8221;0&#8243; css=&#8221;.vc_custom_1687425624142{background-image: url(https:\/\/xarxa.museunacional.cat\/wp-content\/uploads\/2023\/06\/portadamar.jpg?id=4940) !important;}&#8221; el_class=&#8221;museutit&#8221;][vc_column][vc_empty_space height=&#8221;172px&#8221;][vc_column_text css=&#8221;.vc_custom_1687191148448{padding-right: 0px !important;padding-left: px !important;}&#8221;] Looking with other eyes [\/vc_column_text][vc_column_text css=&#8221;.vc_custom_1687191170973{padding-left: 5px !important;}&#8221;] Curator: Miquel del Pozo [\/vc_column_text][vc_empty_space height=&#8221;72px&#8221;][vc_empty_space height=&#8221;152px&#8221;][\/vc_column][\/vc_row][vc_row css_animation=&#8221;&#8221; 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